,transcriber's ,note3 ,this version of the text cannot represent certain typographical effects4 ,italics are delimited with the #8' character as italic4 ,bold font is delimited by the #8' character4 ,superscripted and subscripted characters are shown as #8#b' and #8#b' respectively4 ,this text includes the rendering of ancient ,greek inscriptions1 using the alphabets of a number of different regions1 not all of which exist in the unicode character set4 ,some are printed in reverse order 7right to left7 and some are also mirror-imaged4 ,it is not possible to render these inscriptions as text without a wholesale loss of information about the variant forms4 ,each inscription1 therefore1 is simply rendered using modern ,greek characters1 including several archaic characters 7koppa and digamma 7 which are supported in unicode fonts4 ,these inscriptions are better viewed1 obviously1 in the ,,html or ,minor errors and inconsistency in punctuation and formatting have been silently corrected4 ,please see the transcriber's note at the end of this text for details regarding the handling of any other textual issues encountered during its preparation4 ,footnotes appeared in the printed text numbered sequentially on each page4 ,they have been renumbered to be unique across the text1 and are gathered at the end of each chapter4 ,the occasional references to them by the original number have been changed as well4 https3_/_/www4gutenberg4org_/ebooks_/#dh aed ---------------------------------------- -------------- ,,history ,,of ,,ancient ,,pottery ---------------------------------------- -------------- ,,plate ,,xlix ,illustration3 ,,attic ,,black-,,figured ,,hydria3 ,,harnessing ,,of ,,horses ,,to ,,chariot 7,,british ,,museum74 ---------------------------------------- -------------- ,,history ,,of ,,ancient ,,pottery ,,greek1 ,,etruscan1 ,,and ,,roman ,,by ,h4 ,b4 ,,walters1 ,m4,a41 ,f4,s4,a4 ,,based ,,on ,,the ,,work ,,of ,,samuel ,,birch ,,in ,,two ,,volumes ,,volume ,,ii ,,with #cjj ,,illustrations ,,including #h ,,coloured ,,plates ,,illustration ,,new ,,york ,,charles ,,scribner',s ,,sons #aije ,,printed ,,by ,,hazell1 ,,watson ,,and ,,viney1 ,,ld41 ,,london ,,and ,,aylesbury1 ,,england4 ,,contents ,,of ,,volume ,,ii ,,page ,,contents ,,of ,,volume ,,ii v ,,list ,,of ,,plates ,,in ,,volume ,,ii ix ,,list ,,of ,,text-,,illustrations ,,in ,,volume ,,ii xi ,,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 treatment--,interpretation and classification of subjects--,the ,olympian deities--,the ,gigantomachia--,the birth of ,athena and other ,olympian subjects--,zeus and kindred subjects--,hera--,poseidon and marine deities--,the ,eleusinian deities--,apollo and ,artemis--,hephaistos1 ,athena1 and ,ares--,aphrodite and ,eros--,hermes and ,hestia #a-ec ,,chapter ,,xiii ,,dionysos ,,and ,,miscellaneous ,,deities ,dionysos and his associates--,ariadne1 ,maenads1 and ,satyrs--,names of ,satyrs and ,maenads--,the ,nether ,world--,general representations and isolated subjects--,charon1 ,erinnyes1 ,hekate1 and ,thanatos--,cosmogonic deities--,gaia and ,pandora--,prometheus and ,atlas--,iris and ,hebe--,personifications--,sun1 ,moon1 ,stars1 and ,dawn--,winds--,cities and countries--,the ,muses--,victory--,abstract ideas--,descriptive names #ed-ib ,,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--,attic and other legends--,orpheus and the ,amazons--,monsters--,historical and literary subjects #ic-aec ,,chapter ,,xv ,,subjects ,,from ,,ordinary ,,life ,religious subjects--,sacrifices--,funeral scenes--,the ,drama and burlesques--,athletics--,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 #aed-ahf ,,chapter ,,xvi ,,details ,,of ,,types1 ,,arrangement1 ,,and ,,ornamentation ,distinctions of types--,costume and attributes of individual deities-- ,personifications--,heroes--,monsters--, personages in everyday life--,armour and shield-devices--,dress and ornaments--,physiognomical expression on vases--,landscape and architecture--,arrangement of subjects--,ornamental patterns--,maeander1 circles1 and other geometrical patterns--,floral patterns--,lotos and palmettes--,treatment of ornamentation in different fabrics #ahg-bce ,,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--,corinthian1 ,ionic1 ,boeotian1 and ,chalcidian inscriptions--,inscriptions on ,athenian vases--,dialect--,artists' signatures--,inscriptions relating to the subjects--,exclamations---names--,the ,attic alphabet and orthography--,chronology of ,attic inscriptions--,south ,italian vases with inscriptions #bcf-bgh ,,part ,,iv ,,italian ,,pottery ,,chapter ,,xviii ,,etruscan ,,and ,,south ,,italian ,,pottery ,early ,italian civilisation--,origin of ,etruscans--,terramare civilisation--,villanuova period--,pit-tombs--,hut-urns--,trench- tombs--,relief-wares and painted vases from ,cervetri--,chamber- tombs--,polledrara ware--,bucchero ware--,canopic jars--,imitations of ,greek vases--,etruscan inscriptions--,sculpture in terracotta--,architectural decoration--,sarcophagi--,local pottery of ,southern ,italy--,messapian and ,peucetian fabrics #bgi-cbi ,,chapter ,,xix ,,terracotta ,,in ,,roman ,,architecture ,,and ,,sculpture ,clay in ,roman architecture--,use of bricks--,methods of construction--,tiles--,ornamental antefixae--,flue-tiles--,other uses--,inscriptions on bricks and tiles--,military tiles--,mural reliefs--,list of subjects--,roman sculpture in terracotta--,statuettes--,uses at ,rome--,types and subjects--,gaulish terracottas--,potters and centres of fabric--,subjects--,miscellaneous uses of terracotta--,money-boxes --,coin-moulds #ccj-cib ,,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--,subjects--,deities--,mytholo gical and literary subjects--,genre subjects and animals--,inscriptions on lamps--,names of potters and their distribution--,centres of manufacture #cic-dbi ,,chapter ,,xxi ,,roman ,,pottery3 ,,technical ,,processes1 ,,shapes1 ,,and ,,uses ,introductory--,geographical and historical limits--,clay and glaze--,technical processes--,stamps and moulds--,barbotine and other methods--,kilns found in ,britain1 ,gaul1 and ,germany--,use of earthenware among the ,romans--,echea--,dolia and ,amphorae--,inscriptions on amphorae--,cadus1 ,ampulla1 and ,lagena --,drinking-cups--,dishes--,sacrificial vases--,identification of names #dcj-dgc ,,chapter ,,xxii ,,roman ,,pottery1 ,,historically ,,treated2 ,,arretine ,,ware ,roman ,pottery mentioned by ancient writers--8,samian0 ware--,centres of fabric--,the pottery of ,arretium--,characteristics--,potters' stamps--,shapes of ,arretine vases--,sources of inspiration for decoration--8,italian ,megarian bowls0--,subjects--,distribution of ,arretine wares #dgd-dif ,,chapter ,,xxiii ,,roman ,,pottery 7continued72 ,,provincial ,,fabrics ,distribution of ,roman pottery in ,europe--,transition from ,arretine to provincial wares--,terra sigillata--,shapes and centres of fabric--,subjects--,potters' stamps--,vases with barbotine decoration--,the fabrics of ,gaul--,st4 ,rmy--,graufesenque--8,marbled0 vases--,vases with inscriptions 7,banassac7--,lezoux--,vases with medallions 7,southern ,gaul7--,fabrics of ,germany--,terra sigillata in ,britain--,castor ware--,upchurch and ,new ,forest wares--,plain pottery--,mortaria--,conclusion #dig-eee ,,index #eeg ,,list ,,of ,,plates ,,in ,,volume ,,ii 7,except where otherwise noted1 the objects are in the ,british ,museum7 ,,plate ,,xlix4 ,attic black-figured hydria3 ,harnessing of horses to chariot 7colours7 ,frontispiece ,,to ,,face ,,page ,l4 ,contest of ,athena and ,poseidon3 vase at ,petersburg 7from ,baumeister7 #bd ,,li4 ,kotyle by ,hieron3 ,triptolemos at ,eleusis #bf ,,lii4 ,the ,under-world1 from an ,apulian vase at ,munich 7from ,furtwaengler and ,reichhold7 #ff ,,liii4 ,helios and ,stars 7the ,blacas krater7 #gh ,,liv4 ,the ,sack of ,troy3 kylix by ,brygos in ,louvre 7from ,furtwaengler and ,reichhold7 #acd ,,lv4 ,scenes from funeral lekythi 7,prothesis and cult of tomb7 #aeh ,,lvi4 ,early ,etruscan red ware #cjj ,,lvii4 ,etruscan hut-urn and ,bucchero ware #cjb ,,lviii4 ,etruscan imitations of ,greek vases #cjh ,,lix4 ,etruscan antefix and sarcophagus #caf ,,lx4 ,sarcophagus of ,seianti ,thanunia #cbb ,,lxi4 ,roman mural reliefs3 ,zeus and ,dionysos #cff ,,lxii4 ,roman mural reliefs3 ,theseus2 priestesses #cgj ,,lxiii4 ,roman lamps 7#ast century ,b4,c47 #djb ,,lxiv4 ,roman lamps3 mythological and literary subjects #dab ,,lxv4 ,roman lamps3 miscellaneous subjects #daf ,,lxvi4 ,moulds and stamp of ,arretine ware #dib ,,lxvii4 ,gaulish pottery 7,graufesenque fabric7 #ebj ,,lxviii4 ,gaulish pottery from ,britain 7,lezoux fabric7 #ebf ,,lxix4 ,romano-,british and ,gaulish pottery #edd ,,list ,,of ,,text-,,illustrations ,,in ,,volume ,,ii ,,fig4 ,,page #aaa4 ,gigantomachia1 from ,ionic vase ,mon4 dell' ,inst4 in ,louvre #ac #aab4 ,poseidon and ,polybotes1 from ,gerhard kylix in ,berlin #ad #aac4 ,the birth of ,athena ,brit4 ,mus4 #af #aad4 ,hermes slaying ,argos 7vase at ,wiener ,vorl4 ,vienna7 #bj #aae4 ,poseidon and ,amphitrite ,ant4 ,denkm4 7,corinthian pinax7 #bc #aaf4 ,apollo1 ,artemis1 and ,leto ,mon4 dell' ,inst4 #cj #aag4 ,aphrodite and her following 4 4 7vase at ,athens7 #dc #aah4 ,eros with kottabos-stand ,brit4 ,mus4 #dh #aai4 ,hermes with ,apollo's oxen 7in ,baumeister the ,vatican7 #ea #abj4 ,dionysos with ,satyrs and ,brit4 ,mus4 ,maenads 7,pamphaios hydria7 #ei #aba4 ,maenad in frenzy 7cup at ,baumeister ,munich7 #fc #abb4 ,charon's bark 7lekythos at ,baumeister ,munich7 #gj #abc4 ,thanatos and ,hypnos with body ,brit4 ,mus4 of warrior #ga #abd4 ,nike sacrificing bull ,brit4 ,mus4 #hh #abe4 ,herakles and the ,nemean lion ,brit4 ,mus4 #if #abf4 ,herakles bringing the boar to ,brit4 ,mus4 ,eurystheus #ig #abg4 ,apotheosis of ,herakles 7vase ,arch4 ,zeit4 at ,palermo7 #ajg #abh4 ,peleus seizing ,thetis ,brit4 ,mus4 #aba #abi4 ,judgment of ,paris 7,hieron cup ,wiener ,vorl4 in ,berlin7 #abb #acj4 ,capture of ,dolon ,brit4 ,mus4 #abi #aca4 ,pentheus slain by ,maenads ,brit4 ,mus4 #adb #acb4 ,kroisos on the funeral pyre ,baumeister 7,louvre7 #aej #acc4 ,alkaios and ,sappho 7,munich7 ,baumeister #aeb #acd4 ,scene from a farce ,brit4 ,mus4 #afa #ace4 ,athletes engaged in the ,brit4 ,mus4 ,pentathlon #afc #acf4 ,agricultural scenes ,baumeister 7,nikosthenes cup in ,berlin7 #agj #acg4 ,warrior arming2 archers ,hoppin 7,euthymides amphora in ,munich7 #agf #ach4 ,banqueters playing kottabos ,brit4 ,mus4 #aha #aci4 ,maeander or embattled pattern #bab #adj4 ,maeander 7,attic7 #bab #ada4 ,maeander 7,ionic7 #bab #adb4 ,maeander and star pattern #bab #adc4 ,maeander 7,attic1 #eth century7 #bac #add4 ,maeander 7,attic1 about #dhj ,b4,c47 #bac #ade4 ,net-pattern #bae #adf4 ,chequer-pattern #baf #adg4 ,tangent-circles #baf #adh4 ,spirals under handles 7,exekias7 #bag #adi4 ,wave-pattern 7,south ,italy7 #bah #aej4 ,scale-pattern 7,daphnae7 #bah #aea4 ,guilloche or plait-band 7,euphorbos pinax7 #bai #aeb4 ,tongue-pattern #bai #aec4 ,egg-pattern #bbj #aed4 ,leaf- or chain-pattern #bba #aee4 ,ivy-wreath 7black-figure period7 #bbb #aef4 ,ivy-wreath 7,south ,italian7 #bbb #aeg4 ,laurel-wreath 7,south ,italian7 #bbc #aeh4 ,vallisneria spiralis 7,mycenaean7 #bbd #aei4 ,lotos-flower 7,cypriote7 #bbd #afj4 ,lotos-flowers and buds ,riegl 7,rhodian7 #bbe #afa4 ,palmette-and lotos-pattern 7early ,b4,f47 #bbe #afb4 ,lotos-buds 7,attic ,b4,f47 #bbf #afc4 ,chain of palmettes and lotos 7early ,b4,f47 #bbf #afd4 ,palmettes and lotos under handles 7,attic ,b4,f47 #bbg #afe4 ,palmette on neck of red-bodied amphorae #bbh #aff4 ,enclosed palmettes 7,r4,f4 period7 #bbh #afg4 ,oblique palmettes 7late ,r4,f47 #bbi #afh4 ,palmette under handles 7,south ,italian7 #bcj #afi4 ,rosette 7,rhodian7 #bca #agj4 ,rosette 7,apulian7 #bca #aga4 ,facsimile of inscription on ,brit4 ,mus4 ,tataie lekythos #bdb #agb4 ,facsimile of ,dipylon ,ath4 ,mitth4 inscription #bdc #agc4 ,scheme of alphabets on ,greek vases #bdh #agd4 ,facsimile of inscription on ,roehl ,corinthian pinax #bea #age4 ,facsimile of signatures on ,furtwaengler and ,franois vase ,reichhold #beg #agf4 ,facsimile of signature of ,brit4 ,mus4 ,nikias #bei #agg4 ,figure with inscribed scroll 7fragment at ,oxford7 #bfd #agh4 ,etruscan tomb with cinerary ,ann4 dell' ,inst4 urn #bhe #agi4 ,villanuova cinerary urns from ,notizie ,corneto #bhf #ahj4 ,painted pithos from ,cervetri ,gaz4 ,arch4 in ,louvre #bic #aha4 ,canopic jar in bronze-plated ,mus4 ,ital4 chair #cje #ahb4 ,etruscan alphabet1 from a vase ,dennis #cab #ahc4 ,terracotta sarcophagus in ,dennis ,brit4 ,mus4 #cah #ahd4 ,painted terracotta slab in ,dennis ,louvre #cai #ahe4 ,askos of local ,apulian fabric ,brit4 ,mus4 #cbf #ahf4 ,krater of 8,peucetian0 fabric ,notizie #cbh #ahg4 ,concrete wall at ,rome ,middleton #cch #ahh4 ,concrete wall faced with brick ,middleton #cci #ahi4 ,concrete arch faced with brick ,middleton #cci #aij4 ,diagram of ,roman wall- ,blmner construction #cdj #aia4 ,roman terracotta antefix ,brit4 ,mus4 #cdc #aib4 ,method of heating in ,baths of ,middleton ,caracalla #cdg #aic4 ,flue-tile with ornamental patterns #cdh #aid4 ,stamped ,roman tile ,brit4 ,mus4 #ced #aie4 ,inscribed tile in ,guildhall ,museum #cei #aif4 ,inscribed tile from ,london #cfc #aig4 ,mask with name of potter ,brit4 ,mus4 #cgg #aih4 ,gaulish figure of ,aphrodite ,blanchet #chc #aii4 ,gaulish figure of ,epona ,blanchet #chf #bjj4 ,terracotta money-box ,jahrbuch #cij #bja4 ,terracotta coin-mould ,daremberg and ,saglio #cib #bjb4 ,lamp from the ,esquiline ,ann4 dell ,inst4 #cii #bjc4 8,delphiniform0 lamp #cii #bjd4 ,lamp with volute-nozzle #djj #bje4 ,lamp with pointed nozzle #djj #bjf4 ,lamp with grooved nozzle #dja #bjg4 ,lamp with plain nozzle #dja #bjh4 ,lamp with heart-shaped nozzle #djb #bji4 ,mould for lamp ,brit4 ,mus4 #dje #baj4 ,lamp with signature of ,fortis ,brit4 ,mus4 #dbd #baa4 ,stamps used by ,roman potters #ddj #bab4 ,roman kiln at ,heddernheim ,ann4 dell' ,inst4 #ddd #bac4 ,kiln found at ,castor #ddg #bad4 ,plan of kiln at ,heiligenberg ,daremberg and ,saglio #dej #bae4 ,section of ditto ,daremberg and ,saglio #dej #baf4 ,ampulla ,brit4 ,mus4 #dff #bag4 ,lagena from ,france #dfg #bah4 ,arretine bowl in ,boston3 death ,philologus of ,phathon #dhd #bai4 ,arretine krater with ,seasons ,brit4 ,mus4 #dhh #bbj4 8,italian ,megarian0 bowl ,brit4 ,mus4 #dia #bba4 ,gaulish bowl of ,form #bi #ejj #bbb4 ,gaulish bowl of ,form #cj #eja #bbc4 ,gaulish bowl of ,form #cg #ejb #bbd4 ,vase of ,st4-,rmy fabric ,dchelette #eag #bbe4 ,vase of ,aco1 inscribed ,dchelette #eah #bbf4 ,vase of ,banassac fabric from ,mus4 ,borb4 ,pompeii #ebe #bbg4 ,medallion from vase of ,brit4 ,mus4 ,southern ,gaul3 scene from the ,cycnus #eca #bbh4 ,medallion from vase3 ,atalanta ,gaz4 ,arch4 and ,hippomedon #ecb #bbi4 ,jar from ,germany1 inscribed ,brit4 ,mus4 #ecg #bcj4 ,roman mortarium from ,brit4 ,mus4 ,ribchester #eea ,,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 treatment--,interpretation and classification of subjects--,the ,olympian deities--,the ,gigantomachia--,the birth of ,athena and other ,olympian subjects--,zeus and kindred subjects--,hera--,poseidon and marine deities--,the ,eleusinian deities--,apollo and ,artemis--,hephaistos1 ,athena1 and ,ares--,aphrodite and ,eros--,hermes and ,hestia4 ,the representation of subjects from ,greek mythology or daily life on vases was not1 of course1 confined to fictile products4 ,we know that the artistic instincts of the ,greeks led them to decorate almost every household implement or utensil with ornamental designs of some kind1 as well as those specially made for votive or other non-utilitarian purposes4 ,but the fictile vases1 from the enormous numbers which have been preserved1 the extraordinary variety of their subjects1 and the fact that they cover such a wide period1 have always formed our chief artistic source of information on the subject of ,greek mythology and antiquities4 ,although 7as has been pointed out in ,chapter ,,iv47 ancient literature contains scarcely any allusions to the painted vases1 we have many descriptions of similar subjects depicted on other works of art1 such as vases of wood and metal1 from ,homer downwards4 ,the cup of ,nestor 7,vol4 ,i4 pp4 #adh1 #agb7 was ornamented with figures of doves#a1 and there is the famous description in the first ,idyll of ,theocritus#b of the wooden cup 77 which represented a fisherman casting his net1 and a boy guarding vines and weaving a trap for grasshoppers1 while two foxes steal the grapes and the contents of his dinner-basket2 the whole being surrounded1 like the designs on some painted vases1 with borders of ivy and acanthus4 ,the so-called cup of ,nestor 77 at ,capua#c was inscribed with ,homeric verses1 and the or cup of ,herakles with the taking of ,troy#d4 ,anakreon describes cups ornamented with figures of ,dionysos1 ,aphrodite and ,eros1 and the ,graces#e2 and ,pliny mentions others with figures of ,centaurs1 hunts and battles1 and ,dionysiac subjects#f4 ,or1 again1 mythological subjects are described1 such as the rape of the ,palladion#g1 ,phrixos on the ram#h1 a ,gorgon and ,ganymede#i1 or ,orpheus#aj2 and other 8storied0 cups are described as being used by the later ,roman emperors4 ,but the nearest parallels to the vases described in classical literature are probably to be sought in the chased metal vases of the ,hellenistic and ,roman periods4#aa ,we read of scyphi ,homerici1 or beakers with ,homeric scenes1 used by the ,emperor ,nero1 which were probably of chased silver#ab2 and we have described in ,chapter ,,xi4 what are apparently clay imitations of these vases1 usually known as 8,megarian bowls10 many bearing scenes from ,homer in relief on the exterior4 ,in attempting a review of the subjects on the painted vases1 we are met with certain difficulties1 especially in regard to arrangement4 ,this is chiefly due to the fact that each period has its group of favourite subjects2 some are only found in early times1 others only in the later period4 ,yet any chronological method of treatment will be found impossible1 and it is hoped that it will1 as far as possible1 be obviated by the general allusions in the historical chapters of this work to the subjects characteristic of each fabric and period4 ,embracing as they do almost the whole field of ,greek myth and legend1 the subjects on ,greek vases are yet not invariably those most familiar to the classical student or1 if the stories are familiar1 they are not always treated in accordance with literary tradition4 ,on the other hand1 it must be borne in mind that the popular conception of ,greek mythology is not always a correct one1 for which fact the formerly invariable system of approaching ,greek ideas through the ,latin is mainly responsible4 ,the mythology of our classical dictionaries and school-books is largely based on ,ovid and the later ,roman compilers1 such as ,hyginus1 and gives the stories in a complete connected form1 regarding all classical authorities as of equal value1 and ignoring the fact that many myths are of gradual growth and only crystallised at a late period1 while others belong to a relatively recent date in ancient history4#ac ,the vases1 on the other hand1 are contemporary documents1 free from later euhemerism and pedantry1 and presenting the myths as the ,athenian craftsmen knew them in the popular folk-lore and religious observances of their day4 ,it cannot be too strongly insisted upon that a vase-painter was never an illustrator of ,homer or any other writer1 at least before the fourth century ,b4,c4 7see ,vol4 ,i4 p4 #dii74 ,the epic poems1 of course1 contributed largely to the popular acquaintance with ancient legends1 and offered suggestions of which the painter was glad to avail himself2 but he did not1 therefore1 feel bound to adhere to his text4 ,this will be seen in the list of ,homeric subjects given below 7p4 #abf ff472 and we may also refer here to the practice of giving fanciful names to figures1 which obtains at all periods1 and has before now presented obstacles to the interpreter4 ,the relation of the subjects on vases to ,greek literature is an interesting theme for enquiry1 though1 in view of what has already been said1 it is evident that it must be undertaken with great caution4 ,the antiquity and wide popularity of the ,homeric poems1 for instance1 would naturally lead us to expect an extensive and general use of their themes by the vase-painter4 ,yet this is far from being the case4 ,the ,iliad1 indeed1 is drawn upon more largely than the ,odyssey2 but even this yields in importance as a source to the epics grouped under the name of the ,cyclic poets4 ,it may have been that the poems were instinctively felt to be unsuited to the somewhat conventional and monotonous style of the earlier vase-paintings1 which required simple and easily depicted incidents4 ,we are therefore the more at a loss to explain the comparative rarity of subjects from the ,odyssey1 with its many adventures and stirring episodes2 scenes which may be from the ,iliad being less strongly characterised and less unique--one battle-scene1 for instance1 differing little from another in method of treatment4 ,but any subject from the ,odyssey can be at once identified by its individual and marked character4 ,it may be that the ,odyssey had a less firm hold on the minds of the ,greeks than the ,iliad1 which was more of a national epic1 whereas the ,odyssey was a stirring romance4#ad ,it may also be worth noting that scenes from the ,odyssey usually adhere more closely to the ,homeric text than those from the ,iliad4 ,another reason for the scarcity of ,iliad-scenes may be that the ,tale of ,troy as a whole is a much more comprehensive story1 of which the ,iliad only forms a comparatively small portion4 ,hence the large number of scenes drawn both from the ,ante-,homerica and the ,post-,homerica1 such as the stories of ,troilos and ,memnon1 or the sack of ,troy4 ,the writings of the ,cyclic poets begin1 as ,horace reminds us1 ab ovo1#ae from the egg of ,leda1 and the ,kypria included the whole story of the marriage of ,peleus and ,thetis1 the subsequent ,judgment of ,paris1 and his journey to ,greece after ,helen1 scenes from all these events being extremely popular on the vases4#af ,the ,patrokleia deals with the events of the earlier years of the war1 the ,aithiopis of ,arktinos with the stories of ,penthesileia and ,memnon1 and the death of ,achilles1 and the ,little ,iliad of ,lesches with the events of the tenth year down to the fall of ,troy4 ,all provided frequent themes for the vase-painter1 as may be seen by a reference to a later page 7#aai ff474 ,the ,iliupersis of ,arktinos and ,lesches might almost be reconstructed from two or three large vases1 whereon all the episodes of the catastrophe are collected together 7see p4 #acd72 but when we come to the ,nostoi of ,agias and the ,telegonia1 the vase-painters suddenly fail us1 the stories of ,odysseus' wanderings and ,orestes' vengeance seeming to supply the deficiency4 ,luckenbach#ag has pointed out that the only right method of investigating the relation is to begin with vase-paintings for which the sources are absolutely certain1 as with scenes from the ,iliad and ,odyssey4 ,in this way the subjects from other epics can be rightly estimated and the contents of the poems restored4 ,further1 in investigating the sources of the vase-painters1 and the extent to which they adhered to them or gave free play to the imagination1 the three main periods of vase-painting must be separately considered1 though the results in each case prove to be similar4 ,by way of exemplifying these methods he enters in great detail into certain vase-subjects1 their method of treatment on vases of the different periods1 and their approximation to the text4 ,thus1 the funeral games for ,patroklos 7,il4 xxiii47 are depicted on the ,franois vase 7see p4 #aa7 with marked deviations from ,homer's narrative2 and not only this1 but without characterisation1 so that if the performers were not named the subject could hardly have been identified4 ,to note one small point1 all ,homeric races took place in two-horse chariots 7bigae71 but on ,b4,f4 vases four-horse quadrigae are almost invariably found4#ah ,subjects of a more conventional character1 such as battle scenes1 farewell scenes1 or the arming of a warrior1 present even more difficulty4 ,even when names occur it is only increased4 ,we must assume that the vase-painter fixed on typical names for his personages1 without caring whether he had literary authority4 ,in some cases the genre scenes seem to be developed from heroic originals1 in others the contrary appears to be the case4#ai ,it is not1 however1 unfair to say that the ,epos was the vase-painter's 8source40 ,the only doubtful question is the extent of his inspiration2 and1 at all events1 it was a source in the sense that no other ,greek literature was until we come to the fourth century4 ,turning now to the consideration of later literature1#bj we find in ,hesiod a certain parallelism of theme to the vases1 but little trace of actual influence4 ,indirectly he may have affected the vase-painter by his crystallisation of ,greek mythology in the ,theogony1 where he establishes the number of the ,muses 7l4 #gg71 and also the names of the ,nereids4#ba ,it is1 however1 interesting to note the ,hesiodic themes which were also popular with the vase-painters3 the creation of ,pandora2 the fights of ,herakles and ,kyknos1 and of ,lapiths and ,centaurs1 and the pursuit of ,perseus by the ,gorgons2 the contest of ,zeus with ,typhoeus 7or ,typhon72 and the birth of ,athena4#bb ,the influence of lyric poetry was even slighter4 ,somewhat idealised figures of some of the ,greek lyrists appear on ,r4,f4 vases1 such as ,sappho and ,anakreon 7see p4 #aeb72 but this is all4 ,in regard to ,pindar and ,bacchylides1 the idealising and heroising tendencies of the age may be compared with the contemporary tendency of vase-paintings1 and the latter may often be found useful to compare with--if not exactly to illustrate--the legends which the two poets commemorate4 ,for instance1 in the ode of ,bacchylides in which he describes the fate of ,kroisos1 there is a curious deviation from the familiar ,herodotean version1 the king being represented as voluntarily sacrificing himself4#bc ,the only vase-painting dealing with this subject 7,fig4 #acb1 p4 #aej7 apparently reproduces this tradition4 ,with the influence of the stage we have already dealt elsewhere4#bd ,with the exception of the ,satyric drama1 it can hardly be said to have made itself felt1 except in the vases of ,southern ,italy1 in the fourth century ,b4,c41 but indications of the ,satyric influence may be traced in many ,r4,f4 ,attic vases1 no doubt owing to their connection with the popular ,dionysiac subjects4 ,on a vase in ,naples#be are represented preparations for a ,satyric drama4 ,when we reach the time of tragic and comic influence1 we not only find the subjects reproduced1 but even their stage setting2 in other words1 the vases are not so much intended to illustrate the written as the acted play1 just as it was performed4 ,the whole question is admirably summed up by ,luckenbach#bf in the following manner3 7#a7 ,the ,epos is the chief source of all vase-paintings from the earliest time to the decadence inclusive1 and next comes ,tragedy1 as regards the later vases only2 of the influence of other poetry on the formation of myths in vase-paintings there is no established example4 7#b7 ,vase-paintings are not illustrations1 either of the ,epos or of the ,drama1 and there is no intention of reproducing a story accurately2 hence great discrepancies and rarity of close adherence to literary forms2 but the salient features of the story are preserved4 7#c7 ,discrepancies in the naming of personages are partly arbitrary1 partly due to ignorance2 the extension of scenes by means of rows of bystanders1 meaningless1 but thought to be appropriate1 is of course a development of the artist's1 conditioned by exigencies of space4 ,anachronisms on vases are of frequent occurrence4 7#d7 ,such scenes as those of warriors arming or departing are always the painter's own invention1 ordinary scenes being often 8heroised0 by the addition of names4 ,but individuals are not necessarily all or always to be named2 and1 again1 the artist often gives names without individualising the figures4 7#e7 ,in the archaic period successive movements of time are often very navely blended 7see p4 #aj72 the difference between art and literature is most marked in scenes where a definite moment is not indicated4 7#f7 ,vase-paintings often give a general survey of a poem1 the scene not being drawn from one particular passage or episode4 ,the features of one poem are in art sometimes transferred to another4 ,the attention that has been paid now for many years to collecting1 assorting1 and critically discussing the material afforded by the vases has much diminished the difficulties of this most puzzling branch of archaeology4 ,it has been chiefly lightened by the discovery from time to time of inscribed vases1 though1 as has just been noted1 even these must be treated with caution2 and even now1 of course1 there are numerous subjects the interpretation of which is either disputed or purely hypothetical4 ,but we can at least pride ourselves on having advanced many degrees beyond the labours of early writers on the subject1 down to the year #ahej4 ,when painted vases first began to be discovered in ,southern ,italy1 the subjects were supposed to relate universally to the ,eleusinian or ,dionysiac mysteries1 and this school of interpretation for a long time found favour in some quarters1 even in the days of ,gerhard and ,de ,witte4 ,but it was obvious from the first that such interpretations did not carry the investigator very far1 and even in the eighteenth century other systems arose1 such as that of ,italynski1 who regarded the subjects as of historical import4#bg ,subsequently ,panofka endeavoured to trace a connection between the subjects and the names of artists or other persons recorded on the vases1 or1 again1 between the subjects and shapes4 ,the latter idea1 of course1 contained a measure of truth1 as is seen in many instances#bh2 but it was1 of course1 impossible to follow out either this or the other hypothesis in any detail4 ,the foundations of the more scientific and rational school of interpretation were laid as early as the days of ,winckelmann1 and he was followed by ,lanzi1 ,visconti1 and ,millingen1 and finally ,otto ,jahn1 who1 as we have seen1 practically revolutionised the study of ceramography4 ,of late1 however1 the question of the interpretation of subjects has been somewhat relegated to the background1 owing to the overwhelming interest evoked by the finds of early fabrics or by the efforts of ,german and other scholars to distinguish the various schools of painting in the finest period4 ,millingen1 in the ,introduction to his ,vases ,grecs1 drew up a classification of the subjects on vases which need not be detailed here1 but which1 with some modifications1 may be regarded as holding good to the present day4 ,he distinguishes ten classes1 the first three mythological1 the next four dealing with daily life1 and the three last with purely decorative ornamentation4 ,a somewhat similar order is adopted by ,mller in his ,handbuch1 by ,gerhard in his ,auserlesene ,vasenbilder1 and by ,jahn in his ,introduction to the ,munich ,catalogue 7p4 cc ff474 ,in the present and following chapters the arrangement and classification of the subjects adhere in the main to the system laid down by these writers2 and as the order is not1 of course1 chronological in regard to style1 reference has been made where necessary to differences of epoch and fabric4#bi ,it may be convenient to recapitulate briefly the main headings under which the subjects are grouped4 ,i4 ,the ,olympian deities and divine beings in immediate connection with them1 such as ,eros and marine deities4 7a7 ,in general2 7b7 individually4 7,chapter ,,xii47 ,,ii4 ,dionysos and his cycle1 ,pan1 ,satyrs1 and ,maenads4 7,page #ed ff47 ,,iii4 ,chthonian and cosmogonic deities1 personifications1 and minor deities in general4 7,page #ff ff47 ,,iv4 ,heroic legends and mythology in general4 7a7 ,herakles2 7b7 ,theseus1 ,perseus1 and other heroes2 7c7 local or obscure myths2 7d7 the ,theban and ,trojan stories2 7e7 monsters4 7,chapter ,,xiv47 ,v4 ,historical subjects4 7,page #adi ff47 ,,vi4 ,scenes from daily life and miscellaneous subjects 7for detailed classification see p4 #aed74 7,chapter ,,xv47 ,the number of subjects to be found on any one vase is of course usually limited to one1 two1 or at most three1 according to the shape4 ,usually when there is more than one the subjects are quite distinct from one another2 though attempts have been made in some cases1 as in the ,b4,f4 amphorae1 to trace a connection4#cj ,on the other hand1 the ,r4,f4 kylikes of the strong period often show a unity of subject running through the interior and exterior scenes1 whether the theme is mythological or ordinary4#ca ,it was only in exceptional cases that an artist could devote his efforts to producing an entire subject1 as on some of the large kylikes with the labours of ,theseus1#cb or the vases representing the sack of ,troy4#cc ,the great ,franois vase in ,florence is a striking example of a mythology in miniature1 containing as it does more than one subject treated in the fullest detail4 ,and here reference may be made to the main principles which governed the method of telling a story in ancient art1 and prevailed at different periods4#cd ,the earliest and most simple is the continuous method1 which represents several scenes together as if taking place simultaneously1 although successive in point of time4 ,this method was often employed in ,oriental art1 but is not found in ,hellenic times2 it was1 however1 revived by the ,romans under the ,empire1 and prevailed all through the early stages of ,christian art4 ,secondly1 there is the complementary method1 which aims at the complete expression of everything relating to the central event4 ,the same figures are not in this case necessarily repeated1 but others are introduced to express the action of the different subjects1 all being collected in one space without regard to time1 as in the continuous style4 ,this is of ,oriental origin1 and is first seen in the description of ,achilles' shield2 it is also well illustrated in the ,franois vase1 in the story of ,troilos4 ,here the death of ,troilos is not indeed actually depicted1 but the events leading up to it 7the water-drawing at the fountain and the pursuit by ,achilles7 and those consequent on it 7the announcement of the murder to ,priam and the setting forth of ,hector to avenge it7 are all represented without the repetition of any figures4 ,lastly1 there is the isolating method1 which is purely ,hellenic1 being developed from the complementary4 ,this is best illustrated by the ,theseus kylikes1 with their groups of the labours1 which1 it should be remembered1 are not continuous episodes in one story1 but single events separated in time and space1 and collected together with a sort of superficial resemblance to the other methods4 ,some description of the ,franois vase has been given elsewhere 7,vol4 ,i4 p4 #cgj7ce2 but as it is unique in its comprehensiveness1 and as a typical presentation of the subjects most popular at the time when vase-painters had just begun to pay special attention to mythology1 it may be worth while to recapitulate its contents here4 ,the subjects are no less than eleven in number1 arranged in six horizontal friezes1 with figures also on the handles1 and there are in all #aae inscriptions explaining the names of the personages and even of objects 7e4g4 1 for the broken pitcher of ,polyxena74 ,eight of these subjects belong to the region of mythology3--7#a7 ,on the neck3 the hunt of the ,calydonian boar1 and 7#b7 the landing of ,theseus and ,ariadne at ,naxos1 accompanied by dancing youths and maidens4 7#c7 ,on the shoulder3 chariot race at the funeral games of ,patroklos1 and 7#d7 combat of ,centaurs and ,lapiths 7with ,theseus74 7#e7 ,on the body3 the marriage of ,peleus and ,thetis1 attended by the gods in procession4 7#f7 ,on the body3 the death of ,troilos 7see above71 and 7#g7 the return of ,hephaistos to ,olympos4 7#h7 ,on each of the handles1 ,ajax with the body of ,achilles4 ,on the flat top of the lip is represented 7#i7 a combat of pigmies and cranes2 on either side of the foot 7#aj7 a lion and a panther devouring a bull and stag1 ,gryphons1 ,sphinxes1 and other animals2 and on the upper part of the handles 7#aa7 ,gorgons and figures of the ,asiatic ,artemis 7see p4 #ce7 holding wild animals by the neck4 99 99 99 99 99 ,it is1 of course1 impossible to indicate all the subjects on the thousands of painted vases in existence2 and it must also be remembered that many are of disputed meaning4 ,the succeeding review must therefore only be considered as a general summary which aims at omitting nothing of any interest and avoiding as far as possible useless repetition4 ,in the references appended under each subject the principle has been adopted of making them as far as possible representative of all periods1 and also of selecting the most typical and artistic examples1 as well as the most accessible1 publications4#cf ,in dealing with the subjects depicted on ,greek vases1 we naturally regard the ,olympian deities as having the preeminence4 ,we will therefore begin by considering such scenes as have reference to actions in which those deities were engaged1 and1 secondly1 representations of general groups of deities1 either as spectators of terrestrial events or without any particular signification4 ,it will then be convenient to deal with the several deities one by one1 noting the subjects with which each is individually connected4 ,we shall in the following chapter proceed to consider the subordinate deities1 such as those of the under-world and the ,dionysiac cycle1 and personifications of nature and abstract ideas4 ,chapter ,,xiv4 will be devoted to the consideration of heroic legends1 mythological beings1 and historical subjects2 and in ,chapter ,,xv4 will be discussed all such subjects as relate to the daily life of the ,greeks4 ,,the ,,olympian ,,deities ,one of the oldest and most continuously popular subjects is the ,gigantomachia1 or ,battle of the ,gods and ,giants1 which forms part of the ,titanic and pre-heroic cosmogony1 and may therefore take precedence of the rest4 ,the ,aloadae 7,otos and ,ephialtes71 strictly speaking1 are connected with a different event--the attack on ,olympos and chaining of ,ares2 but the scenes in which they occur are so closely linked with the ,gigantomachy proper that it is unnecessary to differentiate them4 ,we also find as a single subject the combat of ,zeus with the snake-footed ,typhon4#cg ,the locus classicus of ,greek art for the ,gigantomachia is of course the frieze of the great altar at ,pergamon 7#aig ,b4,c471 but several vases bear representations almost as complete1 though it is not as a rule possible to identify the giants except where their names are inscribed4#ch ,most vases give only one to three pairs of combatants4 ,illustration3 ,,fig4 #aaa4 ,,gigantomachia1 ,,from ,,ionic ,,vase ,,in ,,louvre4 ,some pairs are found almost exclusively together1 e4g4 ,athena and ,enkelados1 or ,ares and ,mimas2 ,artemis and ,apollo are generally opposed to the ,aloadae ,otos and ,ephialtes1 ,zeus to ,porphyrion1 and ,poseidon to ,polybotes 7,fig4 #aab7 or ,ephialtes4 ,hestia alone1 the 8stay-at-home0 goddess of the hearth1 is never found in these scenes1 but ,dionysos1 ,herakles1 and the ,dioskuri all take their part in aiding the ,olympian deities4 ,zeus hurls his thunderbolts#ci2 ,poseidon is usually depicted with his trident1 or hurling the island of ,nisyros 7indicated as a rock with animals painted on it7 upon his adversary#dj2 ,hephaistos uses a pair of tongs with a burning coal in them as his weapon#da2 and ,dionysos is in some cases aided by his panther4#db ,aeolus occurs once with his bag of winds4#dc ,illustration3 ,,fig4 #aab4 ,,poseidon ,,and ,,the ,,giant ,,polybotes1 ,,from ,,the ,,kylix ,,in ,,berlin4 ,the following groups can be identified on vases by inscriptions or details of treatment3-- ,zeus and ,agasthenes1 ,hyperbios1 and ,ephialtes3 ,louvre ,e #gcb 7,fig4 #aaa74 ,zeus and ,porphyrion3 ,berlin #beca4 ,hera and ,harpolykos3 ,louvre ,e #gcb4 ,hera and ,rhoitos 7miswritten ,phoitos73 ,berlin #beca4 ,poseidon and ,polybotes3 ,louvre ,e #gcb2 ,berlin #beca ,fig4 #aab4 ,poseidon and ,ephialtes3 ,reinach1 ii4 #ahh4 ,apollo and ,ephialtes3 ,berlin #beca4 ,artemis and ,otos3 ,reinach1 ii4 #afd4 ,artemis and ,aigaion3 ,berlin #beca4 ,hephaistos and ,euryalos3 ,b4,m4 ,e #dg4 ,hephaistos and ,klytios3 ,berlin #bbic4 ,athena and ,enkelados3 ,b4,m4 ,b #beb2 ,louvre ,e #gcb2 l4 ,cr4 i4 #h4 ,ares and ,mimas3 ,berlin #beca2 ,b4,m4 ,b #fag4 ,hermes and ,hippolytos3 ,berlin #bbic4 ,hermes and ,polybios 7873 ,louvre ,e #gcb4 ,dionysos and ,eurymedon3 ,bull4 de ,corr4 ,hell4 xx4 pl4 #g4 ,athena with arm of ,akratos3 ,berlin #bieg l4 ,cr4 i4 #hh4 ,death of ,otos 7supposed73 ,bibl4 ,nat4 #bii ,reinach1 ii4 #bee4 ,among scenes supposed to take place in ,olympos1 the most important is the ,birth of ,athena from the head of ,zeus4#dd ,usually she is represented as a diminutive figure actually emerging from his head1 but in one or two instances she stands before him fully developed1#de as was probably the case in the centre of the east pediment of the ,parthenon4 ,this subject is commoner on ,b4,f4 vases1 and does not appear at all after the middle of the fifth century4#df ,in most cases several of the ,olympian deities are spectators of the scene2 sometimes ,hephaistos wields his axe or runs away in terror at the result of his operations#dg2 in others the ,eileithyiae or goddesses of child-birth lend their assistance4#dh ,on a ,r4,f4 vase in the ,bibliothque ,nationale ,athena flies out backwards from ,zeus' head4#di ,in accordance with a principle already discussed 7,vol4 ,i4 p4 #cgh71 the composition or 8type0 of this subject is sometimes adopted on ,b4,f4 vases for other groups of figures1 where the absence of ,athena shows clearly that the birth scene is not intended1 and no particular meaning can be assigned to the composition4#ej ,representations of the ,marriage of ,zeus and ,hera cannot be pointed to with certainty in vase-paintings4 ,on ,b4,f4 vases we sometimes see a bridal pair in a chariot accompanied by various deities1 or figures with the attributes of divinities#ea2 but the chief figures are not in any way characterised as such1 and it is better to regard these scenes as idealisations of ordinary marriage processions4 ,on the other hand1 there are undoubted representations of ,zeus and ,hera enthroned among the ,olympian deities or partaking of a banquet4#eb ,illustration3 ,,fig4 #aac4 ,,the ,,birth ,,of ,,athena 7,,brit4 ,,mus4 ,b #bdd74 ,the story of the enchaining of ,hera in a magic chair by ,hephaistos1 and her subsequent liberation by him1 is alluded to on many vases1 though one episode is more prominent than the others4 ,of the expulsion of ,hephaistos from heaven we find no instance1 and of the release of ,hera there is only one doubtful example#ec2 but we find a parody of the former's combat with ,ares1 who forces him to liberate ,hera4#ed ,the episode most frequent is that of the return of ,hephaistos in a drunken condition to ,olympos1 conducted by ,dionysos and a crowd of ,satyrs2 of this there are fine examples on vases of all periods4#ee ,on earlier vases ,hephaistos rides a mule2 on the later he generally stumbles along1 leaning on ,dionysos or a ,satyr for support4 ,on the ,franois vase we see ,zeus and ,hera1 with an attendant train of deities1 ,nymphs1 and ,muses1 going in a chariot to the nuptials of ,peleus and ,thetis2 on many vases we have the reception of the deified ,herakles among the gods of ,olympos#ef2 and on others groups of deities banqueting or without particular signification4#eg ,but on the late ,apulian vases it is a frequent occurrence to find an upper row of deities as spectators of some event taking place just below3 thus they watch battles of ,greeks and ,persians1#eh or such scenes as the contract between ,pelops and ,oinomaos1#ei the madness of ,lykourgos1#fj the death of ,hippolytos1#fa and others from heroic legend1 which it is unnecessary to specify here2 only a few typical ones can be mentioned4#fb ,they also appear as spectators of scenes in or relating to the nether-world4#fc 99 99 99 99 99 ,zeus appears less frequently than some deities1 and seldom alone2 but still there are many myths connected with him1 besides those already discussed4 ,as a single figure he appears enthroned and attended by his eagle on a ,cyrenaic cup in the ,louvre#fd2 or again in his chariot1 hurling a thunderbolt#fe2 in company with his brother-gods of the ocean and under-world1 ,poseidon and ,hades1 he is seen on a kylix by ,xenokles4#ff ,he is also found with ,athena1#fg with ,hera1 ,apollo1 ,artemis1 ,aphrodite1 and ,hermes#fh2 and frequently with ,herakles at the latter's reception into heaven4#fi ,in one instance he settles a dispute between ,aphrodite and ,persephone4#gj ,he receives libations from ,nike1#ga or performs the ceremony himself1 attended by ,hera1 ,iris1 and ,nike1#gb and is also attended by ,hebe and ,ganymede as cupbearers4#gc ,his statue1 especially that of at ,troy1 sometimes gives local colour to a scene4#gd ,most of the scenes in which he appears relate to his various love adventures1 among which the legends of ,europa1 ,io1 and ,semele are the most conspicuous2 but first of his numerous amours should perhaps be mentioned his wooing of his consort ,hera4 ,he carries her off while asleep from her nurse in ,euboea1#ge and also appears to her in the form of a cuckoo4#gf ,the rape of ,ganymede by his eagle appears once or twice on vases1#gg but more generally ,zeus himself seizes the youth while he is engaged in bowling a hoop or otherwise at play4#gh ,on a fine late vase with ,latin inscriptions ,ganymede appears in ,olympos1#gi and he is also depicted as a shepherd4#hj ,semele ,zeus pursues and slays with the thunderbolt#ha2 the birth of her son ,dionysos from his thigh is represented but rarely on vases1 and is liable to confusion with other subjects4 ,this story falls into three episodes3 7#a7 the reception of the infant by ,hermes from ,dirke1 in order to be sewn into ,zeus' thigh#hb2 7#b7 the actual birth scene#hc2 7#c7 the handing over of the child to the ,nymphs4#hd ,of his visit to ,alkmena there are no certain representations1 but two comic scenes on ,south ,italian vases#he may possibly refer to it1 and one of them at least seems to be influenced by the burlesque by ,rhinton1 from which ,plautus borrowed the idea of his ,amphitruo4 ,the apotheosis of ,alkmena1 when her husband places her on a funeral pyre after discovering her misdeed1 is represented on two fine ,south ,italian vases in the ,british ,museum2 in one case ,zeus looks on4#hf ,his appearing to ,leda in the form of a swan only seems to find one illustration on a vase1 but in one case he is present at the scene of ,leda with the egg4#hg ,he is also depicted descending in a shower of gold on ,dana#hh2 or as carrying off the ,nymphs ,aegina and ,thaleia#hi2 or1 again1 with an unknown ,nymph1 perhaps ,taygeta4#ij ,in the form of a bull1 on which ,europa rides1 he provides a very favourite subject1 of which some fine specimens exist4#ia ,one variation of the type is found on an ,apulian vase1 where ,europa advances to caress the bull sent by ,zeus to fetch her4#ib ,the story of ,io#ic resolves itself into several scenes1 all of which find illustration on the vases3 7#a7 the meeting of ,io and ,zeus when she rests at the shrine of ,artemis after her wanderings#id2 7#b7 ,io in the form of a cow1 guarded by ,argos#ie2 7#c7 the appearance of her deliverer ,hermes#if2 7#d7 ,hermes attacks and slays ,argos 7,fig4 #aad74ig ,illustration3 ,from ,wiener ,vorlegebltter4 ,,fig4 #aad4 ,,hermes ,,slaying ,,argos ,,in ,,presence ,,of ,,zeus 7,,vase ,,at ,,vienna74 ,in addition1 the presence of ,zeus may be noted in various scenes from heroic or other legends1 which are more appropriately discussed under other headings#ih1 such as the freeing of ,prometheus#ii1 the combat of ,herakles and ,kyknos#ajj1 or the weighing of the souls of ,achilles and ,hector#aja2 at the sending of ,triptolemos1 the flaying of ,marsyas1 the death of ,aktaeon1 and that of ,archemoros#ajb2 at the creation of ,pandora and the ,judgment of ,paris#ajc2 the rape of the ,delphic tripod and that of the ,leukippidae1 at ,peleus' seizing of ,thetis1#ajd and with ,idas and ,marpessa4#aje ,the story of the golden dog of ,zeus1 which was stolen by ,pandareos1 is referred to under a later heading4#ajf 99 99 99 99 99 ,hera apart from ,zeus appears but seldom1 but there are a few scenes in which she is found alone2 of those in which she is an actor or spectator some have been already described1 the most important being the story of ,hephaistos' return to heaven4#ajg ,as her figure is not always strongly characterised by means of attributes1 it is not always to be identified with certainty4 ,as a single figure she forms the interior decoration of one fine ,r4,f4 kylix1#ajh and her 1 or primitive cult-idol1 is sometimes found as an indication of the scene of an action4#aji ,on one vase she is represented at her toilet4#aaj ,there is a vase-painting which represents ,hera on her throne offering a libation to ,prometheus1 an aged figure who stands before her4#aaa ,she is also present at the liberation of ,prometheus#aab2 in a scene probably intended for the punishment of ,ixion#aac2 at the creation of ,pandora#aad2 and in scenes from the story of ,io4#aae ,she suckles the child ,herakles in one instance1#aaf and in another appears with him in the garden of the ,hesperides#aag2 she is also present at his reconciliation with ,apollo at ,delphi1#aah and at his apotheosis1#aai receiving him and ,iolaos4#abj ,on an early ,ionic vase she appears contending with him in the presence of ,athena and ,poseidon1 and wears a goat-skin head-dress1 as in the ,roman type of ,juno ,sospita or ,lanuvina4#aba ,the scene in which she appears most frequently is the ,judgment of ,paris 7see below1 p4 #abb72 she is also present at the birth of ,dionysos#abb2 at the stealing of ,zeus' golden dog by ,pandareos#abc2 at the contest between ,apollo and ,marsyas#abd2 at the slaughter of the ,niobids#abe2 and with ,perseus and ,athena4#abf ,she appears sometimes with ,hebe1 ,iris1 and ,nike1 from whom she receives libations#abg2 and in one scene1 apparently from a ,satyric drama1 she and ,iris are attacked by a band of ,seileni and rescued by ,herakles4#abh 99 99 99 99 99 ,illustration3 ,from ,ant4 ,denkm4 ,,fig4 #aae4 ,,poseidon ,,and ,,amphitrite ,,on ,a ,,corinthian ,,pinax4 ,poseidon is a figure somewhat rare in archaic art as a whole1 especially in statuary1 but is more frequently seen on vases1 mostly in groups of deities1 or as a spectator of events taking place in or under the sea1 his domain4 ,among subjects already discussed1 he is present at the birth of ,athena1#abi at the nuptials of ,zeus and ,hera1#acj and in assemblies of the ,olympian gods1 generally with his consort ,amphitrite#aca2 he also takes part in the ,gigantomachia and the reception of ,herakles into ,olympos4#acb ,he is represented in a group with his brother deities of the higher and nether world1 ,zeus and ,hades#acc2 with ,apollo1 ,athena1 ,ares1 and ,hermes#acd2 among the ,eleusinian deities at the sending forth of ,triptolemos#ace2 and occasionally in ,dionysiac scenes as a companion of the wine-god4#acf ,as a single figure he is frequently found on the series of archaic tablets or pinakes found near ,corinth1 and also in company with ,amphitrite 7,fig4 #aae7acg2 on later vases not so frequently4#ach ,in one instance he rides on a bull1#aci in others on a horse1 sometimes winged#adj2 elsewhere he drives in a chariot with ,amphitrite and other deities#ada2 he watches the ,sun-god in his car rising out of the waves#adb2 and one vase has the curious subject of ,poseidon1 ,herakles1 and ,hermes engaged in fishing4#adc ---------------------------------------- -------------- ,,plate ,l ,illustration3 ,from ,baumeister4 ,,athena ,,and ,,poseidon ,,contending ,,for ,,attica2 ,,vase ,,from ,,kertch 7,,at ,,petersburg74 ---------------------------------------- -------------- ,among scenes in which he plays an active part the most interesting is the dispute with ,athena for the ownership of ,attica1 also represented on the west pediment of the ,parthenon#add2 his love adventures1 especially his pursuit of ,amymone#ade and ,aithra1#adf are common subjects1 but in many cases the object of his pursuit cannot be identified4#adg ,he receives ,theseus under the ocean1#adh and possibly in one case ,glaukos1 on his acceptance as a sea-god#adi2 he is also present at the former's recognition by ,aigeus4#aej ,he is seen at the death of ,talos1#aea and with ,europa crossing the sea4#aeb ,in conjunction with other deities1 chiefly on late ,italian vases1 he is present as a spectator of various episodes1 such as the adventures of ,bellerophon1 ,kadmos1 or ,pelops1 the rape of ,persephone1 the creation of ,pandora1 the death of ,hippolytos1 and in one historical scene1 a battle of ,greeks and ,persians4#aec ,he superintends several of the adventures of ,herakles1 notably those in which he is specially interested1 as the contests with ,antaios and ,triton#aed2 and he supports ,hera in her combat with that hero4#aee ,he is also seen with ,perseus on his way to slay ,medusa1#aef and among the ,gorgons after that event4#aeg 99 99 99 99 99 ,in connection with ,poseidon it may be convenient to mention here other divinities and beings with marine associations--such as ,okeanos1 ,nereus1 and ,triton1 and the ,nereids or sea-nymphs1 daughters of ,nereus1 with the more rarely occurring ,naiads4 ,of these the name of ,okeanos occurs but once1 on the ,franois vase4 ,the figure itself has disappeared1 but the marine monster on which he rides to the wedding of ,peleus and ,thetis1 and the inscription1 remain4 ,nereus appears as a single figure1 with fish-tail and trident1#aeh but is most frequently met with in connection with the capture of his daughter ,thetis by ,peleus1 either as a spectator or receiving the news from a ,nereid4#aei ,he also watches the contest of ,herakles with ,triton1#afj himself encountering the hero in some cases4#afa ,on one vase ,herakles has seized his trident and threatens him by making havoc of his belongings4#afb ,he appears at ,herakles' combat with ,kyknos1#afc and at his apotheosis1#afd and also offers a crown to ,achilles4#afe ,in one case he is found in ,dionysos' company4#aff ,with his daughter ,doris he watches the pursuit of another ,nereid by ,poseidon4#afg ,triton is found as a single figure1#afh and 7chiefly on ,b4,f4 vases7 engaged in a struggle with ,herakles4#afi ,he also carries ,theseus through the sea to ,poseidon1#agj and watches the flight of ,phrixos and ,helle over the sea4#aga ,the group of deities represented by ,ino and ,leukothea1 ,palaimon1 ,melikertes1 and ,glaukos appear in isolated instances1#agb as do ,proteus#agc and ,skylla#agd--the latter as single figures1 without reference to their connection with the ,odyssey4 ,a monstrous unidentified figure1 with wings and a serpentine fish-tail1 which may be a sea-deity 7in one case feminine71 is found on some early ,corinthian vases#age2 possibly ,palaimon is intended4 ,the ,nereids1 who are often distinctively named1 are sometimes found in groups1#agf especially watching the seizure of ,thetis or bearing the news to ,nereus#agg2 or1 again1 carrying the armour of ,achilles over the sea and presenting it to him4#agh ,on one vase they mourn over the dead ,achilles4#agi ,they are also present at the reception of ,theseus1#ahj the contest of ,herakles and ,triton1#aha and with ,europa on the bull4#ahb ,kymothea offers a parting cup to ,achilles#ahc2 the ,naiads1 who are similar beings1 present to ,perseus the cap1 sword1 shoes1 and wallet4#ahd ,they are also found grouped with various deities1#ahe and even one in the under-world4#ahf ,thetis appears once as a single figure1 accompanied by dolphins#ahg2 for her capture by ,peleus and relations with ,achilles1 see p4 #abj ff4 99 99 99 99 99 ,the ,eleusinian deities ,demeter and ,persephone 7or ,kore7 are usually found together1 not only in scenes which have a special reference to their cult1 but in general assemblies of the gods4 ,they once appear in the ,gigantomachia4#ahh ,scenes which refer to the ,eleusinian cycle are found exclusively on later examples1#ahi and as a rule merely represent the two chief deities grouped with others1 such as ,dionysos and ,hekate1 and with their attendants1 ,iacchos1 ,eumolpos1 and ,eubouleus4#aij ,one vase represents the initiation of ,herakles1 ,kastor1 and ,polydeukes in the ,lesser ,mysteries of ,agra#aia2 another1 the birth of ,ploutos1 who is handed to ,demeter in a cornucopia by ,gaia1 rising from the earth1 in the presence of ,persephone1 ,triptolemos1 and ,iacchos#aib2 and others1 the birth of ,dionysos or ,iacchos--a very similar composition4#aic ,demeter and ,persephone are represented driving in their chariot1 with attendant deities and other figures1#aid or standing alone1 carrying sceptre and torches respectively1#aie or pouring libations at a tomb 7on a sepulchral vase74#aif ,they are present at the carrying off of ,basile by ,echelos 7a rare ,attic legend71#aig and ,demeter alone is seen1 once at the birth of ,athena1#aih once at the slaughter of the dragon by ,kadmos1#aii once enthroned1#bjj and once with ,dionysos as ,thesmophoros1 holding an open roll with the laws 77 of her cult4#bja ---------------------------------------- -------------- ,,plate ,,li ,illustration3 ,,kotyle ,,by ,,hieron3 ,,triptolemos ,,at ,,eleusis 7,,british ,,museum74 ---------------------------------------- -------------- ,closely connected with ,eleusis is the subject of the sending forth of ,triptolemos as a teacher of agriculture in his winged car4 ,this is found on vases of all periods1#bjb but is best exemplified on the beautiful kotyle of ,hieron in the ,british ,museum 7,plate ,,li471 where1 besides ,olympian and ,chthonian deities1 the personification of ,eleusis is present4 ,besides the other ,eleusinian personages1 ,keleos and ,hippothoon are also seen4#bjc ,triptolemos is generally seated in his car1 but in one or two cases he stands beside it#bjd2 in another he is just mounting it4#bje ,on the latter vase ,persephone holds his plough4 ,on a vase in ,berlin ,triptolemos appears without his car1 holding a ploughshare2 ,demeter presents him with ears of corn1 and ,persephone holds torches4#bjf ,persephone is also seen with ,iacchos1#bjg who1 according to various accounts1 was her son or brother4 ,she appears with ,aphrodite and ,adonis1#bjh and one vase is supposed to represent the dispute between her and ,aphrodite over the latter1 which was appeased by ,zeus4#bji ,the story of the rape of ,persephone by ,hades1 her sojourn in the under-world1 and her return to earth is also chiefly confined to the later vases1 especially the incident of the rape4#baj ,in the elaborate representations of the under-world on late ,apulian vases she generally stands or sits with ,hades in a building in the centre4#baa ,she is often depicted in scenes representing the carrying off of ,kerberos by ,herakles1#bab or banqueting with ,hades4#bac ,on both early and late vases ,hermes1 in his character of ,psychopompos1 is seen preparing to conduct her back from the nether world 7see ,plate ,,xlv471#bad or actually on his way4#bae ,in another semi-mystical version of the return of ,persephone1 signifying the return of spring and vegetation1 her head or part of her body emerges from the earth1#baf in one case accompanied by the head of ,dionysos1 whereat ,satyrs and ,maenads flee affrighted4#bag ,the interpretation of some of these scenes1 however1 has been much questioned4#bah 99 99 99 99 99 ,the number of vases with subjects representing the three ,delphic deities--,apollo1 ,artemis1 and ,leto--is considerable4 ,the appearances of ,apollo1 at any rate1 are probably only exceeded in number by those of ,athena1 ,dionysos1 and ,herakles4 ,it is1 in fact1 impossible to make a complete enumeration of the groups in which ,apollo occurs1 and a general outline alone can be given4#bai ,apollo as a single figure is often found both on ,b4,f4 and ,r4,f4 vases1 usually as ,kitharoidos1 playing his lyre2 sometimes also he is distinguished by his bow4#bbj ,as ,kitharoidos he is usually represented standing1#bba but in some cases is seated4#bbb ,he is sometimes accompanied by a hind#bbc or a bull 7,apollo ,nomios874#bbd ,he is represented at ,delphi seated on the ,pythoness' tripod1#bbe or is seated at an altar1#bbf or pours a libation4#bbg ,he rides on a swan#bbh or on a ,gryphon1#bbi and also crosses the sea on a tripod4#bcj ,in some scenes he is characterised as ,daphnephoros1#bca holding a branch of laurel1 or is represented in the attitude associated with ,apollo ,lykeios1 resting with one hand above his head4#bcb ,in one scene the type of ,apollo ,kitharoidos closely resembles that associated with the sculptor ,skopas4#bcc ,illustration3 ,from ,mon4 dell' ,inst4 ix4 ,,fig4 #aaf4 ,,apollo1 ,,artemis1 ,,and ,,leto4 ,when he is grouped with ,artemis1 the latter deity usually carries a bow and quiver1#bcd or they pour libations to one another2#bce but more commonly they stand together1 without engaging in any action4 ,they are also depicted in a chariot4#bcf ,more numerous are the scenes in which ,leto is also included 7as ,fig4 #aaf71 though she is not always to be identified with certainty4#bcg ,in this connection may be noted certain scenes relating to ,apollo's childhood3 his birth is once represented1#bch and on certain ,b4,f4 vases a woman is seen nursing two children 7one painted black1 the other white71 which may denote ,leto with her infants1 though it is more probably a symbolic representation of ,earth the ,nursing-mother 7,gaia ,kourotrophos2 see p4 #gc74bci ,tischbein published a vase of doubtful authenticity1 which represents ,leto with the twins fleeing from the serpent ,python at ,delos#bdj2 but in two instances ,apollo certainly appears in ,leto's arms1 in one case shooting the ,python with his bow4#bda ,with these three is sometimes joined ,hermes--in one instance at ,delphi1 as indicated by the presence of the omphalos#bdb2 or1 again1 ,hermes appears with ,apollo alone1 or with ,apollo and ,artemis4#bdc ,poseidon is seen with ,apollo1 generally accompanied by ,artemis and ,hermes1 also by ,leto and other indeterminate female figures4#bdd ,in conjunction with ,athena1 ,apollo is found grouped with ,hermes1 ,dionysos1 ,nike1 and other female figures2 also with ,herakles4#bde ,with ,aphrodite he is seen in toilet scenes1 sometimes anointed by ,eros4#bdf ,in one case they are accompanied by ,artemis and ,hermes1#bdg and on one vase ,apollo is grouped with ,zeus and with ,aphrodite on her swan4#bdh ,he accompanies the chariots of various deities1 such as ,poseidon1 ,demeter1 and ,athena1#bdi especially when the latter conducts ,herakles to heaven4#bej ,apollo1 in one case1 is associated with the local ,nymph ,kyrene on a fragment of a vase probably made in that colony4#bea ,he frequently receives libations from ,nike1#beb and in one case is crowned by her4#bec ,with ,nymphs and female figures of indeterminate character he occurs on many 7chiefly ,b4,f47 vases1 sometimes as receiving a libation4#bed ,on several red-figured vases he is accompanied by some or all of the nine ,muses1 one representing their contest with ,thamyris and ,sappho4#bee ,he and ,artemis are specially associated with marriage processions1 whether of ,zeus and ,hera or of ordinary bridal couples4#bef ,apollo also appears in a chariot drawn by a boar and a lion at the marriage of ,kadmos and ,harmonia4#beg ,in ,dionysiac scenes he is a frequent spectator#beh2 he greets ,dionysos among his thiasos1#bei joins him in a banquet1#bfj or accompanies ,ariadne's chariot#bfa or the returning ,hephaistos#bfb2 listens to the ,satyr ,molkos playing the flutes1#bfc or is grouped with ,satyrs and ,maenads at ,nysa4#bfd ,more important and of greater interest are the scenes which depict the legend of ,marsyas1 and they may fitly find a place here4 ,the story is told in eight different episodes on the vases1 which may be thus systematised3 #a4 ,marsyas picks up the flutes dropped by ,athena3 ,berlin #bdah ,baumeister1 ii4 p4 #ajja1 fig4 #abji3 cf4 ,reinach1 i4 #cdb 7in ,boston74 #b4 ,first meeting of ,apollo and ,marsyas3 ,millin-,reinach1 i4 #f4 #c4 ,the challenge3 ,berlin #bfch4 #d4 ,marsyas performing3 ,b4,m4 ,e #dij2 ,reinach1 i4 #deb 7,berlin #biej71 i4 #eaa 7,athens #aiba71 ii4 #cab2 ,jatta #ajic ,reinach1 i4 #age ,baumeister1 ii4 p4 #hia1 fig4 #ife4 #e4 ,apollo performing3 ,jatta #acfd l4 ,cr4 ii4 #fc2 ,wiener ,vorl4 vi4 #aa4 #f4 ,apollo victorious3 ,reinach1 ii4 #caj2 ,petersburg #cee ,reinach1 i4 #ad ,wiener ,vorl4 iii4 #e4 #g4 ,condemnation of ,marsyas3 ,naples #cbca ,reinach1 i4 #dje2 ,reinach1 ii4 #cbd4 #h4 ,flaying of ,marsyas3 ,naples #biia ,reinach1 i4 #djf 7a vase with reliefs72 ,roscher1 ii4 #bdee l4 ,cr4 ii4 #fd4 ,among other scenes in which ,apollo 7generally accompanied by ,artemis7 plays a personal part1 the following may be mentioned3 the slaying of the ,niobids by the two deities#bfe2 the slaying of ,tityos by ,apollo#bff 7in one case ,tityos is represented carrying off ,leto1 who is rescued by ,apollo7#bfg2 and various love adventures in which ,apollo is concerned4#bfh ,the name of the ,nymph pursued by him in the latter scenes cannot1 as a rule1 be identified2 one vase appears to represent him contending with ,idas for the possession of ,marpessa4#bfi ,he also heals the ,centaur ,cheiron 7this appears in burlesque form71#bgj and protects ,creusa from the wrath of ,ion4#bga ,he is seen seeking for the cattle stolen from him by ,hermes1 and contending with that god over the lyre4#bgb ,he frequently appears in ,birth of ,athena scenes as ,kitharoidos1#bgc and also at the sending forth of ,triptolemos#bgd or in the under-world4#bge ,in one case he appears 7with ,athena1 ,artemis1 and ,herakles7 as protecting deity of ,attica1 watching a combat of ,greeks and ,amazons4#bgf ,on one vase there is a possible reference to ,apollo ,smintheus1 with whom the mouse was especially associated4#bgg ,like other deities1 ,apollo and ,artemis are frequently found on ,apulian vases as spectators of the deeds of heroes1 or other events in which they are more or less interested2 some of these subjects have already been specified 7see above1 p4 #ag74 ,apollo especially is often seen in connection with the story of ,herakles1 or the ,theban and ,trojan legends4 ,one burlesque scene represents his carrying off the bow of ,herakles to the roof of the ,delphic temple1#bgh and the subject of the capture of the tripod1 with the subsequent reconciliation1 is of very frequent occurrence4#bgi ,as ,apollo ,ismenios1 the patron of ,thebes1 he is a spectator of the scene of the infant ,herakles strangling the snakes#bhj2 in one case he is represented disputing with ,herakles over a stag1#bha which may be another version of the story of the ,keryneian stag1 a scene in which he also occurs4#bhb ,he is seen with ,herakles and ,kyknos1#bhc ,herakles and ,kerberos1#bhd and is very frequently present at the apotheosis of the hero4#bhe ,apollo and ,artemis watch ,kadmos slaying the dragon1#bhf and one or other of them is present at the liberating of ,prometheus#bhg2 ,apollo alone is seen with ,oedipus and ,teiresias1#bhh and watches the slaying of the ,sphinx by the former4#bhi ,among ,trojan scenes he is sometimes present at the ,judgment of ,paris1#bij also at the sacrifice of ,iphigeneia1 the pursuit of ,troilos1 the combats of ,achilles and ,ajax with ,hector1 and the recognition of ,aithra by her sons4#bia ,he is1 of course1 frequently seen in subjects from the ,oresteia1 both in ,tauris and at ,delphi1#bib and at the death of ,neoptolemos before the latter temple4#bic ,the pair are also seen at the carrying off of ,basile by ,echelos 7see p4 #adj74bid ,the 1 or primitive cult-statue1 of ,apollo is sometimes represented2 in one case ,kassandra takes refuge from ,ajax before it1 instead of the usual statue of ,athena4#bie 99 99 99 99 99 ,the appearances of ,artemis1 as distinct from ,apollo1 need not detain us long2 she is sometimes found in mythological scenes1 but frequently as a single figure1 of which there are some fine examples4#bif ,a winged goddess grasping the neck or paws of an animal or bird with either hand frequently occurs on early vases1 and is usually interpreted as ,artemis in her character of or mistress of the brute creation1 sometimes called the ,asiatic or ,persian ,artemis4#big ,on an early ,boeotian vase 7with reliefs7 at ,athens is a curious representation of ,artemis ,diktynna1 a quasi-marine form of the goddess1 originally ,cretan 7872 on the front of her body is represented a fish1 and on the either side of her is a lion4#bih ,as a single figure she appears either with bow or quiver1 or with lyre1 sometimes accompanied by a stag or hind1 or dogs#bii2 she also rides on a deer#cjj or shoots at a stag4#cja ,or1 again1 she is attended by a cortge of ,nymphs#cjb or rides in a chariot4#cjc ,like that of ,apollo1 her is sometimes introduced into a scene as local colouring4#cjd ,the myth with which she is chiefly associated is that of ,aktaeon1 which may find a place here1 though in most cases ,aktaeon alone is represented1 being devoured by his hounds4#cje ,a curious subject on a vase at ,athens appears to be the burial of ,aktaeon1 ,artemis being present4#cjf ,she is also represented at the sacrifice of ,iphigeneia1 for whom a stag was substituted by her agency1#cjg and in connection with the same story at her shrine in ,tauris4#cjh ,she is especially associated with ,apollo in such scenes as the contest with and flaying of ,marsyas1#cji the rape of the ,delphic tripod by ,herakles#caj and the subsequent reconciliation1#caa or the appearance of ,orestes at ,delphi4#cab ,the two deities sometimes accompany nuptial processions in chariots1 ,artemis as pronuba holding a torch1 but it is not easy to say whether these scenes refer to the nuptials of ,zeus and ,hera or are of ordinary significance4#cac ,a scene in which she pursues a woman and a child with bow and arrow may have reference to the slaughter of the ,niobids4#cad ,other scenes in which she is found are the ,gigantomachia#cae and the ,birth of ,athena#caf2 or she is seen accompanying the chariots of ,demeter#cag and ,athena1#cah and with ,aphrodite and ,adonis4#cai ,she disputes with ,herakles over the ,keryneian stag#cbj2 and is also present when he strangles the snakes1#cba and at his apotheosis in ,athena's chariot4#cbb ,she attends the combat of ,paris and ,menelaos1#cbc and as protecting deity of ,attica she watches a combat of ,greeks and ,amazons4#cbd ,a vase in ,berlin1 on which are depicted six figures carrying chairs 7,diphrophori1 as on the ,parthenon frieze7 and a boy with game1 may perhaps represent a procession in honour of ,artemis4#cbe 99 99 99 99 99 ,hephaistos is a figure who appears but seldom1 and never as protagonist1 except in the case of his return to ,olympos1#cbf a subject already discussed 7p4 #ag71 as has been his appearance in the ,gigantomachia#cbg and at the birth of ,athena4#cbh ,in conjunction with the last-named goddess he completes the creation and adornment of ,pandora on two fine vases in the ,british ,museum#cbi2 he is also present at the birth of ,erichthonios4#ccj ,his sojourn below the ocean with ,thetis and the making of ,achilles' armour also occur4#cca ,representations of a forge on some ,b4,f4 vases may have reference to the ,lemnian forge of ,hephaistos and his ,cyclopean workmen4#ccb ,he is also seen with ,athena1#ccc at the punishment of ,ixion1#ccd and taking part in a banquet with ,dionysos4#cce 99 99 99 99 99 ,more important than any of the other ,olympian deities1 for the part she plays in vase-paintings1 is ,athena1 the great goddess of the ,ionic race1 and especially of ,athens4 ,of her birth from the head of ,zeus we have already spoken1 as also of the part she plays in the ,gigantomachia 7p4 #ae74 ,the separate episode of her combat with ,enkelados 7her invariable opponent7 is frequently depicted on ,b4,f4 vases#ccf2 but in one instance she tears off the arm of another giant1 ,akratos4#ccg ,we have also seen her assisting at the creation of ,pandora1#cch and contending with ,poseidon for ,attica4#cci ,she receives the infant ,dionysos at the time of his birth1#cdj and is also generally present at that of ,erichthonios1#cda and once with ,leto at that of ,apollo and ,artemis4#cdb ,she is1 of course1 an invariable actor in ,judgment of ,paris scenes1 in one of which she is represented washing her hands at a fountain in preparation for the competition4#cdc ,from assemblies of the gods she is rarely absent1 and she is also associated with smaller groups of divinities1 such as ,apollo and ,artemis 7p4 #ca71 with ,ares or ,hephaistos1#cdd or with ,hermes1#cde or in ,eleusinian#cdf or ,dionysiac scenes4#cdg ,thus she assists at the slaying of the ,niobids1#cdh and on one vase is confronted with ,marsyas1 before whom she has just dropped the flutes4#cdi ,scenes in which she appears receiving a libation from ,nike are extremely common#cej2 and she is also found with ,iris and ,hebe4#cea ,in one instance she herself pours a libation to ,zeus4#ceb ,generally the companion of princes and patroness of heroes1 she protects especially ,herakles1 whom she aids in his exploits and conveys finally in her chariot to ,olympos1 where he is introduced by her to ,zeus4#cec ,some scenes represent the two simply standing together#ced2 in others she welcomes and refreshes him after his labours1#cee and in one case he is supposed to be represented pursuing her4#cef ,it is unnecessary to particularise here the various scenes in which she attends ,herakles 7see p4 #ie ff472 but one may be mentioned as peculiar1 where she carries him off in her chariot with the ,delphic tripod which he has just stolen4#ceg ,another rare scene connected with the ,herakles myths is one in which1 after the fight with ,kyknos 7see p4 #aja71 ,zeus protects her from the wrath of ,ares4#ceh ,another of her favourite heroes is ,theseus1#cei and she is even more frequently associated with ,perseus1 whom she assists to overcome and escape from the ,gorgons4#cfj ,she gives ,kadmos the stone with which to slay the dragon1#cfa and is also seen with ,bellerophon1#cfb ,jason and the ,argonauts1#cfc and ,oedipus4#cfd ,she is present at the rape of ,oreithyia by ,boreas1#cfe at the punishment of ,ixion1#cff and at the setting out of ,amphiaraos#cfg2 at the stealing of ,zeus' golden dog by ,pandareos#cfh2 also at the rape of the ,leukippidae by the ,dioskuri1#cfi and of ,basile by ,echelos 7see p4 #adj71cgj and in a scene from the tragedy of ,merope4#cga ,the scenes where she is assisting the ,greek heroes in the ,trojan ,war are almost too numerous to specify1 her favourite being of course ,achilles2 her meeting with ,iris 7,il4 viii4 #dji7 is once depicted1#cgb and she also appears in connection with the dispute over ,achilles' arms4#cgc ,she is not so frequently seen with her other favourite1 ,odysseus1 but in one instance she is present when he meets with ,nausikaa1#cgd and also when he blinds ,polyphemos4#cge ,on the numerous vases representing ,ajax and ,achilles 7or other heroes7 playing at draughts1 the figure or image of the goddess is generally present in the background4#cgf ,the same type on ,b4,f4 vases is adopted for the subject of two heroes casting lots before her statue#cgg2 lastly1 she appears as the friend and patron of ,orestes when expiating the slaying of his mother4#cgh ,as a single figure ,athena is represented under many types and with various attributes1 seated with her owl#cgi or in meditation1#chj writing on tablets#cha or holding the of a ship#chb2 playing on a lyre#chc or flutes1#chd or listening to a player on the flute or lyre#che2 with a man making a helmet1#chf or herself making the figure of a horse1#chg and in a potter's workshop4#chh ,on an early vase she appears between two lions#chi2 or she is accompanied by a hind 7here grouped with other goddesses74#cij ,she is depicted running1#cia and occasionally is winged#cib2 or she appears mounting a chariot1 accompanied by various divinities4#cic ,as the protecting goddess of ,attica she watches a combat of ,greeks and ,amazons#cid2 she also attends the departure or watches combats of ordinary warriors1#cie or receives a victorious one4#cif ,in one instance she carries a dead warrior home4#cig ,there are many representations of her image1 either as a or cultus-statue1 or recalling some well-known type of later art4 ,among the former may be mentioned her statue at ,troy1 whereat ,kassandra takes refuge from ,ajax1#cih and the ,palladion carried off by ,odysseus and ,diomede4#cii ,among the latter1 three can be traced to or connected with creations of ,pheidias3 viz4 the chryselephantine ,parthenos statue#djj2 the ,lemnian type1 holding her helmet in her hand 7,plate ,,xxxvi47#dja2 and the ,promachos1 in defensive attitude1 with shield and spear4#djb ,the last-named type 7earlier1 of course1 than the famous statue on the ,acropolis7 is that universally adopted for the figure of ,athena on the obverse of the ,panathenaic amphorae1 on which she is depicted in this attitude between two ,doric columns surmounted by cocks 7on the later examples by figures of ,nike or ,triptolemos74#djc ,her statue is also represented as standing in a shrine or heron#djd2 or as the recipient of a sacrifice or offering4#dje ,her head or bust alone appears on several vases4#djf 99 99 99 99 99 ,ares1 in the few instances in which he appears on vases1 is generally in a subordinate position2 he is a spectator at the birth of ,athena#djg2 and appears twice on the ,franois vase1 at the wedding of ,peleus and ,thetis1 and again in an attitude of shame and humility1 to indicate the part he played in the story of ,hephaistos and ,hera2 of his combat with the former god mention has already been made 7p4 #af74 ,in the ,gigantomachia his opponent is ,mimas1 with whom he also appears in single combat#djh2 and he aids his son ,kyknos against ,herakles and ,athena4#dji ,he is seen in several of the large groups of ,olympian deities1#daj or in smaller groups1 e4g4 with ,poseidon and ,hermes1#daa with ,apollo1 ,artemis1 and ,leto1#dab or with ,athena#dac or his spouse ,aphrodite#dad2 also with ,dionysos1 ,ariadne1 and ,nereus4#dae ,he also receives a libation from ,hebe4#daf ,he is seen at the birth of ,pandora1#dag the punishment of ,ixion1#dah the slaying of the ,niobids1#dai the apotheosis of ,herakles1#dbj and the contest of that hero with the ,nemean lion4#dba ,in some cases his type is not to be distinguished from that of an ordinary warrior or hero1 as in one case where he or a warrior is seen between two women4#dbb 99 99 99 99 99 ,aphrodite seldom appears as a protagonist on vases1 and in fact plays a small personal part in mythology4 ,apart from scenes of a fanciful nature she is usually a mere spectator of events2 but as she is not often characterised by any distinctive attribute1 there is in many cases considerable difficulty in identifying her personality4 ,this is especially the case on ,b4,f4 vases1 on which her appearances are comparatively rare4 ,one vase represents her at the moment of her birth from the sea in the presence of ,eros and ,peitho#dbc2 she also appears 7on late vases only7 with ,adonis1#dbd embracing him1 and in two instances mourning for him after his death#dbe2 but caution must be exercised in most cases in identifying this subject1 which is but little differentiated from ordinary love scenes4 ,one scene apparently represents ,zeus deciding a dispute between her and ,persephone over ,adonis4#dbf ,more commonly she is seen riding over the sea on a goose or swan1#dbg of which there is one exceedingly beautiful example in the ,british ,museum2 here she is to be recognised as the ,heavenly ,aphrodite 7,ourania71 whereas in her character of ,pandemos 7profane or unlicensed love7 she rides on a goat4#dbh ,in other instances the swan draws her chariot over the sea1#dbi or she is borne by a pair of ,erotes1#dcj or sails in a shell1 as in the story of her birth and appearance in the island of ,kythera#dca2 in others1 again1 her chariot is drawn 7on land7 by the ,erotes1#dcb or by a lion1 wolf1 and pair of boars4#dcc ,she is also represented at her toilet#dcd or bathing1#dce in the latter case in the attitude of the ,vnus accroupie of sculpture2 in these instances again there is often difficulty in distinguishing from scenes of ordinary life4 ,again1 she is represented spinning1#dcf playing with a swan1#dcg or caressing a hare1#dch or in company with a young hunter1#dci possibly meant for ,adonis4 ,illustration3 ,from 4 4 #ahig4 ,,fig4 #aag4 ,,aphrodite ,,and ,,her ,,following 7,,vase ,,at ,,athens74 ,in many scenes she is grouped with a cortge of attendant ,nymphs and personified figures1 often with names attached4#ddj ,besides ,eros1 the following are found on these vases3 ,pothos 7,longing7 and ,himeros 7,charm71 ,hygieia 7,health71 ,peitho 7,persuasion71 ,paidia 7,play71 ,pandaisia 7,good ,cheer71 ,eunomia 7,orderliness71 ,euthymia 7,cheerfulness71 ,eudaimonia 7,happiness71 ,hedylogos 7,winning ,speech71 and ,kleopatra 7a fancy name74 ,eros himself she embraces#dda and suckles1#ddb and in some cases he assists in her toilet1 perfuming her hair from an unguent flask1#ddc or adjusting her sandals#ddd2 he is seldom absent from her side on the later vases4 ,in one instance ,aphrodite and two ,erotes make a basket of golden twigs4#dde ,their heads or busts are also found on late vases1 as is that of ,aphrodite alone4#ddf ,in relation to other mythological subjects she is frequently found in assemblies of the gods1 especially in the spectator groups on ,apulian vases#ddg2 also at the birth of ,athena 7rarely71#ddh at the marriage of ,zeus and ,hera1#ddi and in the ,gigantomachia 7very rare74#dej ,she is seen among the ,eleusinian deities1#dea and in scenes from the nether world#deb2 and she accompanies the chariots of ,athena and ,demeter4#dec ,she also accompanies ,poseidon in his wooing of ,amymone1#ded and is present at the slaying of ,argos by ,hermes1#dee the punishment of ,aktaeon#def and the contest of ,apollo and ,marsyas1#deg and the wooing of ,europa by ,zeus4#deh ,she is also grouped with ,apollo and the ,muses listening to ,thamyris and ,sappho4#dei ,she is seldom seen with ,herakles1 but is present at his apotheosis1#dfj and also with him in the ,garden of the ,hesperides#dfa2 she is once seen with ,theseus1#dfb and is present at the rape of the ,leukippidae by the ,dioskuri4#dfc ,other heroes with whom she is connected 7chiefly as a spectator on the ,apulian vases7 are ,kadmos1 ,meleager1 ,perseus1 and ,pelops4#dfd ,in the tale of ,troy1 however1 she plays a more important part4 ,the ,judgment of ,paris is1 of course1 the scene with which she is chiefly connected#dfe2 in one instance she appears alone with ,paris1 unless ,anchises be here meant4#dff ,she is present at the first meeting and wedding of ,peleus and ,thetis#dfg2 at the toilet of ,helen1 and at her carrying off by ,paris#dfh2 she assists her son ,aeneas in his combat with ,diomede1#dfi and is present at the rape of ,kassandra4#dgj ,helen takes refuge from ,menelaos with her in her temple#dga2 and finally she assists ,aeneas to escape with the aged ,anchises from ,troy4#dgb 99 99 99 99 99 ,besides the scenes in which he appears with ,aphrodite1 ,eros is a sufficiently important personage on vases to demand a section to himself4 ,on the black-figured vases he never appears1 nor on the earlier red-figured ones is it possible to find many instances1 but towards the end of the fifth century his popularity is firmly established1 while on the ,italian vases1 especially the the later ,apulian1 his presence is almost invariable1 not only in mythological scenes1 but in subjects from daily life4 ,as a single figure he occurs again and again1 generally holding a wreath1 mirror1 box1 fan1 or some object which may be regarded as signifying a lover's present4 ,concurrently with his increasing popularity we note the change that comes over the conception of his personality4 ,beginning as a full-grown youth of fair proportions1 his form gradually attenuates and becomes more juvenile1 or even in some cases infantile1 as in ,hellenistic art2 while on the ,apulian vases it assumes an androgynous1 altogether effeminate character4 ,his hair is arranged in feminine fashion1 and his person is adorned with earrings1 bracelets1 anklets1 and chains1 remaining otherwise entirely nude1 except that he sometimes wears soft shoes of a feminine kind 7see ,plate ,,xliv4 and ,fig4 #aah74 ,on the red-figured vases he generally appears as a single figure1 though on those of the 8fine0 style he is often in attendance on ,aphrodite2 roughly speaking1 it may be said that he figures in all scenes that deal with the passion of ,love1 such as the ,judgment of ,paris1#dgc the story of ,adonis1#dgd the marriage of ,dionysos and ,ariadne1#dge or the love-affairs of ,zeus1 ,poseidon1 and other gods4#dgf ,in other legends in which ,love plays a part1 such as the stories of ,jason and ,medeia1#dgg ,phaidra and ,hippolytos1#dgh ,peleus and ,thetis 7or ,theseus and ,ariadne71#dgi ,pelops and ,hippodameia1#dhj ,paris and ,helen1#dha he is also to be seen2 as also at the carrying off of ,persephone4#dhb ,moreover1 he occurs in several scenes where the reason is not so apparent1 as at the birth of ,erichthonios1#dhc in the ,garden of the ,hesperides1#dhd at the suckling of ,herakles by ,hera1#dhe with ,herakles and a ,centaur1#dhf and in the nether world#dhg2 also with deities such as ,zeus1 ,athena1 ,nike1 ,helios and ,selene1 and ,dionysos#dhh2 anointing the head of ,apollo4#dhi ,the cosmogonic conception of ,eros and his connection with ,gaia is referred to in the next chapter under the latter heading 7p4 #gc74 ,two ,erotes draw the chariot of ,demeter and ,persephone#dij2 and he is also seen in company with the ,nereids4#dia ,his presence in ,dionysiac scenes1 especially on the later vases1 is often to be noted1 though without any special meaning to be attached to it#dib2 in one instance he is carried on the back of a ,seilenos4#dic ,in many of these scenes he merely accompanies ,aphrodite1 and they do not therefore require enumeration4 ,lastly1 he is seen in company with ,sappho1#did the great poetess of ,love4 ,in non-mythological scenes he is found almost as frequently1 especially in toilet scenes1#die or what we may regard as 8scenes of courting02 but on the later vases these exhibit little or no action1 and are not worth considering in detail1 with a few exceptions4 ,thus we see ,eros in marriage processions1#dif in musical scenes1#dig and at banquets#dih2 at a sacrifice to a term#dii2 watching girls play the game of morra#ejj 78,how many fingers do ,i hold up8072 swinging them1 or being danced on their feet#eja2 in scenes of fruit- and incense-gathering#ejb2 or pouring wine into a krater4#ejc ,he appears with ,agon 7see p4 #hi7 training in the palaestra4#ejd ,he pursues a youth or a girl1#eje embraces a girl1#ejf or is carried by her pick-a-back#ejg2 offers a hare to a youth1#ejh or drives a youth with a whip from an altar#eji2 and in one instance is about to chastise with a slipper two youths who are playing with a top and hoop#eaj2 these two latter scenes may be regarded as implying the power of ,eros over youth4 ,he is also seen shooting an arrow at a woman1#eaa an idea characteristic of ,anacreontic and ,alexandrine poetry4 ,another scene which recalls the wall-paintings of the ,hellenistic ,age is on a vase in the ,british ,museum1 representing two ,erotes being weighed in scales4#eab ,as a single figure he pursues a hare or kills a snake#eac2 crouches before a plant#ead2 is represented armed with shield and spear#eae2 or places a sash or wreath on a tripod4#eaf ,he is borne in a chariot by horses or swans1#eag or rides on a horse1 deer1 dog1 or swan4#eah ,he is also seen playing various games1 such as the kottabos or morra1#eai see-sawing or playing knucklebones1#ebj or with a ball or hoop or toy-boat4#eba ,or he plays the flute or lyre#ebb2 or plays with animals1 such as a deer1 dove1 swan#ebc2 or finally 7on ,apulian vases7 with a toy which resembles a wheel1 and was probably used for magic purposes1 as several passages of literature indicate4#ebd ,illustration3 ,,fig4 #aah4 ,,eros ,,with ,,kottabos-,,stand 7,,brit4 ,,mus474 ,lastly1 we must give a survey of the frequent representations of ,eros flying through the air carrying some attribute1 which are so universal on the ,italian vases1 though some of the earliest types also represent him in this manner4 ,thus he carries a hare1 or dove or other bird#ebe2 fruit 7such as grapes or pomegranates71 flowers1 and branches#ebf2 wreaths1 dishes of fruit1 baskets1 vases of various forms1 and a spit of meat#ebg2 thyrsi1 tambourines1 lyres1 torches1 incense-burners1 strigils1 and ladders#ebh2 fans1 parasols1 mirrors1 toilet-boxes1 strings of beads1 and sashes1 or balls4#ebi 99 99 99 99 99 ,among the other associates of ,aphrodite the chief are ,peitho1 ,pothos1 and ,himeros1 of whom mention has already been made4 ,peitho1 except where her name is given1 is not always easy to identify2 the other two are not differentiated from ,eros in form1 and are1 in fact1 only variations of the conception of ,love1 as are the more rarely occurring ,phthonos 7,amor invidiosus7#ecj and ,talas 7,amor infelix71 the latter of whom is associated with ,sappho4#eca ,peitho is found with ,himeros in one instance1#ecb and in another with ,eukleia#ecc2 she also accompanies ,aphrodite in ,eleusinian and other scenes1#ecd at the deliverance of ,andromeda1#ece in the ,garden of the ,hesperides1#ecf and at the rape of ,helen#ecg and the ,leukippidae1#ech and at the recovery of ,helen by ,menelaos#eci2 she consoles her when mourning for ,adonis#edj2 and is present at the moment of her birth4#eda ,like ,eros1 she is seen in company with ,sappho1#edb and she also appears with ,meleager and ,atalante4#edc 99 99 99 99 99 ,pothos and ,himeros are seen floating over the sea with ,eros on a fine ,r4,f4 vase in the ,british ,museum1#edd and at the ,judgment of ,paris#ede2 and grouped together generally as ,erotes1 they may be distinguished on some late vases4 ,pothos attends at the toilet of ,helen1#edf and plays the flutes in a ,dionysiac scene4#edg ,himeros is seen swinging ,paidia 7another of ,aphrodite's following7#edh2 at the marriage of ,herakles and ,hebe#edi2 presenting a crown to ,dionysos1#eej or removing his shoes1#eea and accompanying him in a scene of preparation for the ,satyric drama4#eeb 99 99 99 99 99 ,hermes1 the messenger of the gods1 is a common figure on vases of all periods1 but chiefly as a subordinate agent1 though he plays a leading part in some scenes1 and frequently occurs as a single figure4#eec ,some small vases are decorated merely with his head1 wearing the winged petasos4#eed ,he is represented passing over the sea with a lyre1#eee carrying a ram1#eef riding on a ram or goat1#eeg or reclining on the latter animal#eeh2 also as making a libation#eei or sacrificing a goat4#efj ,he presides over the palaestra1#efa and is also seen standing between ,sphinxes1#efb or again 7apparently as a statue7 standing by a fountain4#efc ,in one scene he leads a dog disguised as a pig1#efd and he is also represented tending a flock of sheep1#efe or fishing4#eff ,the story so vividly recounted in the ,homeric hymn of his infantile theft of ,apollo's oxen is given in several scenes1 including his taking refuge in his cradle 7,fig4 #aai7efg2 he is also represented with his mother ,maia1#efh and disputing with ,apollo over the lyre which he invented4#efi ,the only other myth in which he plays a chief part is his pursuit of the ,nymph ,herse in the presence of her father ,kekrops and her sister ,aglauros4#egj ,he appears in the ,gigantomachia 7in one instance as ,zeus' charioteer71#ega frequently at the birth of ,athena1#egb and with the bridal cortge of ,zeus and ,hera#egc2 also in numerous assemblies of the ,olympian deities1 especially on the ,apulian vases4#egd ,he is present at the seizing of ,ganymede1#ege and defends ,hera against an attack of ,seileni4#egf ,his slaying of ,argos and deliverance of ,io has already been mentioned#egg2 and he assists in recovering the golden dog of ,zeus which was stolen by ,pandareos4#egh ,illustration3 ,from ,baumeister4 ,,fig4 #aai4 ,,hermes ,,with ,,apollo',s ,,oxen4 ,he is present at the return of ,hephaistos1#egi at ,poseidon's capture of ,amymone1#ehj with ,aphrodite mourning for ,adonis1#eha and with ,apollo slaying ,tityos and the ,niobids and contending with ,marsyas1#ehb also at his reconciliation with ,herakles4#ehc ,he accompanies the chariots of ,poseidon1 ,apollo1 and ,athena1#ehd and also those of mortals1 especially in wedding processions#ehe2 and he is also seen with ,eos and ,selene1#ehf ,kastor and ,polydeukes1#ehg ,prometheus1#ehh ,leda at the finding of the egg1#ehi and at the birth of ,pandora4#eij ,he is specially associated with ,zeus1 ,apollo1 ,athena1 and ,dionysos1#eia and also appears with ,aphrodite ,pandemos#eib2 he is not infrequently found in ,dionysiac scenes#eic2 and to him is entrusted the newly born ,dionysos to be handed over to the ,nymphs of ,nysa4#eid ,on ,b4,f4 vases he is frequently seen leading a procession of ,nymphs4#eie ,as a ,chthonian deity he is present in many scenes relating to the nether world1 especially on the large ,apulian vases1#eif and in connection with the ,eleusinian myths1 such as the carrying off of ,persephone4#eig ,as ,psychagogos or ,psychopompos he is seen in ,hades waiting to conduct ,persephone to earth1 or actually en route with her4#eih ,he frequently performs the same office for mortals1 conducting them to ,charon's bark4#eii ,he is also found in company with ,thanatos1#fjj and with ,herakles bringing back ,alkestis4#fja ,a unique scene with ,hermes in his ,chthonian capacity is on a vase where he is represented chaining up ,kerberos#fjb2 and another1 yet more curious1 depicts him standing by a jar 77 from which a number of small winged figures 7 or ghosts7 are flying out1 with a supposed reference to the ,athenian festival of the 4#fjc ,in the stories of ,herakles he plays an important part1 as also in those of ,theseus and other heroes1 and he is frequently visible in scenes from the ,trojan legends4 ,he conveys the infant ,herakles to ,cheiron for instruction1#fjd and conducts the hero to ,hades to fetch ,kerberos#fje2 he is also seen feasting or bathing with him1#fjf and in company with him and ,athena1#fjg and most frequently in connection with his apotheosis4#fjh ,with ,theseus he is found more rarely#fji2 but he frequently accompanies ,perseus in his flight from the ,gorgons4#faj ,in other heroic scenes he is often one of the spectator deities on ,apulian vases4 ,in one instance he is seen banqueting with an unidentified hero4#faa ,in the ,trojan legends his chief appearance is as conductor of the goddesses to the ,judgment of ,paris#fab2 and in one case he accompanies ,peleus when bringing the infant ,achilles to ,cheiron4#fac ,he also assists ,zeus in weighing the souls of ,achilles and ,hector1#fad conducts ,priam to ,achilles1#fae and is present in many other scenes which need not be recounted in detail4 ,a scene difficult of explanation represents him accompanying ,odysseus in a chariot4#faf ,a ,herm or terminal figure of ,hermes is a not uncommon feature on vases1 especially of the ,r4,f4 period1#fag and generally as the object of a sacrifice made to it4#fah ,last of the ,olympian deities comes ,hestia1 who is usually coupled with ,hermes2 she1 however1 only appears on a few vases in gatherings of the ,olympian deities1#fai as on the ,franois vase1 where she attends the nuptials of ,peleus and ,thetis1 and at the marriage of ,herakles and ,hebe4#fbj ----- ,footnote #a3 ,il4 xi4 #fce3 cf4 ,athen1 xi4 #dhi ,f4 ,footnote #b3 i4 #bg ff43 cf4 ,vol4 ,i4 p4 #ahj4 ,footnote #c3 ,athenaeus1 xi4 p4 #dhi ,b4 ,footnote #d3 ,ibid4 p4 #ghb ,b4 ,footnote #e3 ,od4 #e4 ,footnote #f3 ,h4,n4 xxxiii4 #aee4 ,footnote #g3 ,ibid4 #aef4 ,footnote #h3 ,mart4 viii4 #ea3 cf4 ,juv4 i4 #gf4 ,footnote #i3 ,stat4 ,theb4 i4 #edc4 ,footnote #aj3 ,virg4 ,ecl4 iii4 #df4 ,footnote #aa3 ,schreiber1 ,alexandr4 ,toreutik1 passim2 ,robert in #ejtes ,winckelmannsfestprogr4 #ahij4 ,footnote #ab3 ,suet4 ,ner4 #dg3 see ,vol4 ,i4 pp4 #acd1 #ahe1 #dii4 ,footnote #ac3 ,cf4 ,miss ,harrison1 ,mythol4 and ,monum4 of ,athens1 p4 ii2 and see ,vol4 ,i4 p4 #ac4 ,footnote #ad3 ,see on this subject ,j4,h4,s4 xiii4 p4 #hc4 ,footnote #ae3 ,art4 ,poet4 #adg4 ,footnote #af3 ,see ,luckenbach in ,jahrb4 fr ,class4 ,phil4 ,suppl4-,bd4 xi4 7#ahhj71 p4 #ege ff4 ,footnote #ag3 ,op4 cit4 p4 #dic ff4 ,footnote #ah3 ,the only exceptions are in the ,panathenaic contests1 which are of course not epic3 cf4 ,b4,m4 ,b #acj-ca4 ,footnote #ai3 ,see on this subject ,comm4 in hon4 ,t4 ,mommseni1 p4 #afc ff42 ,arch4 ,zeit4 #ahgf1 p4 #aaf2 ,dumont-,pottier1 i4 p4 #cff1 and1 ,j4,h4,s4 x4 p4 #ac ff4 ,footnote #bj3 ,luckenbach1 op4 cit4 p4 #efj ff4 ,footnote #ba3 ,there is only one vase 7,naples #bbif ,reinach1 ,rpertoire1 i4 #dgf7 on which the names of the ,nereids are derived from ,homer4 ,footnote #bb3 ,op4 et ,di4 #fj ff42 ,scut4 #cde ff41 #agh1 #baf2 ,theog4 #hbj1 #ibd ff4 ,footnote #bc3 ,see ,j4,h4,s4 xviii4 p4 #bfg4 ,footnote #bd3 ,vol4 ,i4 p4 #dgb3 see also below1 p4 #aei4 ,on the subject generally see ,vogel1 ,scenen ,eur4 ,trag42 ,huddilston1 ,gk4 ,tragedy in ,vase-paintings2 ,engelmann1 ,arch4 ,studien zu den ,tragikern4 ,footnote #be3 ,reinach1 i4 p4 #aad4 ,footnote #bf3 ,op4 cit4 p4 #fcf4 ,footnote #bg3 ,see for further details of early theories ,vol4 ,i4 p4 #ba4 ,footnote #bh3 ,e4g4 the ,b4,f4 hydriae with water-drawing scenes2 the funeral lekythi2 and the ,r4,f4 cups with their subjects relating to banquets and revels4 ,footnote #bi3 ,see also ,chapters ,,vi4-,,xi4 throughout4 ,footnote #cj3 ,morgenthau1 ,zusammenhang d4 ,bilder auf gr4 ,vasen4 ,footnote #ca3 ,cf4 for instance ,e #ci1 #de1 #dg1 #dh1 in ,b4,m4 ,footnote #cb3 ,see below1 p4 #ajh4 ,footnote #cc3 ,see p4 #acd4 ,footnote #cd3 ,this subject has been admirably treated by ,wickhoff in his ,roman ,art 7,eng4 edn471 p4 #ac ff4 ,footnote #ce3 ,the publication of this vase by ,furtwaengler and ,reichhold1 ,gr4 ,vasenmalerei1 pls4 #a-c1 #aa-ac1 with full discussion of subjects and technical details1 has now superseded all previous illustrations4 ,the only other complete ones were in ,mon4 dell' ,inst4 iv4 #ed-h 7,reinach1 i4 p4 #acd-cf7 and ,wiener ,vorl4 ii4 pls4 #a-e4 ,the general view given in ,plate ,,xxviii4 is reproduced from the first-named work4 ,footnote #cf3 ,for the abbreviations used in the following notes see the ,bibliography 7,vol4 ,i474 ,footnote #cg3 ,munich #abe ,reinach1 ii4 #abj ,furtwaengler and ,reichhold1 pl4 #cb2 ,b4,m4 ,f #bcg3 cf4 also ,b4,m4 ,b #fb4 ,footnote #ch3 ,the best and most complete examples are as follows3--,b4,f43 ,b4,m4 ,b #bjh2 ,reinach1 i4 #afb ,louvre ,e #gcb4 ,r4,f43 ,b4,m4 ,e #dg1 #dfi2 ,berlin #bbic1 #beca 7both in ,wiener ,vorl4 i4 pls4 #h and #e2 the latter very good72 ,bibl4 ,nat4 #egc ,reinach1 ii4 #bef4 ,best of all 7late ,r4,f471 a grand vase found in ,melos 7,monum4 ,grecs1 #ahge1 pt4 #d1 pls4 #a-b ,wiener ,vorl4 viii4 #g71 on which no less than eighteen deities are engaged1 but none of the giants are named4 ,hera1 ,hephaistos1 and ,amphitrite are absent4 ,figs4 #aaa and #aab give two of these--,e #gcb in ,louvre1 and the interior of ,berlin #beca4 ,footnote #ci3 ,arch4 ,anzeiger1 #ahij1 p4 #h4 ,footnote #dj3 ,reinach1 ii4 #ahh l4 ,cr4 i4 #e4 ,footnote #da3 ,b4,m4 ,e #dg2 ,berlin #bbic4 ,footnote #db3 ,b4,m4 ,b #bec1 ,e #ddc 7and see p4 #ef74 ,footnote #dc3 ,bull4 de ,corr4 ,hell4 xx4 7#ahif71 pl4 #g3 cf4 the archaic frieze of the ,siphnian treasury at ,delphi4 ,footnote #dd3 ,b4,f43 ,b4,m4 ,b #adg 7a very fine early example1 but much restored71 #bdd 7,fig4 #aac71 #dbd2 ,berlin #agjd 7also good74 ,r4,f43 ,b4,m4 ,e #ae1 ,e #daj 7fine72 ,reinach1 ii4 #bjg4 ,footnote #de3 ,reinach1 i4 #aga4 ,footnote #df3 ,reinach in ,revue des tudes ,grecques1 #aija1 p4 #abg1 traces the subject to a ,megarian origin4 ,footnote #dg3 ,b4,m4 ,vases1 ii4 p4 #aa4 ,footnote #dh3 ,b4,m4 ,b #adg1 #bah1 #bdd4 ,footnote #di3 ,cat4 #ddd4 ,footnote #ej3 ,see ,b4,m4 ,b #aeg1 ,b #cda2 also ,berlin #ahii 7 l4 ,cr4 i4 #bb7 and ,reinach1 ii4 #ba1 #b4 ,footnote #ea3 ,e4g4 ,b4,m4 ,b #aig 7a fine vase1 by ,amasis87 and ,b #bih3 see on the subject ,foerster1 ,hochzeit des ,zeus und ,hera4 ,footnote #eb3 ,b4,m4 ,e #hb2 ,wernicke1 ,ant4 ,denkm4 pl4 #a1 #g ,reinach1 ii4 #bff4 ,footnote #ec3 ,petersburg #cee ,reinach1 i4 #ad ,wiener ,vorl4 iii4 #e 7also interpreted as a sculptor finishing off a statue of ,hera74 ,footnote #ed3 ,b4,m4 ,f #bfi 7gods nicknamed respectively ,daidalos and ,enyalios74 ,footnote #ee3 ,b4,f43 ,franois vase2 ,b4,m4 ,b #db 7,plate ,,xxi471 #bfd2 ,vienna #bah2 ,athens #fbh ,ath4 ,mitth4 #ahid1 pl4 #h4 ,r4,f43 ,bibl4 ,nat4 #eci ,reinach1 ii4 #bfa2 ,reinach1 ii4 #c ,millin-,reinach1 i4 #i2 ,reinach1 ii4 #caa2 ,munich #ggf ,baumeister1 i4 p4 #fdd1 fig4 #gad ,furtwaengler and ,reichhold1 pl4 #bi2 ,munich #ghj l4 ,cr43 i4 pl4 #df ,a ,wiener ,vorl4 i4 #i1 #c4 ,footnote #ef3 ,see below1 p4 #ajg2 the best examples are ,berlin #bbgh ,ant4 ,denkm4 i4 #i 7,sosias72 ,b4,m4 ,b #cgi2 ,reinach1 ii4 #gf 7in ,berlin74 ,footnote #eg3 ,b4,m4 ,b #cde2 ,e #fg1 #ddd2 ,berlin #bjfj2 ,reinach1 i4 #aeg1 #a1 #b and #bjc ,baumeister1 iii4 pl4 #ic1 fig4 #bdjj 7by ,oltos and ,euxitheos1 a very fine example72 a late instance1 ,petersburg #dai ,reinach1 i4 #afa4 ,footnote #eh3 ,reinach1 i4 #ih2 #aid 7,dareios in council74 ,footnote #ei3 ,b4,m4 ,f #bgh2 ,reinach1 i4 #cgi4 ,footnote #fj3 ,b4,m4 ,f #bga4 ,footnote #fa3 ,b4,m4 ,f #bgi4 ,footnote #fb3 ,numerous examples will be found in the pages of ,reinach's ,rpertoire4 ,footnote #fc3 ,rape of ,persephone3 ,reinach1 i4 #ii2 other scenes1 ibid4 i4 #cee2 ,b4,m4 ,f #bgj4 ,footnote #fd3 ,e #ffh ,reinach1 i4 #dce2 and cf4 ,jatta #adje ,reinach1 i4 #dhc2 ,bibl4 ,nat4 #dhi4 ,footnote #fe3 ,reinach1 ii4 #bhg4 ,footnote #ff3 ,b4,m4 ,b #dbe3 cf4 ,mus4 ,greg4 ii4 #ba1 #a4 ,footnote #fg3 l4 ,cr4 i4 #hb 7also i4 #bb871 and ,vienna #cbi4 ,footnote #fh3 l4 ,cr4 ii4 #cj 7may be ,poseidon72 ,micali1 ,mon4 ,ined4 #cg1 #c2 ,b4,m4 ,e #dcb 7,artemis72 ,naples ,s4,a4 #gjb ,reinach1 i4 #dii and ,reinach1 ii4 #ahc 7,aphrodite72 ,bibl4 ,nat4 #bbi 7,zeus with ,hera1 ,athena1 ,ares1 and ,hermes72 ,arch4 ,anzeiger1 #ahih1 p4 #ahi1 and ,boston ,mus4 ,report1 #ahii1 ,no4 #ae 7with ,hermes74 ,footnote #fi3 ,b4,m4 ,b #aff1 ,b #cgi1 ,b #dbd1 ,e #bfb2 ,furtwaengler and ,reichhold1 #bj2 ,berlin #aheg 7,h4 plays lyre72 ,petersburg #agge ,wiener ,vorl4 iii4 #i1 #a ,reinach1 i4 #cjb 7parody73 and see below1 p4 #ajg4 ,footnote #gj3 ,reinach1 i4 #aef1 #a4 ,footnote #ga3 l4 ,cr4 i4 #ad 7now in ,b4,m472 ,munich #cde ,reinach1 i4 #ff4 ,footnote #gb3 ,arch4 ,anzeiger1 #ahie1 p4 #ch 7fine polychrome pyxis in ,berlin74 ,footnote #gc3 ,b4,m4 ,e #cha2 l4 ,cr4 i4 #bj4 ,footnote #gd3 ,b4,m4 ,f #bgh2 ,roscher1 iii4 p4 #ifi4 ,footnote #ge3 ,hartwig1 ,meistersch4 pl4 #fh 7in ,louvre73 cf4 ,eusebius1 ,prep4 evang4 iii4 #hd;b4 ,footnote #gf3 l4 ,cr4 i4 #bi;,a 7doubtful74 ,footnote #gg3 ,reinach1 i4 #cce1 #b4 ,footnote #gh3 l4 ,cr4 i4 #ah 7 ,helbig1 ii4 p4 #caj1 ,no4 #ajd72 ,bibl4 ,nat4 #daf ,reinach1 i4 #dgb2 ,berlin #bjcb ,reinach1 i4 #ccd4 ,footnote #gi3 ,rm4 ,mitth4 #ahhg1 pl4 #aj4 ,footnote #hj3 ,b4,m4 ,f #edb4 ,footnote #ha3 ,b4,m4 ,e #cac2 ,reinach1 i4 #djh4 ,footnote #hb3 ,petersburg #agib ,reinach1 i4 #a3 see ,robert1 ,arch4 ,mrchen1 pl4 #b1 p4 #agi ff4 ,footnote #hc3 ,petersburg #agic ,reinach1 i4 #c2 ,bibl4 ,nat4 #bai ,mon4 ,ant4 di ,barone1 pl4 #a2 ,boston ,mus4 ,report1 #ahie1 ,no4 #bg3 see also for the first ,robert1 ,arch4 ,mrchen1 pl4 #c1 p4 #ahi4 ,footnote #hd3 ,b4,m4 ,e #ahb2 ,bibl4 ,nat4 #ddj ,reinach1 ii4 #bfj2 and see p4 #ee1 note #fdd4 ,footnote #he3 ,b4,m4 ,f #aej2 ,jahrbuch1 i4 7#ahhf71 p4 #bgf 7see ,vol4 ,i4 p4 #dgc74 ,footnote #hf3 ,b4,m4 ,f #adi 7signed by ,python7 ,j4,h4,s4 xi4 pl4 #f2 ,b4,m4 ,f #aic4 ,footnote #hg3 ,b4,m4 ,f #bhf2 ,reinach1 i4 #bgh4 ,footnote #hh3 ,b4,m4 ,e #gaa2 ,petersburg #agbc ,baumeister1 i4 p4 #djf1 fig4 #ddg 7both ,r4,f474 ,footnote #hi3 ,aegina3 ,helbig1 ii4 p4 #caa1 ,no4 #aac ,wernicke1 ,ant4 ,denkm4 #f1 #d2 ,berlin #cbci l4 ,cr4 i4 #ag2 ,boston ,mus4 ,report for #ahie1 ,no4 #ci 7a sister brings the news to her father ,asopos74 ,thaleia3 ,reinach1 ii4 #bhe l4 ,cr4 i4 #af ,wernicke1 #f1 #c4 ,footnote #ij3 ,reinach1 ii4 #add3 see below1 p4 #hb4 ,footnote #ia3 ,b4,f43 ,louvre ,e #fif ,reinach1 i4 #afb2 ,athens #hec ,reinach1 i4 #ejg2 id4 ii4 #di4 ,r4,f43 ,b4,m4 ,e #bca2 ,munich #bjh ,jahn1 ,entfhrung d4 ,europa1 pl4 #g 7polychrome on white72 ,petersburg #afcg ,reinach1 i4 #bd1 and #aiae ,reinach1 i4 #bb 7,europa brought to ,zeus74 ,late3 ,b4,m4 ,f #ahd2 ,naples #cbah ,jahn1 op4 cit4 pl4 #a 7,eros on bull74 ,footnote #ib3 ,helbig1 ii4 p4 #cab1 ,no4 #aah ,overbeck1 ,kunstmythol4 ,atlas1 pl4 #f1 fig4 #ac4 ,footnote #ic3 ,see generally ,boston ,mus4 ,report1 #aijj1 p4 #fb1 and ,jahrbuch1 #aijc1 p4 #cg2 also ,wiener ,vorl4 #ahij-ia1 pl4 #ab4 ,footnote #id3 ,berlin #cafd1 and ,reinach1 ii4 #af l4 ,cr4 i4 #be1 #bf4 ,footnote #ie3 ,reinach1 i4 #djg4 ,footnote #if3 ,ibid4 i4 #aaa1 #a ,berlin #bfea 7,r4,f471 and #aaa1 #b ,munich #egc ,wiener ,vorl4 #ahij-ia1 pl4 #ab1 #a 7,b4,f472 ,boston ,mus4 ,report1 #aijj1 ,no4 #ba4 ,footnote #ig3 ,b4,m4 ,b #afd2 ,bibl4 ,nat4 #cjb l4 ,cr4 iii4 #ig2 ,reinach1 i4 #cfc2 ,vienna #cch ,wiener ,vorl4 #ahij-ia1 pl4 #aa1 #a ,fig4 #aad2 ibid4 i4 #aaa1 #d ,jatta #adih ,wiener ,vorl4 #ahij-ia1 pl4 #ab1 #b4 ,footnote #ih3 ,see generally ,overbeck1 ,kunstmythol4 ii4 p4 #bg ff41 #aha ff4 ,footnote #ii3 ,reinach1 i4 #chh4 ,footnote #ajj3 ,see p4 #aja2 ,zeus defending ,athena against ,ares after the combat1 ,arch4 ,anzeiger1 #ahih1 p4 #ea 7,boston vase74 ,footnote #aja3 ,see p4 #acj4 ,footnote #ajb3 ,b4,m4 ,e #adj2 ,reinach1 i4 #cdb1 #dje1 #deb2 ibid4 i4 #bbi2 i4 #bce4 ,footnote #ajc3 ,b4,m4 ,e #dfg and ,j4,h4,s4 xxi4 pl4 #a2 ,petersburg #ahjg ,reinach1 i4 #g4 ,footnote #ajd3 ,b4,m4 ,b #caf2 ,e #bbd2 ,naples #bfch ,reinach1 i4 #gh4 ,footnote #aje3 ,munich #gde ,furtwaengler and ,reichhold1 pl4 #af4 ,footnote #ajf3 ,see p4 #ada4 ,footnote #ajg3 ,see above1 p4 #af4 ,footnote #ajh3 ,munich #ccf ,overbeck1 ,kunstmythol4 ,atlas1 pl4 #i1 #ai2 head only1 l4 ,cr4 i4 #bi2 also perhaps in ,naples #bijj ,baumeister1 iii4 p4 #afec1 fig4 #agad2 but more probably ,aphrodite is intended4 ,footnote #aji3 ,overbeck1 op4 cit4 iii4 p4 #ah2 ,reinach1 i4 #bca1 ii4 #af4 ,footnote #aaj3 l4 ,cr4 i4 #cd4 ,footnote #aaa3 ,bibl4 ,nat4 #edb ,reinach1 i4 #ada4 ,footnote #aab3 ,reinach1 i4 #chh4 ,footnote #aac3 ,b4,m4 ,e #aee4 ,footnote #aad3 ,b4,m4 ,e #dfg4 ,footnote #aae3 ,b4,m4 ,b #afd2 ,berlin #cafd2 ,reinach1 i4 #aaa1 #d4 ,footnote #aaf3 ,b4,m4 ,f #ajg4 ,footnote #aag3 ,naples #bhgc ,millin-,reinach1 i4 #c3 cf4 ,b4,m4 ,f #adh and ,reinach1 i4 #cja4 ,footnote #aah3 ,reinach1 ii4 #d4 ,footnote #aai3 ,b4,m4 ,b #cgi2 ,berlin #bbgh2 ,furtwaengler and ,reichhold1 #bj4 ,footnote #abj3 ,bibl4 ,nat4 #bec ,reinach1 i4 #cii4 ,footnote #aba3 ,b4,m4 ,b #eg3 cf4 the ,hera at ,sparta 7,paus4 iii4 #ae1 #i74 ,footnote #abb3 ,petersburg #agib ,reinach1 i4 #a2 ,bibl4 ,nat4 #bai4 ,footnote #abc3 ,bull4 de ,corr4 ,hell4 #ahih1 p4 #ehf4 ,footnote #abd3 ,jatta #ajic ,reinach1 i4 #age4 ,footnote #abe3 ,reinach1 i4 #dfc4 ,footnote #abf3 ,naples #bbjb ,dubois-,maisonneuve1 ,introd4 pls4 #de-df4 ,footnote #abg3 ,reinach1 ii4 #i1 #cba and l4 ,cr4 i4 #cj 7,hebe72 ,reinach1 ii4 #cbe 7,iris74 ,footnote #abh3 ,b4,m4 ,e #fe ,reinach1 i4 #aic4 ,footnote #abi3 ,b4,m4 ,b #adg1 ,e #daj4 ,footnote #acj3 ,b4,m4 ,b #aig4 ,footnote #aca3 ,b4,m4 ,e #hb2 ,berlin #bbgh ,ant4 ,denkm4 i4 #i4 ,footnote #acb3 ,see above1 p4 #ac 7esp4 ,berlin #beca 7,fig4 #aab71 ,reinach1 ii4 #ahh l4 ,cr4 i4 #e1 ,boston ,mus4 ,report1 #ahih1 ,no4 #da1 and ,helbig1 ii4 p4 #cjd1 ,no4 #ha ,mus4 ,greg4 ii4 pl4 #ef1 #a72 ,b4,m4 ,b #aff2 ,berlin #bbgh2 ,reinach1 ii4 #gf2 ,louvre ,f #cj ,rev4 ,arch4 xiii4 7#ahhi71 pl4 #d 7by ,amasis74 ,footnote #acc3 ,b4,m4 ,b #dbe3 cf4 ,mus4 ,greg4 ii4 #ba1 #a4 ,footnote #acd3 ,b4,m4 ,b #bab1 ,b #bfb1 and ,reinach1 ii4 #bc1 #cj ,munich #ade 7,apollo72 ,boston ,mus4 ,report1 #ahif1 ,no4 #a1 and ,athens #gej 7,hermes72 ,athens #hch1 l4 ,cr4 ii4 #cj7871 iii4 #ac1 #cf ,a 7,athena and ,hermes72 ,b4,m4 ,b #aia 7,ares and ,hermes71 ,b #bbh 7,athena1 ,ares1 ,herakles72 ,bourguignon ,sale ,cat4 #da 7,apollo1 ,eros1 ,nereids1 ,papposilenos74 ,footnote #ace3 ,b4,m4 ,e #adj4 ,footnote #acf3 ,reinach1 ii4 #ce2 and see ,b4,m4 ,e #dde4 ,footnote #acg3 ,berlin #cdg-dgc 7alone71 #dgd-ecg 7with ,a473 see also #ghg-hcc2 specimens published in ,ant4 ,denkm4 i4 pls4 #g-h 7e4g4 ,fig4 #aae ,berlin #die74 ,footnote #ach3 ,b4,m4 ,e #cbb2 ,berlin #bafd2 ,bibl4 ,nat4 #cfc ,reinach1 ii4 #beg1 #d2 ibid4 ii4 #bb1 #h2 ,petersburg #aeca1 #bafd4 ,with ,amphitrite pouring a libation3 ,wiener ,vorl4 vii4 #b 7,duris in ,louvre74 ,footnote #aci3 ,reinach1 ii4 #ce4 ,footnote #adj3 ,athens #hhj2 ,bibl4 ,nat4 #cad4 ,footnote #ada3 ,berlin #ahfi2 ,athens #hcf2 ,reinach1 ii4 #bb2 ,b4,m4 ,b #bed 7 inscribed by error for 74 ,footnote #adb3 ,naples #cbai ,reinach1 i4 #abe4 ,footnote #adc3 l4 ,cr4 iii4 #ad4 ,footnote #add3 ,plate ,l43 cf4 ,bibl4 ,nat4 #bbb ,reinach1 ii4 #bea ,rayet and ,collignon1 p4 #aba4 ,footnote #ade3 ,reinach1 i4 #abd1 #dfe1 ii4 #bb 7,jatta #acdf71 #aha2 ,athens #aaga ,heydemann1 ,gr4 ,vas4 pl4 #b1 #a4 ,amymone alone may be intended on ,bibl4 ,nat4 #cei4 ,footnote #adf3 ,b4,m4 ,e #agd2 ,reinach1 ii4 #bc ,helbig1 ii4 p4 #cji1 ,no4 #ajb4 ,footnote #adg3 ,bibl4 ,nat4 #dcb ,millin-,reinach1 ii4 #bj2 l4 ,cr4 iii4 #bj-be2 ,bibl4 ,nat4 #cgj2 ,reinach1 i4 #bhf ,wiener ,vorl4 viii4 #b1 by ,brygos 7perhaps the ,nymph ,salamis3 cf4 ,j4,h4,s4 ix4 p4 #ef2 the scenes on the exterior of this cup may refer to ,kychreus1 the son of ,poseidon and ,salamis1 and the snake slain by him74 ,athens #aeea ,heydemann1 ,gr4 ,vas4 pl4 #a1 fig4 #b1 seems to represent ,poseidon pursuing a ,nereid4 ,footnote #adh3 ,j4,h4,s4 xviii4 pp4 #bgg-gi1 and cf4 pl4 #ad 7,louvre ,g #ajd1 by ,euphronios71 where ,theseus is received by ,amphitrite4 ,footnote #adi3 ,bibl4 ,nat4 #dah ,j4,h4,s4 xviii4 p4 #bgh4 ,footnote #aej3 ,b4,m4 ,e #bfd4 ,footnote #aea3 ,reinach1 i4 #cfa4 ,footnote #aeb3 ,e4g4 i4 #cf4 ,footnote #aec3 ,reinach1 i4 #ajh1 #aie2 ,berlin #bfcd2 ,reinach1 i4 #cgi2 i4 #ii2 ,b4,m4 ,e #dfg2 ,b4,m4 ,f #bgi2 ,reinach1 i4 #ih4 ,footnote #aed3 ,b4,m4 ,b #aif1 ,munich #aad ,reinach1 i4 #dbb2 ,reinach1 ii4 #fa2 and see ,b4,m4 ,b #bbh2 ,reinach1 i4 #cja2 ii4 #ff 7,kyknos74 ,footnote #aee3 ,b4,m4 ,b #eg4 ,footnote #aef3 ,ath4 ,mitth4 #ahhf1 pl4 #aj 7with the ,graiae72 ,mon4 ,grecs1 #ahgh1 pl4 #b 7in ,louvre74 ,footnote #aeg3 ,millin-,reinach1 ii4 #d4 ,footnote #aeh3 ,b4,m4 ,b #dbh ,roscher1 iii4 #bdg4 ,footnote #aei3 ,b4,m4 ,e #i1 #gc2 ,reinach1 i4 #fd1 i4 #gh 7 ,naples #bfch71 ii4 #bgh2 ,wiener ,vorl4 vii4 #b 7,duris in ,louvre72 ,munich #cfi ,furtwaengler and ,reichhold1 #bd 7,hieron73 all ,r4,f4 ,see also p4 #abj4 ,footnote #afj3 ,b4,m4 ,b #bja2 ,reinach1 i4 #cdf1 #f-g4 ,footnote #afa3 ,b4,m4 ,b #bbe1 ,e #afb2 ,bibl4 ,nat4 #bee ,reinach1 ii4 #fa4 ,see p4 #aja4 ,footnote #afb3 ,reinach1 i4 #cci4 ,footnote #afc3 ,berlin #agcb ,reinach1 ii4 #ff 7inscribed 74 ,footnote #afd3 ,reinach1 ii4 #gf4 ,footnote #afe3 ,naples #cceb ,reinach1 i4 #dhe4 ,footnote #aff3 ,b4,m4 ,b #eea4 ,footnote #afg3 ,athens #aeea4 ,footnote #afh3 ,b4,m4 ,e #aji2 ,berlin #afgf ,reinach1 ii4 #bb2 ,louvre ,f #adh4 ,footnote #afi3 ,b4,m4 ,b #bbc1 #caa2 ,reinach1 i4 #bbg1 ii4 #fa1 #a4 ,see p4 #aja4 ,footnote #agj3 ,j4,h4,s4 xviii4 p4 #bgg4 ,footnote #aga3 ,naples #cdab ,reinach1 i4 #dih4 ,footnote #agb3 ,b4,m4 ,b #aff 7,palaimon871 ,e #aef 7,leukothea3 see p4 #acf72 ,reinach1 i4 #cai 7,ino873 for possible instances of ,melikertes see ,berlin #ggi1 #ghj1 #iad1 and ,roscher1 ii4 p4 #bfce4 ,footnote #agc3 ,naples #agfg ,engelmann-,anderson1 ,atlas to ,homer1 ,od4 pl4 iv4 #bb2 ,b4,m4 ,b #bja4 ,footnote #agd3 ,b4,m4 ,f #bah4 ,footnote #age3 ,berlin #ajjg1 #ajjh2 l4 ,cr4 iii4 #ca and #cb ,b 7fem472 see ,vol4 ,i4 p4 #cad4 ,footnote #agf3 ,ant4 ,denkm4 i4 #ei 7,branteghem ,coll4 #he72 ,b4,m4 ,e #ggd 7names given to fancy scene73 see also ,munich #cca2 ,naples #bfch ,reinach1 i4 #gh1 #b2 and ,kretschmer1 ,gr4 ,vaseninschr4 p4 #bjj4 ,footnote #agg3 ,see p4 #be1 note #aei2 also ,reinach1 p4 #bca4 ,footnote #agh3 ,b4,m4 ,f #fi2 ,jatta #adif ,reinach1 i4 #aab2 ,reinach1 i4 #cjj2 ,roscher1 iii4 #bba-bd3 see generally ,heydemann's ,nereiden mit ,waffen4 ,footnote #agi3 ,louvre ,e #fdc ,reinach1 i4 #caa4 ,footnote #ahj3 ,reinach1 i4 #hc1 #bcb4 ,footnote #aha3 ,ibid4 ii4 #fa4 ,footnote #ahb3 ,berlin #cbda ,roscher1 iii4 #bah2 ,petersburg #aiae ,reinach1 i4 #ba4 ,footnote #ahc3 ,reinach1 i4 #bhf4 ,footnote #ahd3 ,b4,m4 ,b #aee4 ,footnote #ahe3 ,bourguignon ,sale ,cat4 #da2 and in assemblies of the gods1 ,reinach1 ii4 #gf4 ,footnote #ahf3 ,naples #cbbb ,reinach1 i4 #afg4 ,footnote #ahg3 ,vase in ,boston 7#aijj ,report1 ,no4 #d73 cf4 for a ,nereid787 with dolphins1 ,louvre ,g #c4 ,footnote #ahh3 ,mon4 ,grecs1 #ahge1 pt4 #d1 pls4 #a-b4 ,footnote #ahi3 ,the best example is a votive plaque found at ,eleusis in #ahie 7,athens #aifh 4 4 #aija1 pl4 #a73 see also ,petersburg #agib and #ebe ,reinach1 i4 #a and #aa ,baumeister1 i4 pp4 #dgd-ge4 ,footnote #aij3 ,for other deities in ,eleusinian scenes1 see under ,aphrodite1 ,hermes1 ,dionysos1 ,hekate4 ,footnote #aia3 ,b4,m4 ,f #fh4 ,footnote #aib3 ,rev4 ,arch4 xxxvi4 7#aijj71 p4 #ic4 ,footnote #aic3 ,petersburg #agib-ic ,reinach1 i4 #a1 #c4 ,footnote #aid3 ,reinach1 ii4 #cb2 ,b4,m4 ,f #ij4 ,footnote #aie3 ,reinach1 ii4 #cba2 ,athens #ahdd ,ath4 ,mitth4 #ahha1 pl4 #d4 ,footnote #aif3 ,athens #afbf ,dumont-,pottier1 pl4 #cg4 ,footnote #aig3 ,arch4 ,anzeiger1 #ahie1 p4 #ci 7,berlin73 cf4 4 4 #ahic1 pl4 #i1 and see p4 #adj below4 ,footnote #aih3 ,berlin #agjd ,reinach1 i4 #aig4 ,footnote #aii3 ,berlin #bfcd4 ,footnote #bjj3 ,athens #aabj ,ath4 ,mitth4 #aija1 pl4 #h4 ,footnote #bja3 ,reinach1 ii4 #cbi 7very dubious73 cf4 a terracotta from ,cyprus in ,b4,m4 7,a #cbf74 ,footnote #bjb3 ,b4,f43 ,reinach1 ii4 #cb-cc4 ,r4,f43 ,b4,m4 ,e #adj 7,plate ,,li472 ,e #ahc1 ,e #bha1 ,e #dfi2 ,petersburg #abjg ,reinach1 i4 #aj2 ,wiener ,vorl4 iv4 #g1 #d4 ,late3 ,petersburg #cej ,reinach1 i4 #ab2 ,helbig1 #abg ,millin-,reinach1 ii4 #ca1 and #aeb ,reinach1 ii4 #cd2 ,wiener ,vorl4 i4 #f4 ,footnote #bjc3 l4 ,cr4 iii4 #fb2 a newly acquired ,r4,f4 amphora in ,b4,m43 see also ,roscher1 ,e4g4 ,keleos1 p4 #ajbh2 ,reinach1 i4 #bhf 7872 ,munich #ccf4 ,footnote #bjd3 ,b4,m4 ,e #bgd and ,munich #bii3 see ,overbeck1 ,kunstmythol4 iii4 p4 #ece4 ,footnote #bje3 ,bibl4 ,nat4 #dbd ,reinach1 i4 #dfc4 ,footnote #bjf3 ,ath4 ,mitth4 #ahii1 pl4 #g4 ,footnote #bjg3 ,naples ,s4,a4 #aa ,reinach1 i4 #dja4 ,footnote #bjh3 ,reinach1 i4 #abd4 ,footnote #bji3 ,ibid4 i4 #aef1 #a3 see ,apollod4 iii4 #ad1 #d1 and ,hygin4 ,astron4 ii4 #g4 ,footnote #baj3 ,b4,f43 ,b4,m4 ,b #caj4 ,r4,f43 ,reinach1 i4 #ii1 #aef1 #b2 ,b4,m4 ,f #bgg2 ,baumeister1 i4 pl4 #g1 fig4 #dfb3 and see ,helbig1 #add ,overbeck1 ,kunstmythol4 ,atlas1 #ah1 #ab4 ,footnote #baa3 ,see below1 p4 #fg2 also ,berlin #ahdd and ,mus4 ,greg4 ii4 #ba1 #a1 for earlier examples4 ,footnote #bab3 ,reinach1 i4 #chi and #dja 7 ,naples ,s4,a4 #aa72 ibid4 ii4 #gj4 ,footnote #bac3 ,b4,m4 ,e #hb1 ,f #fh4 ,footnote #bad3 ,b4,f43 ,b4,m4 ,b #bfa2 ,munich #gbh ,reinach1 ii4 #dh4 ,late3 ,b4,m4 ,f #ccb ,plate ,,xlv4 ,footnote #bae3 ,reinach1 i4 #ebb1 #a ,roscher1 ii4 p4 #acgh2 ,baumeister1 i4 p4 #dbc1 fig4 #dfc 7inscribed74 ,footnote #baf3 ,reinach1 i4 #bbh 7,berlin #bfdf7 and #cdh 7,boston72 ,arch4 ,anzeiger1 #ahie1 p4 #cg 7,berlin72 ,harrison1 ,prolegomena to ,gk4 ,religion1 p4 #bgg 7vase in ,dresden2 ,satyrs astonished2 ,hermes present74 ,footnote #bag3 ,reinach1 i4 #add ,louvre ,f #caa ,baumeister1 i4 p4 #dde1 fig4 #dic4 ,footnote #bah3 ,robert1 ,arch4 ,mrchen1 p4 #aih ff43 see ,j4,h4,s4 xix4 p4 #bcb1 xx4 p4 #ajf ff41 and ,jahrbuch1 vi4 7#ahia71 p4 #aac2 also below1 under ,ge-,pandora 7p4 #gc71 and ,harrison1 ,prolegom4 to ,gk4 ,religion1 p4 #bgg ff4 ,footnote #bai3 ,for a more complete tabulation see ,overbeck1 ,kunstmythologie1 vol4 iv41 especially pp4 #db ff41 #cbb ff42 also the plates of vol4 ii4 of the l4 ,cr41 and the ,atlas to ,overbeck1 pls4 #ai to end4 ,footnote #bbj3 ,bibl4 ,nat4 #cfg ,reinach1 ii4 #beg4 ,footnote #bba3 ,b4,m4 ,b #bfj1 #fha4 ,footnote #bbb3 ,b4,m4 ,b #eib2 ,berlin #ahfh4 ,footnote #bbc3 l4 ,cr4 ii4 #c2 ii4 #f;,a ,petersburg #daa4 ,footnote #bbd3 ,b4,m4 ,b #aie1 ,f #ade7872 ,berlin #ahfg2 ,reinach1 ii4 #bi4 ,footnote #bbe3 ,reinach1 ii4 #bhf4 ,footnote #bbf3 ,b4,m4 ,e #hj4 ,footnote #bbg3 ,b4,m4 ,e #eaf2 l4 ,cr4 ii4 #d4 ,footnote #bbh3 ,b4,m4 ,e #bcb2 ,reinach1 ii4 #aeg1 #bif2 ,wiener ,vorl4 ,a4 #aj1 #b4 ,footnote #bbi3 ,b4,m4 ,e #edc2 ,reinach1 ii4 #bbh2 ,berlin #bfda l4 ,cr4 ii4 #dd4 ,footnote #bcj3 ,helbig1 #ig ,reinach1 i4 #gi ,baumeister1 i4 p4 #ajb1 fig4 #ajh4 ,footnote #bca3 ,millin-,reinach1 i4 #df2 ,petersburg #daa l4 ,cr4 ii4 #f;,a4 ,footnote #bcb3 ,b4,m4 ,f #caa2 ,naples #bijb l4 ,cr4 ii4 #ig;,a4 ,footnote #bcc3 ,reinach1 ii4 #caj l4 ,cr4 ii4 #fe4 ,footnote #bcd3 ,b4,m4 ,b #bfj1 #edh1 ,e #bgd1 #chc1 #ead2 ,brygos vase in ,louvre ,reinach4 i4 #bdf2 ,naples ,r4,c4 #afi ,reinach1 i4 #cac 7,artemis with torch2 localised at ,delphi by a crow on the omphalos74 ,footnote #bce3 l4 ,cr4 ii4 #aj 7,berlin #bbjf7 and #cb2 ,vienna #cca2 ,reinach1 ii4 #bg2 ,b4,m4 ,e #egi2 ,forman ,sale ,cat4 #cef4 ,footnote #bcf3 ,b4,m4 ,e #bfb2 ,reinach ii4 #bf 7 ,louvre ,f #big71 #bhd 7872 on ,melian amphora 7,athens #dge ,rayet and ollignon1 pl4 #c71 ,apollo in chariot1 before which stands ,artemis with stag4 ,footnote #bcg3 ,b4,m4 ,b #fhj1 ,e #bef2 ,reinach1 ii4 #bg-h1 #de 7,naples ,s4,a4 #aib72 ,athens #acdb4 ,footnote #bch3 ,athens #aifb 7,leto about to bring forth1 assisted by ,eileithyia74 ,footnote #bci3 ,b4,m4 ,b #afh1 #bac2 ,mus4 ,greg4 ii4 #ci1 #a a2 l4 ,cr4 ii4 #b4 ,nyx 7,night7 was similarly represented on the ,kypselos chest 7,paus4 v4 #ah1 #a74 ,footnote #bdj3 ,reinach1 ii4 #caj4 ,footnote #bda3 ,berlin #bbab ,overbeck1 ,kunstmythol4 iv4 p4 #cgh2 ,bibl4 ,nat4 #cjf l4 ,cr4 ii4 #a ,a4 ,footnote #bdb3 ,berlin #bfde ,reinach1 i4 #cig 7,apollo on omphalos1 with hind72 ,reinach1 ii4 #bf 7,louvre ,f #big71 #bh 7,bibl4 ,nat4 #ddc71 i4 #ahd 7,fig4 #aaf72 ,b4,m4 ,e #ejb 7omphalos72 ,athens #acfb 7by ,mys1 a fine example74 ,footnote #bdc3 ,reinach1 ii4 #bi2 ,b4,m4 ,b #bae1 #bde2 ,petersburg #i ,reinach1 ii4 #bd 7,apollo crowned by woman72 l4 ,cr4 ii4 #ci2 ,bibl4 ,nat4 #dbh2 ,munich #aeg4 ,footnote #bdd3 ,b4,m4 ,b #bab1 #bfb2 ,reinach1 ii4 #bc1 #cbc2 l4 ,cr4 ii4 #cj 7871 #cf ,c3 and cf4 ,bourguignon ,sale ,cat4 #da4 ,footnote #bde3 ,b4,m4 ,b #bch2 ,reinach1 ii4 #bd 7,munich #dg71 #be1 #cj2 ,naples #ahia l4 ,cr4 ii4 #ce2 ,munich #fji ,reinach1 ii4 #db4 ,footnote #bdf3 ,b4,m4 ,f #caa1 #cii4 ,footnote #bdg3 ,b4,m4 ,e #ghe4 ,footnote #bdh3 ,reinach1 ii4 #ahc4 ,footnote #bdi3 ,ibid4 ii4 #be 7871 #cb1 #gb-gc2 ,b4,m4 ,b #bjc1 and ,wiener ,vorl4 #ahhi1 pl4 #f1 #a2 and see generally ,overbeck1 ,kunstmythol4 iv4 p4 #ea4 ,footnote #bej3 ,b4,m4 ,b #aii-bja1 #baa1 etc42 ,reinach1 ii4 #gb2 ,berlin #ahbg 7all ,b4,f474 ,footnote #bea3 ,b4,m4 ,b #f2 see ,vol4 ,i4 p4 #cdd4 ,footnote #beb3 ,reinach1 i4 #bec2 l4 ,cr4 ii4 #dg-dh 7also ,iris74 ,footnote #bec3 ,naples #agfb ,millingen-,reinach1 #bi4 ,footnote #bed3 ,b4,m4 ,b #bei1 #bfa2 ,e #cbc1 #dae2 l4 ,cr4 ii4 #ac 7 ,reinach1 ii4 #bg74 ,in some of these ,artemis may be intended4 ,footnote #bee3 ,berlin #bchh2 l4 ,cr4 ii4 #gi1 #hj1 #hc1 #hf 7a fine example72 ,jatta #aech ,reinach1 i4 #ebf2 ,helbig1 #acc ,mus4 ,greg4 ii4 #ae1 #b2 and cf4 ,boston ,mus4 ,report for #ahih1 ,no4 #ed 7,a4 as a neat-herd874 ,footnote #bef3 ,b4,m4 ,b #aig1 #bih2 ,b4,m4 ,b #beg1 ,reinach1 ii4 #aed1 and ,millingen-,reinach1 #dd4 ,footnote #beg3 ,wiener ,vorl4 ,c4 #g1 #c ,roscher1 ii4 #hdb4 ,footnote #beh3 ,b4,m4 ,b #aie1 #bee-ef1 #beh2 ,f #gg2 ,reinach1 ii4 #bc4 ,footnote #bei3 ,petersburg #ahjg ,reinach1 i4 #h ,baumeister1 i4 p4 #ajd1 fig4 #aaj4 ,footnote #bfj3 ,munich #fb ,reinach1 ii4 #ge4 ,footnote #bfa3 ,b4,m4 ,b #agi4 ,footnote #bfb3 ,reinach1 ii4 #ca4 ,footnote #bfc3 ,reinach1 ii4 #bhg l4 ,cr4 ii4 #fb 7inscribed 3 see below1 p4 #gh74 ,footnote #bfd3 ,millin-,reinach1 i4 #ed4 ,footnote #bfe3 ,b4,f43 ,ant4 ,denkm4 i4 #bb4 ,r4,f43 ,b4,m4 ,e #ha2 ,reinach1 i4 #bbg ,vol4 ,i4 p4 #ddb4 ,late3 ,jatta #dbd ,reinach1 i4 #dfc2 ,naples #cbdf ,roscher1 iii4 #djg 7,niobe at grave of children74 ,footnote #bff3 ,b4,f43 ,reinach1 i4 #bdd 7 ,louvre ,e #hfd71 #bde2 ,bibl4 ,nat4 #aga ibid4 ii4 #beb4 ,r4,f43 ,b4,m4 ,e #bgh4 ,footnote #bfg3 ,louvre ,g #db ,reinach1 ii4 #bf4 ,footnote #bfh3 ,b4,m4 ,e #fd 7 ,reinach1 i4 #aaa71 ,e #agj 7 ,e4g4 i4 #ahe72 l4 ,cr4 ii4 #ba2 and see ,millin-,reinach1 i4 #ga4 ,footnote #bfi3 ,munich #gde ,reinach1 i4 #fg ,furtwaengler and ,reichhold1 #af3 see also ,bibl4 ,nat4 #aga ,reinach1 ii4 #bec4 ,footnote #bgj3 ,b4,m4 ,f #aea4 ,footnote #bga3 ,reinach1 i4 #cge4 ,footnote #bgb3 ,helbig #bbg ,reinach1 i4 #ceg2 ,e4g4 ii4 #bei ,bibl4 ,nat4 #hbj 7874 ,footnote #bgc3 ,b4,m4 ,b #adg4 ,footnote #bgd3 ,naples #fij1 #cbde4 ,footnote #bge3 ,reinach1 i4 #cee4 ,footnote #bgf3 ,millin-,reinach1 ii4 #be4 ,footnote #bgg3 ,reinach1 ii4 #big4 ,footnote #bgh3 ,petersburg #aggg ,reinach1 i4 #aec4 ,footnote #bgi3 ,see below1 p4 #ajc4 ,footnote #bhj3 ,b4,m4 ,f #dgi4 ,footnote #bha3 ,reinach1 ii4 #ef1 #c3 see p4 #ig4 ,footnote #bhb3 ,ibid4 i4 #bcc4 ,footnote #bhc3 ,berlin #agcb ,reinach1 ii4 #ff4 ,footnote #bhd3 ,reinach1 ii4 #fi4 ,footnote #bhe3 ,see p4 #ajf1 note #abai1 for ,b4,f4 scenes2 for ,r4,f4 7in ,olympos71 ,reinach1 i4 #bbb and ii4 #gf4 ,footnote #bhf3 ,berlin #bfcd4 ,footnote #bhg3 ,reinach1 i4 #chh4 ,footnote #bhh3 ,overbeck1 ,her4 ,bildw4 pl4 #b1 #aa ,wiener ,vorl4 #ahhi1 #i1 #f4 ,footnote #bhi3 ,b4,m4 ,e #fif4 ,footnote #bij3 ,berlin #bfcc2 ,reinach1 ii4 #hg 7872 ,wiener ,vorl4 ,e4 #aa ,jahrbuch1 #ahid1 p4 #beb4 ,footnote #bia3 ,b4,m4 ,f #aei2 ,franois vase2 ,helbig #ajf ,reinach1 ii4 #aja2 ,wiener ,vorl4 vi4 #g 7,duris in ,louvre72 ,b4,m4 ,e #dfh1 ,helbig #bcb ,reinach1 ii4 #ei2 ,reinach1 i4 #bah4 ,footnote #bib3 ,reinach i4 #aje 7,naples #cbbc7 and i4 #ejd2 ,b4,m4 ,f #aff1 ,berlin #cbef1 ,naples #aihd ,reinach1 i4 #cij1 #b1 and ,anzeiger1 #ahij1 p4 #ij 7,berlin74 ,footnote #bic3 ,reinach1 i4 #cba4 ,footnote #bid3 ,arch4 ,anzeiger1 #ahie1 p4 #ci 7,berlin74 ,footnote #bie3 ,b4,m4 ,e #ccf3 cf4 ,reinach1 i4 #bah and ,overbeck1 ,kunstmythol4 iv4 p4 #ae4 ,footnote #bif3 ,rm4 ,mitth4 #ahhh1 pl4 #a2 ,hartwig1 ,meistersch4 pl4 #fg1 #b2 ,e4g4 p4 #fjb ff4 7cultus-statue of the moon-goddess1 ,artemis ,munychia72 and see note #bii4 ,footnote #big3 ,vol4 ,i4 p4 #bhi2 ,berlin #cja ,reinach1 i4 #chj2 ,naples #cjd ,reinach1 i4 #chj2 ,baumeister1 i4 p4 #acb1 fig4 #aci2 ,franois vase2 ,arch4 ,anzeiger1 #ahij1 p4 #b 7,karlsruhe74 ,footnote #bih3 ,athens #dfb ,reinach1 i4 #eag3 see #ab #ahib1 p4 #bai ff4 ,footnote #bii3 l4 ,cr4 ii4 #g 7with hind and lyre72 ,bibl4 ,nat4 #cfe ,reinach1 ii4 #beg 7drawing arrow from quiver72 ,bibl4 ,nat4 #dia ,gaz4 ,arch4 #ahhe1 pl4 #cb2 ,reinach1 i4 #did 7with two dogs72 ,froehner1 ,muses de ,france1 pl4 #d4 ,footnote #cjj3 l4 ,cr4 ii4 #h1 #dc2 ,naples #cbec ,reinach1 i4 #aid2 ,b4,m4 ,f #bgd2 ,reinach1 ii4 #bbh4 ,footnote #cja3 ,b4,m4 ,e #dcb4 ,footnote #cjb3 ,millin-,reinach1 ii4 #gg4 ,footnote #cjc3 ,b4,m4 ,e #bfb ,reinach1 ii4 #de2 and see l4 ,cr4 ii4 #i 7in ,louvre74 ,footnote #cjd3 ,naples #bbjj ,reinach1 i4 #cgi2 ,berlin #cafd2 ,reinach1 ii4 #af 7874 ,footnote #cje3 ,b4,f43 ,athens #hhb ,heydemann1 ,gr4 ,vas4 pl4 #h1 #c2 l4 ,cr4 ii4 #ajc ,c4 ,late3 ,b4,m4 ,f #agf1 ,f #dhj 7,etruscan72 ,berlin #cbci l4 ,cr4 ii4 #ajc ,b2 ,reinach1 i4 #bbi and #bej 7the former of these now at ,boston74 ,footnote #cjf3 ,athens #hce ,ath4 ,mitth4 #ahij1 pl4 #h4 ,footnote #cjg3 ,b4,m4 ,f #aei4 ,footnote #cjh3 ,reinach1 i4 #ajd1 #acc1 #aeh1 #ejd4 ,footnote #cji3 ,athens #aiba ,reinach1 i4 #eaa4 ,footnote #caj3 ,b4,m4 ,b #aie1 ,b #caf1 ,e #bee2 ,bibl4 ,nat4 #bea ,reinach1 ii4 #beb4 ,footnote #caa3 ,reinach1 ii4 #d4 ,footnote #cab3 ,ibid4 i4 #acb4 ,footnote #cac3 ,b4,m4 ,b #aig1 ,b #bih2 ,reinach1 ii4 #aed3 cf4 ,b4,m4 ,b #beg4 ,footnote #cad3 l4 ,cr4 ii4 #ij4 ,footnote #cae3 ,see above1 p4 #ae4 ,footnote #caf3 ,b4,m4 ,e #daj4 ,footnote #cag3 ,reinach1 ii4 #cb4 ,footnote #cah3 ,b4,m4 ,b #bjc4 ,footnote #cai3 ,reinach1 i4 #dii4 ,footnote #cbj3 ,b4,m4 ,b #bca2 ,reinach1 i4 #bcc4 ,footnote #cba3 ,b4,m4 ,f #dgi4 ,footnote #cbb3 ,b4,m4 ,b #cbj2 ,reinach1 ii4 #gb2 in ,olympos1 ,b4,m4 ,b #cgi1 ,berlin #bbgh1 and ,reinach1 ii4 #gf4 ,footnote #cbc3 ,wiener ,vorl4 vi4 #g ,duris kylix in ,louvre4 ,footnote #cbd3 ,millin-,reinach1 ii4 #be4 ,footnote #cbe3 ,arch4 ,anzeiger1 #ahie1 p4 #cf4 ,footnote #cbf3 ,see note #cbf on p4 #ag4 ,footnote #cbg3 ,b4,m4 ,e #dg2 ,berlin #bbic4 ,footnote #cbh3 ,b4,m4 ,b #adg1 ,b #bdd2 ,b4,m4 ,e #daj2 ,bibl4 ,nat4 #ddd4 ,footnote #cbi3 ,e #dfg and ,d #d4 ,footnote #ccj3 ,berlin #becg ,reinach1 i4 #bjh2 ibid4 i4 #ff 7,munich #cde71 #aac4 ,footnote #cca3 ,berlin #bbid2 and see below1 p4 #acj4 ,footnote #ccb3 ,b4,m4 ,b #ejg2 l4 ,cr4 i4 #ea3 cf4 p4 #aga4 ,footnote #ccc3 ,bibl4 ,nat4 #hbj ,reinach1 ii4 #bei 7874 ,footnote #ccd3 ,reinach1 i4 #ccj4 ,footnote #cce3 ,b4,m4 ,b #cjb1 and cf4 ,f #fh4 ,footnote #ccf3 ,b4,m4 ,b #beb3 see ,arch4 ,journ4 ii4 p4 #fg4 ,footnote #ccg3 ,berlin #bieg l4 ,cr4 i4 #hh 7,etruscan74 ,footnote #cch3 ,b4,m4 ,d #d2 ,e #dfg4 ,footnote #cci3 ,plate ,l42 and see p4 #bd4 ,footnote #cdj3 ,b4,m4 ,e #ahb2 ,petersburg #agib ,reinach1 i4 #a4 ,footnote #cda3 ,berlin #becg2 ,b4,m4 ,e #cgb2 ,munich #cde ,reinach1 i4 #ff2 ,wiener ,vorl4 iii4 #b ,reinach1 i4 #aac4 ,footnote #cdb3 ,athens #aifb4 ,footnote #cdc3 ,reinach1 i4 #abf3 for other examples see p4 #abb4 ,footnote #cdd3 ,bibl4 ,nat4 #baf l4 ,cr4 iv4 #if 7,ares72 ,bibl4 ,nat4 #hbj ,reinach1 ii4 #bei 7,hephaistos74 ,footnote #cde3 ,b4,m4 ,e #bfh2 ,bibl4 ,nat4 #bbj 7 ,reinach1 ii4 #baa7 and #bbi2 and see under ,hermes1 p4 #eb1 note #eia4 ,footnote #cdf3 ,reinach1 i4 #aa4 ,footnote #cdg3 ,b4,m4 ,b #eeb2 ,berlin #bagi ,wiener ,vorl4 iii4 #f2 ,mus4 ,greg4 ii4 #ch1 #b;,e4g4 7with ,poseidon and ,dionysos74 ,footnote #cdh3 ,reinach1 i4 #dfc4 ,footnote #cdi3 ,berlin #bdah ,baumeister1 ii4 p4 #ajja1 fig4 #abji3 cf4 ,b4,m4 ,e #dij and ,reinach1 i4 #cdb 7in ,boston72 ,reinach1 i4 #age1 #eaj1 #eaa 7,athens #aiba74 ,footnote #cej3 l4 ,cr4 i4 #fh1 #gf ,a2 with ,n4 sacrificing1 ,boston ,mus4 ,report1 #ahih1 ,no4 #ea4 ,footnote #cea3 ,b4,m4 ,e #cbd 7,hebe872 ,reinach1 ii4 #cbc 7,hebe872 ibid4 #cbd 7,iris74 ,footnote #ceb3 ,vienna #cbi3 cf4 l4 ,cr4 i4 #hb 7,a4 with ,z41 but not pouring libation74 ,footnote #cec3 ,see p4 #ajf for these scenes1 in which she is almost invariably present4 ,footnote #ced3 ,b4,m4 ,b #aih1 ,b #dih2 ,helbig #ic #a ii4 #ed1 #b4 ,footnote #cee3 ,b4,m4 ,d #ad2 ,berlin #bfbf ,coll4 ,sabouroff1 i4 #fg2 ,millin-,reinach1 ii4 #da4 ,footnote #cef3 ,reinach1 ii4 #ge 7doubtful74 ,footnote #ceg3 ,stackelberg1 pl4 #ae4 ,footnote #ceh3 ,arch4 ,anzeiger1 #ahih1 p4 #ea 7vase in ,boston74 ,footnote #cei3 ,b4,m4 ,e #dh2 ,berlin #bagi ,wiener ,vorl4 iii4 #f2 ,boston ,mus4 ,report1 #aijj1 ,no4 #be2 ,reinach1 i4 #ee1 #f 7,petersburg #aaf71 #ia1 #dba 7,petersburg #bjab71 ii4 #bga2 and see ,wiener ,vorl4 ,e4 #ab1 #b4 ,footnote #cfj3 ,b4,m4 ,b #aee1 #bdh1 #chj1 ,e #aha1 #dic1 ,f #hc2 ,bibl4 ,nat4 #bgg ,reinach1 i4 #bij2 ,mon4 ,grecs1 #ahgh1 pl4 #b4 ,footnote #cfa3 ,b4,m4 ,e #ha2 ,petersburg #bahi ,reinach1 i4 #e7874 ,footnote #cfb3 ,reinach1 i4 #ajh1 #aie1 #cca4 ,footnote #cfc3 ,ibid4 i4 #ajb1 #bbf4 ,footnote #cfd3 ,b4,m4 ,e #fif4 ,footnote #cfe3 ,reinach1 i4 #ahd4 ,footnote #cff3 ,b4,m4 ,e #aee4 ,footnote #cfg3 ,reinach1 i4 #dhj4 ,footnote #cfh3 ,bull4 de ,corr4 ,hell4 #ahih1 p4 #ehf4 ,footnote #cfi3 ,reinach1 i4 #bca4 ,footnote #cgj3 ,arch4 ,anzeiger1 #ahie1 p4 #ci 7,berlin74 ,footnote #cga3 ,reinach1 i4 #cfc4 ,footnote #cgb3 ,ibid4 ii4 #bif3 see pp4 #gg1 #abh4 ,footnote #cgc3 ,at meeting of ,paris and ,helen1 ,athens #aidb ,reinach1 i4 #djb2 at combat of ,ajax and ,hector1 ,wiener ,vorl4 vi4 #g 7,duris in ,louvre72 at dispute over the arms1 ,b4,m4 ,e #fi2 and see for other instances1 ,reinach1 i4 #c1 #hb1 #ach1 #agd1 #bah2 ii4 #ei1 #bff4 ,footnote #cgd3 ,reinach1 ii4 #aaj4 ,footnote #cge3 ,vase in ,boston3 see #ahii ,report1 ,no4 #af4 ,footnote #cgf3 ,see below1 p4 #abd4 ,footnote #cgg3 ,b4,m4 ,b #eda1 ,e #afj4 ,footnote #cgh3 ,reinach1 i4 #e 7871 #aeh1 #cij2 ,arch4 ,anzeiger1 #ahij1 p4 #ij 7,berlin74 ,footnote #cgi3 ,berlin #bcac ,reinach1 i4 #daf ,wiener ,vorl4 vii4 #d1 #c4 ,footnote #chj3 ,b4,m4 ,e #caf ,plate ,,xxxvi4 ,footnote #cha3 ,reinach1 ii4 #abc 7 ,munich #aahe71 #bfb 7 ,bibl4 ,nat4 #cfi74 ,footnote #chb3 ,b4,m4 ,e #bii4 ,footnote #chc3 ,berlin #ahdf ,reinach1 ii4 #cj 7before ,dionysos74 ,footnote #chd3 ,reinach1 i4 #cdb4 ,footnote #che3 ,ibid4 ii4 #aff2 ,boston ,mus4 ,report1 #ahif1 ,no4 #a4 ,footnote #chf3 l4 ,cr4 i4 #hc4 ,footnote #chg3 ,berlin #bdae ,reinach1 i4 #cdc 7the ,trojan horse874 ,footnote #chh3 ,vol4 ,i4 p4 #bbc1 ,fig4 #gb4 ,footnote #chi3 ,reinach1 i4 #eja4 ,footnote #cij3 ,ibid4 ii4 #dd4 ,footnote #cia3 ,b4,m4 ,e #eae1 #eai4 ,footnote #cib3 ,rm4 ,mitth4 #ahig1 pl4 #ab2 ,bibl4 ,nat4 #bfj2 ,louvre ,f #chj4 ,footnote #cic3 ,b4,m4 ,b #bjc2 ,reinach1 ii4 #gc2 with ,poseidon1 ,athens #hcf2 with ,hermes1 ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 pl4 #d1 #a4 ,footnote #cid3 ,millin-,reinach1 ii4 #be4 ,footnote #cie3 ,reinach1 ii4 #abe1 #acj2 ,bibl4 ,nat4 #bcb1 #bef ,rein4 ii4 #bed4 ,footnote #cif3 ,ibid4 i4 #dd4 ,footnote #cig3 ,bibl4 ,nat4 #bfj4 ,footnote #cih3 ,b4,m4 ,b #bdb1 #cgi1 #eda1 ,e #afj1 #dgj1 ,f #afj1 #bji1 #bgh2 ,munich #fe ,reinach1 i4 #gf2 ,naples #bdbb ,furtwaengler and ,reichhold1 #cd4 ,footnote #cii3 ,see below1 p4 #acc4 ,footnote #djj3 ,b4,m4 ,e #did1 ,e #fif2 ,e #gaf 7moulded vase72 and cf4 ,b #faa 7,nikephoros74 ,footnote #dja3 ,b4,m4 ,b #bbb1 ,e #cje 7,pl4 ,,xxxvi471 ,e #cbd1 ,e #eae2 l4 ,cr4 i4 #hb2 ,bibl4 ,nat4 #bai2 ,bull4 de ,corr4 ,hell4 #ahih1 p4 #ehf4 ,footnote #djb3 ,for a fine example of ,athena ,promachos see ,athens #aafi ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 #ca1 #b4 ,footnote #djc3 ,see ,vol4 ,i4 p4 #chi1 and ,plates ,,xxxiii41 ,,xxxiv42 also the ,b4,m4 examples ,b #acj-df1 #fjb-ab4 ,footnote #djd3 l4 ,cr4 i4 #fg4 ,footnote #dje3 ,b4,m4 ,b #hj2 ,berlin #afhf ,rayet-,collignon1 pl4 #g2 ,reinach1 ii4 #abb2 ,athens #aheh ,reinach1 i4 #cif 7identified as ,athena ,nike or ,onka72 for the trophy-like form of the figure on the last-named cf4 the coins of ,pergamon inscribed 3 see also for a curious subject ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 pl4 #ca1 fig4 #a4 ,footnote #djf3 ,b4,m4 ,d #bb2 ,bibl4 ,nat4 #dgb ,reinach1 i4 #aca1 #d4 ,footnote #djg3 ,b4,m4 ,b #adg2 ,reinach1 i4 #aef4 ,footnote #djh3 ,b4,m4 ,b #fag2 ,berlin #beca2 ,bibl4 ,nat4 #egc ,reinach1 ii4 #bef2 ,athens #abei ,reinach1 i4 #ejf4 ,footnote #dji3 ,see p4 #aja2 for his subsequent attack on ,athena1 ,arch4 ,anzeiger1 #ahih1 p4 #ea 7vase in ,boston74 ,footnote #daj3 ,b4,m4 ,e #fg1 ,e #hb2 ,reinach1 i4 #bjc4 ,footnote #daa3 ,b4,m4 ,b #aia1 ,b #bbh4 ,footnote #dab3 ,amer4 ,journ4 of ,arch4 #ahif1 p4 #f1 fig4 #d4 ,footnote #dac3 ,bibl4 ,nat4 #baf 7 l4 ,cr4 iv4 #if7 and #bbi4 ,footnote #dad3 l4 ,cr4 iv4 #id-ie2 ,b4,m4 ,e #hb1 and ,berlin #bbgh 7in assemblies of gods72 ,gaz4 ,arch4 #ahgf1 pl4 #cd4 ,footnote #dae3 ,b4,m4 ,b #eea2 and see ,athens #ijc4 ,footnote #daf3 l4 ,cr4 iv4 #ih4 ,footnote #dag3 ,b4,m4 ,e #dfg4 ,footnote #dah3 ,b4,m4 ,e #aee4 ,footnote #dai3 ,reinach1 i4 #dfc4 ,footnote #dbj3 ,b4,m4 ,b #cgi2 ,berlin #aifa 7 ,reinach1 ii4 #dc7 and #bbgh2 ,bibl4 ,nat4 #bed4 ,footnote #dba3 ,reinach1 ii4 #ia4 ,footnote #dbb3 l4 ,cr4 iv4 #ii4 ,footnote #dbc3 ,rm4 ,mittheil4 #ahii1 pl4 #g3 cf4 ,paus4 vii4 #h4 ,footnote #dbd3 ,b4,m4 ,f #ajh1 #cgc 7872 ,millingen-,reinach1 #bf2 ,reinach1 i4 #aai1 #bfe1 #cbe1 #dgi 7872 l4 ,cr4 iv4 #ff 7874 ,footnote #dbe3 ,reinach1 i4 #dii ,naples ,s4,a4 #gjb2 also ,naples #bijj ,millingen-,reinach1 #da ,baumeister1 iii4 p4 #afec1 fig4 #agad4 ,footnote #dbf3 ,reinach1 i4 #aef4 ,footnote #dbg3 ,b4,m4 ,d #b2 ,j4,h4,s4 xii4 pl4 #ac2 ,jahrb4 #ahhf1 pl4 #aa1 #b2 ,berlin #bfcf 7l4 ,cr4 iv4 #e7 and #bfhh 7 ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 #cg1 #c72 ,reinach1 ii4 #g1 #ahc4 ,late3 ,b4,m4 ,f #bdj1 #eef4 ,footnote #dbh3 ,berlin #bfce ,jahrbuch1 #ahhi1 p4 #bjh ,roscher1 iii4 #aead4 ,footnote #dbi3 ,berlin #bffj4 ,footnote #dcj3 l4 ,cr4 iv4 #f4 ,footnote #dca3 ,arch4 ,anzeiger4 #ahih1 p4 #acg 7,dresden vase73 cf4 ,paul1 ,e4g4 ,fest4 iii4 ,e4g4 ,cytherea and the ,b4,m4 terracottas ,d #hi-ia4 ,footnote #dcb3 ,b4,m4 ,e #gab1 #gge2 ,athens #aidd2 ,reinach1 i4 #abd1 ii4 #cbc2 ,inghirami1 ,vasi ,fitt4 #cbd4 ,footnote #dcc3 ,reinach1 i4 #cec4 ,footnote #dcd3 ,b4,m4 ,e #bcj1 ,f #caa2 ,athens #aehh ,roscher1 iii4 p4 #baai 7,fig4 #aag72 ,reinach1 i4 #ci1 ii4 7#bij2 ,burlington ,fine ,arts ,club ,cat4 #aijc71 p4 #ajh1 ,no4 #df4 ,footnote #dce3 ,reinach1 ii4 #cja1 #cbj2 ,berlin #bgjg ,coll4 ,sabouroff1 pl4 #fb1 #b4 ,footnote #dcf3 ,petersburg #aihc ,reinach1 i4 #ae4 ,footnote #dcg3 ,froehner1 ,muses de ,france1 pl4 #ac1 #d4 ,footnote #dch3 ,berlin #dabf ,reinach1 i4 #abh4 ,footnote #dci3 ,b4,m4 ,e #fii ,j4,h4,s4 xi4 pl4 #d4 ,footnote #ddj3 ,b4,m4 ,e #bbd1 #fig1 #fih1 #gge2 ,berlin #cbeg 7with ,eunomia and ,euthymia at marriage of ,herakles and ,hebe72 ,naples ,s4,a4 #caf ,reinach1 i4 #dgg 7with ,eukleia1 ,klymene1 and ,pannychis72 ,mon4 ,grecs1 #ahhi-ij1 pls4 #i-aj 7without names72 ,fig4 #aag ,athens #aehh ,roscher1 iii4 p4 #baai 7with ,kore1 ,hebe1 ,eudaimon1 ,harmonia1 and others74 ,footnote #dda3 ,reinach1 ii4 #cae2 ,millin-,reinach1 i4 #fe4 ,footnote #ddb3 ,reinach1 i4 #aih4 ,footnote #ddc3 ,b4,m4 ,e #bcj1 ,e #bhi1 and cf4 ,f #caa2 ,baumeister1 i4 p4 #fah1 fig4 #fhg 78 see p4 #eg1 note #gaj74 ,footnote #ddd3 l4 ,cr4 iv4 #ch4 ,footnote #dde3 ,stackelberg1 pl4 #cj3 cf4 ,b4,m4 ,e #fig4 ,footnote #ddf3 ,reinach1 i4 #abi2 ,b4,m4 ,f #beh2 ,bibl4 ,nat4 #ajje1 #aacc 7head of ,a4 adorned by two ,erotes74 ,footnote #ddg3 ,see above1 p4 #ag4 ,footnote #ddh3 ,b4,m4 ,e #ae2 ,reinach1 i4 #aef7;,b4,f474 ,footnote #ddi3 ,b4,m4 ,b #aig4 ,footnote #dej3 ,mon4 ,grecs1 #ahge1 pls4 #a-b4 ,footnote #dea3 ,petersburg #cej1 #ebe ,reinach1 i4 #aa-ab2 ,rev4 ,arch4 xxxvi4 7#aijj71 p4 #ic4 ,footnote #deb3 ,b4,m4 ,f #bgj1 #ccb2 ,reinach1 i4 #cee-ef1 #dgi4 ,footnote #dec3 ,b4,m4 ,b #bjc2 ,f #ij4 ,footnote #ded3 ,reinach1 i4 #abd1 #dfe2 ii4 #aha4 ,footnote #dee3 ,berlin #cafd2 ,reinach1 i4 #aaa1 #d and #daf4 ,footnote #def3 ,berlin #cbci4 ,footnote #deg3 ,reinach1 i4 #dje1 #deb 7,berlin #biej72 ii4 #aig4 ,footnote #deh3 ,helbig #aah ,overbeck1 ,kunstmythol4 ,atlas1 #f1 #ac4 ,footnote #dei3 ,reinach1 i4 #ebf4 ,footnote #dfj3 ,reinach1 i4 #dha2 ,berlin #bbgh2 ,furtwaengler-,reichhold1 #bj2 at marriage with ,hebe1 ,berlin #cbeg4 ,footnote #dfa3 ,b4,m4 ,e #bbd4 ,footnote #dfb3 ,reinach1 i4 #ia4 ,footnote #dfc3 ,b4,m4 ,e #bbd4 ,footnote #dfd3 ,naples #cbbf ,millin-,reinach1 ii4 #g 7,kadmos72 ,b4,m4 ,f #bga 7,pelops72 ,reinach1 i4 #ahh1 and ,jahrbuch1 #ahif1 pl4 #b 7,perseus72 ,naples ,s4,a4 #aa ,reinach1 i4 #dja 7,meleager74 ,footnote #dfe3 ,see below1 p4 #abb4 ,footnote #dff3 ,millingen-,reinach1 #dc3 cf4 ,berlin #cbdd for another possible ,anchises4 ,footnote #dfg3 ,b4,m4 ,e #dbd2 ,franois vase4 ,footnote #dfh3 ,reinach1 i4 #dcg4 ,footnote #dfi3 ,b4,m4 ,e #gc2 ,tyszkiewicz ,coll4 pl4 #ah 7now in ,boston74 ,footnote #dgj3 ,b4,m4 ,f #bji4 ,footnote #dga3 ,reinach1 i4 #bbb1 and cf4 i4 #dcg and ,b4,m4 ,f #bgh 7statue of ,a472 ,noel des ,vergers1 trurie1 iii4 pl4 #ci4 ,footnote #dgb3 ,b4,m4 ,b #agc1 #bhj2 ,reinach1 ii4 #aaf4 ,footnote #dgc3 ,b4,m4 ,e #bhi2 ,reinach1 i4 #g1 #ae1 #abf2 ,wiener ,vorl4 ,a4 #aj1 #c4 ,footnote #dgd3 ,b4,m4 ,f #ajh 7anointing ,adonis' hair74 ,footnote #dge3 ,b4,m4 ,e #abi4 ,footnote #dgf3 ,zeus and ,dana3 ,b4,m4 ,e #gaa2 ,europa3 ,b4,m4 ,e #bca1 ,f #ahd1 ,naples #cbah 7,eros on bull72 ,reinach1 i4 #bb1 #bd4 ,footnote #dgg3 ,reinach1 i4 #ddi4 ,footnote #dgh3 ,b4,m4 ,f #bgb1 #bgi2 ,arch4 ,anzeiger1 #ahij1 p4 #hi 7,berlin74 ,footnote #dgi3 ,b4,m4 ,e #dbd2 ,plate ,,xxxix4 fig4 #b4 ,footnote #dhj3 ,b4,m4 ,f #bga1 #cca2 ,reinach1 i4 #bce4 ,footnote #dha3 ,reinach1 i4 #i1 #djb 7,athens #aidb71 #dcg4 ,footnote #dhb3 ,reinach1 i4 #aef1 ii4 #cji4 ,footnote #dhc3 ,ibid4 i4 #ff4 ,footnote #dhd3 ,b4,m4 ,e #bbg4 ,footnote #dhe3 ,b4,m4 ,f #ajg4 ,footnote #dhf3 ,reinach1 i4 #bb4 ,footnote #dhg3 ,b4,m4 ,f #bgj2 ,reinach1 i4 #cee1 #dee 7with ,orpheus74 ,footnote #dhh3 ,reinach1 i4 #ff2 ,e4g4 i4 #ajj1 #afg2 ,b4,m4 ,f #aeb1 #aid2 ,gerhard1 ,akad4 ,abhandl4 pl4 #g1 fig4 #a ,inghirami1 ,vasi ,fitt4 #cid 7with ,helios and ,selene 8see p4 #gi1 note #ied72 ,b4,m4 ,f #gd and ,f #ajb 7,herakles74 ,footnote #dhi3 ,b4,m4 ,f #caa3 cf4 ,f #cii4 ,footnote #dij3 ,b4,m4 ,f #ij4 ,footnote #dia3 ,b4,m4 ,f #fi3 cf4 ,bourguignon ,sale ,cat4 #da4 ,footnote #dib3 ,b4,m4 ,e #bbh1 #dbh1 #dce1 #gjc2 ,f #eh1 #fj1 #gb1 #chb2 ,millin-,reinach1 ii4 #af 7offers wreath to ,d474 ,footnote #dic3 ,millin-,reinach1 i4 #bj4 ,footnote #did3 ,reinach1 i4 #ebe1 #ebf4 ,footnote #die3 ,b4,m4 ,e #bbe1 #bbi1 #gje2 ,f #ach1 #cjh1 #caj1 #ccb4 ,footnote #dif3 ,reinach1 i4 #bjf4 ,footnote #dig3 ,b4,m4 ,e #abf1 #ahi1 #aia4 ,footnote #dih3 ,b4,m4 ,f #dh4 ,footnote #dii3 ,athens #aidf ,dumont-,pottier1 i4 pl4 #ba1 #e4 ,footnote #ejj3 ,b4,m4 ,e #bje 7872 ,reinach1 i4 #dab4 ,footnote #eja3 ,b4,m4 ,f #abc 7cf4 p4 #ej1 note #edg72 ,reinach1 ii4 #cae ,baumeister1 ii4 p4 #ghj1 fig4 #hcd4 ,footnote #ejb3 ,b4,m4 ,e #gjd2 ,e #gba4 ,footnote #ejc3 ,reinach1 i4 #bcb4 ,footnote #ejd3 ,bull4 de ,corr4 ,hell4 #ahii1 p4 #aeh ,burlington ,club ,cat4 #aijc1 p4 #ig1 ,no4 #aa4 ,footnote #eje3 ,b4,m4 ,e #cig1 ,reinach1 ii4 #adb2 ,b4,m4 ,e #bag1 #cfj1 #gjb1 ,reinach1 ii4 #cae4 ,footnote #ejf3 ,reinach1 ii4 #cag2 ,hartwig1 ,meistersch4 pl4 #bb1 fig4 #a 78 see p4 #hj1 note #igj74 ,footnote #ejg3 ,reinach1 ii4 #aia4 ,footnote #ejh3 ,naples #bifa4 ,footnote #eji3 ,b4,m4 ,e #big4 ,footnote #eaj3 ,hartwig1 ,meistersch4 pl4 #bg1 p4 #bfb4 ,footnote #eaa3 ,petersburg #aaha ,reinach1 ii4 #cah3 cf4 ,reinach1 i4 #bej1 and ,arch4 ,anzeiger1 #ahij1 p4 #hi 7see p4 #df1 note #dgh74 ,footnote #eab3 ,f #bbj4 ,footnote #eac3 ,b4,m4 ,e #bic2 ,reinach1 i4 #dfe4 ,footnote #ead3 ,b4,m4 ,e #feb4 ,footnote #eae3 ,bibl4 ,nat4 #cff l4 ,cr4 iv4 #ea4 ,footnote #eaf3 ,b4,m4 ,e #ebf1 #ebh4 ,footnote #eag3 ,reinach1 i4 #dgi2 ,ibid4 i4 #eg4 ,footnote #eah3 ,reinach1 i4 #ee1 ,millin-,reinach1 ii4 #ei2 ,reinach1 ii4 #cbd1 l4 ,cr4 iv4 #ec2 ,reinach1 i4 #cdg2 ,e4g4 ii4 #bdh1 ,b4,m4 ,f #eee4 ,footnote #eai3 ,b4,m4 ,f #egi ,fig4 #aah2 ,reinach1 i4 #bgg4 ,footnote #ebj3 ,baumeister1 iii4 p4 #aegc1 fig4 #afcc2 ,b4,m4 ,e #eja4 ,footnote #eba3 ,b4,m4 ,e #gjf1 ,naples #bhgb ,reinach1 ii4 #afi2 ,b4,m4 ,e #bif1 l4 ,cr4 iv4 #di2 ,b4,m4 ,f #bba4 ,footnote #ebb3 ,b4,m4 ,e #bda1 ,reinach1 i4 #bbi1 ii4 #cjb2 l4 ,cr4 iv4 #ej4 ,footnote #ebc3 ,b4,m4 ,e #bac2 ,reinach1 i4 #cf2 ,b4,m4 ,f #fh1 ,f #dda4 ,footnote #ebd3 ,b4,m4 ,f #bbc1 #bgi1 #cgc3 cf4 ,theocr4 ii4 #cj 772 ,hor4 ,epod4 xvii4 #g 7turbo74 ,footnote #ebe3 ,b4,m4 ,e #aah1 #ega2 ,f #bai1 #beg1 ,reinach1 i4 #cab 7dove71 l4 ,cr4 iv4 #di 7cock74 ,footnote #ebf3 ,b4,m4 ,e #ac2 ,f #bid1 #cdj1 #cgh2 ,reinach1 i4 #ebh1 ,b4,m4 ,f #ag1 #cjh1 #dji4 ,footnote #ebg3 ,b4,m4 ,f #acb1 #bbe1 #bgh1 #bhj1 #beh 7two ,erotes holding wreath72 ,f #afe1 #agf1 #cbi1 #chi2 ,f #caj2 ,f #bcd1 #beg1 #cjf1 #dad1 #ddj2 ,e #eah4 ,footnote #ebh3 ,b4,m4 ,f #cdi2 ,e #bdb1 ,f #cia2 ,baumeister1 i4 p4 #dih1 fig4 #edj2 ,b4,m4 ,f #chg1 #dha2 ,f #bid1 #chb1 ,millin-,reinach1 i4 #bj 7torch and bow72 ,b4,m4 ,f #ddc2 ,e #bci2 ,f #cjh1 #dad 7,plate ,,xliv474 ,footnote #ebi3 ,b4,m4 ,f #dbj1 #dcd2 ,f #def2 ,f #ac1 #bai1 #bib1 #cbe2 ,f #ca1 #bhj1 #cag1 #cbc2 ,f #cg2 ,e #bic1 #chh2 ,f #ca1 #fc1 #bcd1 #bgh2 ,f #bhj1 #cae1 #ccg1 #cgc4 ,footnote #ecj3 ,naples ,s4,a4 #aa ,reinach1 i4 #dja 7at death of ,meleager74 ,footnote #eca3 ,abhandl4 d4 k4 schs4 ,gesellsch4 viii4 pl4 #a1 fig4 #a 7with ,sappho74 ,footnote #ecb3 ,b4,m4 ,e #bbb2 also at the toilet of ,aphrodite 7,fig4 #aag above74 ,footnote #ecc3 ,raoul-,rochette1 ,mon4 ,ind4 #h4 ,footnote #ecd3 ,petersburg #cej ,reinach1 i4 #ab2 ,rev4 ,arch4 xxxvi4 7#aijj71 p4 #ic2 ,reinach1 i4 #abd4 ,footnote #ece3 ,reinach1 i4 #ahh4 ,footnote #ecf3 ,b4,m4 ,e #bbd4 ,footnote #ecg3 ,reinach1 i4 #dcg4 ,footnote #ech3 ,b4,m4 ,e #bbd4 ,footnote #eci3 ,noel des ,vergers1 trurie1 iii4 pl4 #ci4 ,footnote #edj3 ,naples #bijj ,millingen-,reinach1 #da4 ,footnote #eda3 ,rm4 ,mitth4 #ahii1 pl4 #g4 ,footnote #edb3 ,reinach1 i4 #ebf4 ,footnote #edc3 ,roscher1 iii4 p4 #ahaa4 ,footnote #edd3 ,b4,m4 ,e #ddj4 ,footnote #ede3 ,berlin #bfcc4 ,footnote #edf3 ,b4,m4 ,e #bbf4 ,footnote #edg3 ,reinach1 ii4 #cjb3 see also ,boston ,mus4 ,report1 #aijj1 ,no4 #aa1 and ,jatta #ajic ,heydemann1 ,satyr- u4 ,bakchennamen1 pl4 #a 7holding grapes74 ,footnote #edh3 ,munich #bcd ,reinach1 i4 #bih ,baumeister1 iii4 p4 #aega1 fig4 #afcb4 ,footnote #edi3 ,berlin #cbeg4 ,footnote #eej3 ,reinach1 ii4 #bjj4 ,footnote #eea3 ,jatta #ajic4 ,footnote #eeb3 ,naples #cbdj ,reinach1 i4 #aad4 ,footnote #eec3 ,b4,m4 ,b #cb2 ,louvre ,g #aj2 ,reinach1 ii4 #bgf4 ,footnote #eed3 ,berlin #djjc ,coll4 ,sabouroff1 i4 pl4 #ej4 ,footnote #eee3 ,b4,m4 ,e #eh4 ,footnote #eef3 ,louvre ,f #aei2 l4 ,cr4 iii4 #hg4 ,footnote #eeg3 ,berlin #bgbg and ,reinach1 i4 #aei2 ,berlin #ahha4 ,footnote #eeh3 ,b4,m4 ,b #edi4 ,footnote #eei3 l4 ,cr4 iii4 #gc 7,hermaios71 #gf4 ,footnote #efj3 ,millin-,reinach1 i4 #ea4 ,footnote #efa3 ,reinach1 ii4 #bgf4 ,footnote #efb3 ,b4,m4 ,b #cb2 ,athens #eib ,ath4 ,mitth4 #ahic1 pl4 #b4 ,footnote #efc3 ,b4,m4 ,b #ccb4 ,footnote #efd3 ,vienna #cba 7cf4 ,ar4 ,ach4 #gbi ff474 ,footnote #efe3 ,reinach1 ii4 #be4 ,footnote #eff3 l4 ,cr4 iii4 #ad and #ge4 ,footnote #efg3 ,louvre ,e #gjb ,reinach1 i4 #ced2 ,helbig1 #bbg ,reinach1 i4 #ceg ,baumeister1 i4 p4 #fhj1 fig4 #gda 7,fig4 #aai74 ,footnote #efh3 ,reinach1 ii4 #be2 ,de ,witte1 ,coll4 l',htel ,lambert1 pl4 #a4 ,footnote #efi3 ,bibl4 ,nat4 #hbj ,reinach1 ii4 #bei4 ,footnote #egj3 l4 ,cr4 iii4 #ic2 ,millin-,reinach1 i4 #gj2 ,reinach1 ii4 #ccj4 ,footnote #ega3 ,b4,m4 ,f #bcg1 and see above1 p4 #ae4 ,footnote #egb3 ,berlin #agjb 7,hermes ,kyllenios71 and see p4 #ae4 ,footnote #egc3 ,b4,m4 ,b #aig2 ,reinach1 ii4 #bff4 ,footnote #egd3 ,see above1 p4 #ag4 ,footnote #ege3 ,reinach1 i4 #dgb4 ,footnote #egf3 ,b4,m4 ,e #fe4 ,footnote #egg3 ,see p4 #bj4 ,footnote #egh3 ,louvre ,a #dgh 7,hermes1 #ahih1 p4 #fch72 ,bull4 de ,corr4 ,hell4 #ahih1 p4 #ehf4 ,footnote #egi3 ,reinach1 i4 #bcd4 ,footnote #ehj3 ,ibid4 i4 #abd4 ,footnote #eha3 ,ibid4 i4 #dii4 ,footnote #ehb3 ,ibid4 i4 #bdd2 i4 #dfc2 i4 #age4 ,footnote #ehc3 ,ibid4 ii4 #d4 ,footnote #ehd3 ,b4,m4 ,b #bjc 7,athena72 ,reinach1 ii4 #bb1 #bf1 #gc2 ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 #d1 #a4 ,footnote #ehe3 ,b4,m4 ,b #cdj2 ,e #dd1 #dei2 ,reinach1 ii4 #abe1 #aeb1 #bge4 ,footnote #ehf3 ,athens #acde ,j4,h4,s4 xix4 pl4 #aj2 ,millin-,reinach1 ii4 #cg 7,lasimos in ,louvre74 ,footnote #ehg3 ,millin-,reinach1 ii4 #dd4 ,footnote #ehh3 ,reinach1 i4 #chh4 ,footnote #ehi3 ,ibid4 i4 #chj4 ,footnote #eij3 ,b4,m4 ,e #dfg2 ,j4,h4,s4 xxi4 pl4 #a4 ,footnote #eia3 ,see generally under those deities2 for ,h4 and ,athena3 ,b4,m4 ,b #add1 ,reinach1 i4 #beg1 ii4 #db 7,panathenaic72 ,b4,m4 ,e #bfh1 ,reinach1 i4 #ebj 7,athens #dgg71 ii4 #be1 #baa 7,bibl4 ,nat4 #bbj74 ,footnote #eib3 ,berlin #bfce ,jahrbuch1 #ahhi1 p4 #bjh4 ,footnote #eic3 ,b4,m4 ,b #beg1 #bei1 #bfg1 #cjb 7banqueting72 ,berlin #bafj 7with the ,satyr ,oreimachos72 ,reinach1 i4 #abi 7playing lyre74 ,footnote #eid3 ,b4,m4 ,b #dbd1 ,e #dib2 ,petersburg #agib1 #agic 7 ,reinach1 i4 #a and #c72 ,helbig1 #ajc ,rayet and ,collignon1 p4 #bbc2 ,reinach1 i4 #ic1 ii4 #caj2 and see ,ath4 ,mitth4 #ahhi1 pl4 #a1 p4 #a ff1 and p4 #ee1 note #fdb4 ,footnote #eie3 ,b4,m4 ,b #bcj2 ,oxford #bbb2 ,reinach1 ii4 #bi4 ,footnote #eif3 ,see p4 #fi4 ,footnote #eig3 ,b4,m4 ,f #bgg2 ,reinach1 i4 #ii3 cf4 ,rev4 ,arch4 xxxvi4 7#aijj71 p4 #ic4 ,footnote #eih3 ,see p4 #bh2 also ,naples #aihi l4 ,cr4 iii4 #ia1 and ,reinach1 i4 #ebb4 ,footnote #eii3 ,reinach1 i4 #def2 ,berlin #bdee2 ,munich #bji ,fig4 #abb1 p4 #gj4 ,footnote #fjj3 ,athens #ajic ,roscher1 ii4 p4 #bfgh2 ,berlin #biia4 ,footnote #fja3 ,louvre ,f #fj4 ,footnote #fjb3 ,bibl4 ,nat4 #bfi4 ,footnote #fjc3 ,j4,h4,s4 xx4 p4 #aja3 cf4 the story of ,pandora's 8box10 and see ,vol4 ,i4 p4 #aeb and p4 #ge below4 ,footnote #fjd3 ,munich #faa ,reinach1 i4 #dai4 ,footnote #fje3 ,reinach1 i4 #chi1 ii4 #cb1 #gj4 ,footnote #fjf3 ,b4,m4 ,b #afg1 ,b #cja2 ,b #bbi4 ,footnote #fjg3 ,reinach1 i4 #big1 #cbc1 ii4 #gj1 #gd-ge4 ,footnote #fjh3 ,b4,m4 ,b #aff1 #cah1 #cgi2 ,louvre ,f #aaf-aag2 ,reinach1 i4 #bbb1 #cfh1 ii4 #gf4 ,footnote #fji3 ,bibl4 ,nat4 #agb2 ,reinach1 i4 #ia1 ii4 #bga4 ,footnote #faj3 ,b4,m4 ,b #bdh1 ,b #bhj1 ,e #dic2 ,bibl4 ,nat4 #bgg ,reinach1 i4 #bij2 ,e4g4 ii4 #dh2 ,mon4 ,grecs1 #ahgh1 pl4 #b 7represents an earlier episode74 ,footnote #faa3 ,bibl4 ,nat4 #bbd4 ,footnote #fab3 ,see p4 #abb4 ,footnote #fac3 ,athens #iff4 ,footnote #fad3 ,reinach1 i4 #hi1 #add4 ,footnote #fae3 ,ibid4 i4 #ach1 ii4 #ii4 ,footnote #faf3 ,wiener ,vorl4 #ahij-ia1 #aj 7,louvre74 ,footnote #fag3 l4 ,cr4 iii4 #gh-ha2 ,bibl4 ,nat4 #hci3 see ,roscher1 i4 p4 #bcic4 ,footnote #fah3 ,b4,m4 ,b #cfb1 #fbg1 ,e #ehe2 ,berlin #aibh1 #bagb2 ,schreiber-,anderson1 #af1 #h1 and #ad1 #c4 ,footnote #fai3 ,b4,m4 ,b #cde1 ,e #ddd2 ,berlin #bbgh2 ,reinach1 i4 #bjc2 ,ath4 ,mitth4 #ahhi1 pl4 #a4 ,footnote #fbj3 ,forman ,sale ,cat4 #cfd4 ,,chapter ,,xiii ,,dionysos ,,and ,,miscellaneous ,,deities ,dionysos and his associates--,ariadne1 ,maenads1 and ,satyrs--,names of ,satyrs and ,maenads--,the ,nether ,world--,general representations and isolated subjects--,charon1 ,erinnyes1 ,hekate1 and ,thanatos--,cosmogonic deities--,gaia and ,pandora--,prometheus and ,atlas--,iris and ,hebe--,personifications--,sun1 ,moon1 ,stars1 and ,dawn--,winds--,cities and countries--,the ,muses--,victory--,abstract ideas--,descriptive names4 #a4 ,,dionysos ,,and ,,his ,,associates ,the most important deity in ,greek mythology outside the ,olympian circle is undoubtedly ,dionysos2 but the part that is played by him and his attendant train in ,greek art is out of all proportion even to this1 at least in the vase-paintings4 ,apart from what we may regard as strictly mythological subjects1 such as the ,birth of ,dionysos and scenes in which other gods or heroes are introduced1 the number and variety of the themes are so great that an exhaustive enumeration is quite impossible2 nor indeed would it repay the trouble to give a complete list of what may for convenience be termed ,dionysiac scenes4 ,suffice it to say that they occur with equal frequency on the vases of all periods from the middle of the sixth century onwards4 ,the personages with whom we have to deal in this section are1 besides ,dionysos himself1 his spouse ,ariadne1 ,pan1 with his 8double0 ,aegipan1 and the motley rout of ,satyrs1 ,seileni1 and ,maenads1 who appear either in the wine-god's company or by themselves4 ,dionysos is generally accompanied by one or more ,maenads or ,seileni1 whether engaged in some definite action1 such as pouring wine or playing flutes1 or no2 but he is also not infrequently seen as a single figure4#fba ,on the earlier vases he is elderly and bearded1 but on the later youthful and beardless4 ,he is occasionally represented with horns1#fbb or in the form of a man-headed bull4#fbc ,he is depicted sacrificing at an altar1#fbd pouring a libation1#fbe or slaying a fawn#fbf or goat #fbg2 banqueting1#fbh or playing on the lyre4#fbi ,he rides on a bull1#fcj goat1#fca mule1#fcb or panther1#fcc or in a winged chariot#fcd--;in one case drawn by ,gryphons1 in another by a ,gryphon1 bull1 and panther#fce--or in a chariot shaped like a ship#fcf2 or is carried by a ,seilenos4#fcg ,on a beautiful cup by ,exekias#fch he sails over the ocean in a boat1 the mast of which grows into a vine4 ,we are reminded in this scene of the ,homeric hymn 7xix47 and the story of the ,tyrrhenian pirates1 a subject which1 according to one interpretation1 is represented on a vase at ,athens4#fci ,his birth is not often represented1 and chiefly on ,r4,f4 vases#fdj2 it has been referred to already in detail1 in reference to ,zeus4 ,when handed over to ,hermes1#fda the newly born infant is conveyed by that god to ,nysa1 where he is finally delivered to a ,seilenos1 to be nursed by the ,nymphs of that place4#fdb ,or he is handed directly to a ,nymph by ,zeus1#fdc or1 by a curious error or confusion on the artist's part1 to ,ariadne1 his future bride4#fdd ,there is a possible representation of the ,indian ,dionysos or ,bassareus1#fde ,india being the land whence he was fabled to come2 and other vases represent various events connected with his first manifestation of himself in ,greece3 such as the madness he brought on ,lykourgos1 who refused to receive him1#fdf and his subsequent sacrifice after his triumph#fdg2 the death of the similarly contumelious ,pentheus 7the story on which the plot of the ,bacchae turns7#fdh2 or his supposed visit to the ,athenian ,ikarios4#fdi ,he sometimes appears with his mother ,semele1 whom he brings back from ,hades#fej2 in one or two instances their heads are seen rising from the ground to indicate their return from the nether world4#fea ,they are then solemnly introduced into ,olympos4#feb ,dionysos is frequently grouped with various deities1 such as ,apollo1 ,athena1 and ,hermes#fec2 or they are seen in his company at a banquet4#fed ,he sometimes appears at the birth of ,athena1#fee the apotheosis of ,herakles1#fef and his marriage with ,hebe#feg2 or in heroic scenes1 such as the ,judgment of ,paris1#feh or the combat of ,herakles and ,kyknos4#fei ,he appears with the ,seileni who attack ,hera and ,iris1#ffj and brings back ,hephaistos to ,olympos4#ffa ,he frequently takes part in the ,gigantomachia1 usually in single combat1#ffb being aided by his panther1 and sometimes by ,seileni and ,maenads4#ffc ,sometimes he is seen preparing for this event1 wearing a cuirass1 while ,satyrs or ,maenads hold the rest of his armour4#ffd ,he is also grouped with ,gaia 1#ffe and with ,poseidon and ,nike#fff2 or accompanies the chariot of ,athena#ffg2 and is seen in more than one assembly of the ,olympian deities4#ffh ,his wooing and consoling of the deserted ,ariadne#ffi is an attractive and popular subject1 and several vases seem to represent the nuptial ceremonies between the pair1#fgj or the preparations for the same1 with ,eros assisting at the bride's toilet4#fga ,numerous are the instances in which he is seen grouped with ,ariadne1 often in loving embrace1#fgb and generally surrounded by his cortge1#fgc but also alone4 ,or1 again1 he and ,ariadne drive in a chariot drawn by lions1#fgd panthers1#fge stags1#fgf or goats#fgg2 in two cases ,ariadne drives her own chariot alone1#fgh in another ,dionysos is seen alone in a four-horse chariot4#fgi ,they are also seen reclining together at a banquet1#fhj sometimes accompanied by ,herakles and other deities4#fha ,on a vase of quasi-,etruscan style#fhb we see the sleeping ,ariadne surrounded by ,dionysos1 ,satyrs1 and ,maenads4 ,this presumably refers to the scene in ,naxos4 ,the numerous vases on which ,dionysos appears1 with or without ,ariadne1 accompanied by a throng of ,satyrs and ,maenads1 sometimes in high revelry1 sometimes in more peaceful circumstances1 may next be mentioned1 though it is not necessary to cite more than a few typical examples#fhc2 equally numerous are smaller groups1 where only one or two followers appear1 but only a few of these need be particularised4#fhd ,thus we see him in peaceful converse with ,maenads or ,nymphs#fhe2 seizing them with amorous intent#fhf2 listening to a ,satyr playing the lyre or flute#fhg2 or going to a banquet1 accompanied by ,satyrs with torches#fhh2 or feeding a bird4#fhi ,in banquet scenes he receives drink from a ,satyr1#fij or plays at the kottabos 7see p4 #ahb7fia2 or ,seileni steal his food and drink4#fib ,he watches a ,lydian woman dancing in armour1#fic or dances himself to the flutes played by an actor4#fid ,in one instance he is seen leaving his chariot to join in the revels of his followers#fie2 in another he takes part in the orgies of the ,scythian ,agathyrsi1#fif and he is seen in a drunken condition1 supported by one of his followers4#fig ,he is not infrequently grouped with ,eros1 from whom he receives drink or a wreath#fih2 also with ,pan1#fii or with semi-personified figures such as ,komos 7,revelry7#gjj or ,oinopion 7,wine-drinker74#gja ,pan only makes his appearance on late vases1 usually in ,dionysiac groups1#gjb or as a single figure on the smaller ,apulian wares2 when he is depicted with goat's legs and squat proportions1 he is usually called ,aegipan#gjc2 or1 again1 ,paniskos1 when he has the form of a beardless youth4#gjd ,he surprises a ,nymph asleep1#gje and is sometimes associated with the ,nymph ,echo4#gjf ,illustration3 ,,fig4 #abj4 ,,dionysos ,,with ,,satyrs ,,and ,,maenads 7,,hydria ,,by ,,pamphaios ,,in ,,brit4 ,,mus474 ,dionysos' connection with the ,attic drama is more specially indicated by scenes in which he appears as the inventor or patron of tragedy1 presenting a tragic mask to a young actor#gjg2 he also appears in an elaborate scene representing the preparations for a ,satyric drama4#gjh ,as the object of worship he is sometimes seen in a form which implies a reference to some primitive cult1 as an aniconic pillar-image 7 or 7#gji2 or1 again1 in the form of a tree 7,dionysos ,dendrites71 and homage is paid to him by ,maenads4#gaj ,besides sacrifices to his image1 we see sacrificial dances performed1#gaa or choragic tripods consecrated to him4#gab ,his statue is once seen at a fountain4#gac 99 99 99 99 99 ,we must now treat of the scenes in which ,seileni and ,satyrs1 ,maenads and ,nymphs1 appear independently of ,dionysos1 or in particular actions without relation to him4 ,they are1 indeed1 often1 if not invariably1 present in all scenes in which he takes part1 whether mythological or of a less definite character2 as1 for instance1 the return of ,hephaistos to ,olympos1#gad in which the gods are usually accompanied by a more or less riotous escort of ,satyrs1 and others as already mentioned4 ,the attack of the ,satyrs on ,iris and ,hera has been alluded to in connection with the latter#gae2 and they seldom elsewhere appear in relation to the ,olympian deities or other myths1 except in those scenes which depict the rising of ,persephone or ,ge-,pandora from the earth4#gaf ,but ,satyrs and ,maenads are sometimes represented as performing sacrifices1 not only to ,dionysos1#gag but also to ,herakles1#gah or to a terminal figure of ,hermes4#gai ,we turn next to scenes of more general character4 ,there are numerous vases1 especially of the ,r4,f4 period1 on which groups of ,satyrs and ,maenads are represented in revels of a more or less wild and unrestrained character1 or else in more peaceful association4 ,those in which ,dionysos himself is present have already been enumerated1 but the general types may be now considered4 ,it may1 perhaps1 be possible to distinguish two1 or even three1 classes of this subject3 the inactive groups of ,satyrs and ,maenads#gbj2 those in which they rush along in frenzy and unrestrained licence1 brandishing their thyrsi1 or with tambourines 7tympana7 and other musical instruments#gba2 and1 lastly1 scenes of convivial revelry 771 in which they are engaged in drinking from all sorts of vessels4#gbb ,sometimes these revels are strictly confined to ,satyrs1 and then they become absolutely licentious in character#gbc2 or1 again1 a group of ,maenads unattended tear along with torches1 thyrsi1 and musical instruments#gbd2 or1 lastly1 both join in dances hand-in-hand1 a subject which on early vases is often adopted for a long frieze encircling a vase4#gbe ,as a pendant to these1 many subjects and single figures must here be mentioned which seem to be excerpts from the larger compositions1 as well as independent motives presenting special features found in the more elaborate scenes4 ,we begin with subjects in which both ,satyrs and ,maenads take part1 among which we find a favourite subject to be the gathering of fruit1#gbf especially grapes1 and the processes of the vintage4#gbg ,satyrs offer drink to ,maenads1#gbh or play the flutes for them to dance to#gbi2 and there is a favourite series of subjects of an amorous character1 in which the ,satyrs pursue the objects of their passion1#gcj or surprise them asleep1#gca seize them and overcome their struggles to escape1#gcb and finally enfold them in embraces1#gcc or carry them on their shoulders4#gcd ,satyrs are also seen surprising women while bathing#gce2 and a group of them appear astonished at the sunrise4#gcf 99 99 99 99 99 ,we may next dismiss briefly the scenes which depict ,maenads alone1 usually as single figures4 ,they sometimes appear in a state of frenzy 7,fig4 #aba71gcg dancing with snakes twisted round their arms1#gch or playing castanets1#gci or tearing a kid to pieces 774#gdj ,in quieter fashion they ride on a mule#gda or bull1#gdb or are seen accompanied by hinds1 goats1 and panthers1#gdc or playing with a cat and bird4#gdd 99 99 99 99 99 ,illustration3 ,from ,baumeister4 ,,fig4 #aba4 ,,maenad ,,in ,,frenzy 7,,cup ,,at ,,munich74 ,satyrs in independent scenes often appear in burlesque guise1 attired and acting as athletes1#gde or as warriors1#gdf with the ,amazonian pelta1#gdg or even enacting the part of ,herakles in the ,garden of the ,hesperides#gdh2 and are present in other scenes of a burlesque nature1 which may often be derived from the ,satyric drama1 such as one in which they carry ghosts 77 with torches4#gdi ,there is also a long list of scenes of miscellaneous character3 a ,seilenos washing1#gej or piling up bedding787#gea2 fishing#geb2 as potter1 poking a furnace#gec2 acting as footman to a girl and carrying a parasol#ged2 flogging a youth1#gee or holding a boy ,satyr on his hand#gef2 caressing a hare#geg2 and so on4 ,satyrs fight with torches#geh2 sport with deer and other animals#gei2 ride on goats1 asses1 and mules1#gfj or lead them along#gfa2 and in one instance a ,satyr has fallen off his mule1 and a companion runs to help him#gfb2 in another1 two ,satyrs draw a third in a cart4#gfc ,they are seen carrying chairs#gfd and vessels of various kinds1 such as amphorae1 situlae1 kraters1 rhyta1#gfe or wine-skins#gff2 also seated on wine-skins or wine-jars1#gfg playing games with jugs and wine-jars1#gfh balancing drinking-cups on their backs1#gfi pouring wine into a jar#ggj or drawing it out from the mixing-bowl1#gga or playing games1 such as see-saw or ball4#ggb ,many of these scenes are from the interiors of ,r4,f4 cups1 to which they were well adapted1 the varied attitudes giving so much scope for the ingenuity of the daring artists of the period4 ,scenes in which ,satyrs play the lyre or flute are1 very numerous4#ggc ,a feature of the numerous ,dionysiac subjects on vases is the tendency to individualise ,satyrs and ,maenads by means of names1 sometimes meaningless1 sometimes names otherwise known in mythology1 and frequently personifications of abstract conceptions1 such as we shall see later to be very common on vases of all periods2 in these cases they usually have some relation to the character or occupation of the personages to whom they are attached4 ,the ,satyrs ,marsyas and ,olympos sometimes appear in the larger compositions#ggd2 the former has been already mentioned in another connection4 ,there is also a curious representation of ,akratos1#gge the deity of unmixed wine 7a liquid which to the ,greeks implied an extravagance of revelry1 owing to the intoxicating nature of the undiluted beverage74 ,a type of ,seilenos covered from head to foot with shaggy skin1 and known as ,papposeilenos1 is often found on the later vases4#ggf ,it is difficult to distinguish in all cases between ,seileni and ,satyrs on the vases1 and the exact differences between the various types have not yet been properly elucidated1 so that the terms are of necessity somewhat conventional4#ggg ,the equine type of ,satyr1 with horse's hoofs as well as tail1 which is so frequently found on the sixth-century ,ionic vases1 has been noted elsewhere4#ggh ,the young beardless ,satyr is mostly found in the later period4 ,the number of vases on which ,satyrs and ,maenads are distinguished by name is very large1 but only a few of the more important need be mentioned1 along with some of the more curious names from the isolated instances4#ggi ,on a vase in ,berlin#ghj no less than ten ,maenads are named--,anthe 7,flower71 ,choro 7,dance71 ,chrysis 7,gold71 ,kale 7,beauty71 ,kisso 7,ivy71 ,makaria 7,blessed71 ,naia1 ,nymphe1 ,phanope1 and ,periklymene 7,renowned72 on one at ,leyden#gha six--,dorkis1 ,io1 ,klyto1 ,molpe 7,song71 ,myro1 and ,xantho 7,fair-hair74 ,on the former vase a ,seilenos is expressly so named1 and on the latter are four ,satyrs with names2 on a kylix by ,brygos in the ,british ,museum#ghb the ,seileni attacking ,iris are styled ,babacchos1 ,dromis1 ,echon1 ,terpon1 etc4#ghc ,other ,satyr-names are ,briacchos1#ghd ,dithyrambos1#ghe ,demon1#ghf ,hedyoinos 7,sweet ,wine71#ghg ,hybris 7,insolence71#ghh ,hedymeles 7,sweet ,song71#ghi ,komos 7,revelry71#gij ,kissos 7,ivy71#gia ,molkos1#gib ,oinos1#gic ,oreimachos1#gid ,simos 7,snub-nose71#gie ,tyrbas 7,rout74#gif ,the ,maenads' names are if anything more numerous3 ,bacche1#gig ,choiros 7,pig671#gih ,doro1#gii ,eudia 7,calm71#hjj ,eudaimonia 7,happiness71#hja ,euthymia 7,good ,cheer71#hjb ,erophyllis1#hjc ,galene 7,calm71#hjd ,hebe 7,youth71#hje ,komodia 7,comedy7 and ,tragoedia 7,tragedy71#hjf ,kalyke 7,bud71#hjg ,lilaia1#hjh ,mainas1#hji ,nymphaia1#haj ,opora 7,harvest7 and ,oreias 7,mountain-,nymph71#haa ,oinanthe1#hab ,pannychis 7,all-night ,revel71#hac ,polyerate 7,well-beloved71#had ,philomela1#hae ,sime 7,snub-nose71#haf ,terpsikome1#hag ,thaleia1#hah ,rodo 7,rose71#hai ,paidia1#hbj and ,kraipale1#hba a name which is not easy to render in classical ,english1 but which denotes the results following on a night's debauch4 ---------------------------------------- -------------- ,,plate ,,lii ,illustration3 ,from ,furtwaengler and ,reichhold4 ,,the ,,under-,,world1 ,,from ,,an ,,apulian ,,vase ,,at ,,munich4 ---------------------------------------- -------------- #b4 ,,the ,,nether ,,world ,the ,chthonian character of ,dionysos brings us by a natural transition to the deities of the under-world1 and in connection therewith it will be convenient to treat of ,death-deities of all kinds1 as well as scenes representing the life of the nether regions4 ,of ,demeter and ,persephone1 the ,chthonian goddesses par excellence1 we have already spoken 7p4 #bg71 and of the myths connected with them1 such as the rape of the latter by ,hades or ,pluto1 the king of the realms named after him4 ,it is owing to this connection with ,persephone that ,hades is found in such scenes as the sending forth of ,triptolemos1#hbb or at her return to the upper world1#hbc as well as at the rape of his consort4 ,he is frequently seen in company with her1 as the rulers of the nether world1#hbd especially on the large ,italian 8under-world vases0 referred to below1 and sometimes they are represented banqueting together4#hbe ,as king of the nether world he is appropriately grouped with his brothers ,zeus and ,poseidon1 the rulers of the air and ocean4#hbf ,he is occasionally carried by ,herakles on his shoulders1#hbg but the meaning of this subject is uncertain4 ,he also appears as a single figure1 with sceptre and cornucopia4#hbh ,the only general representations of the under-world are to be found on the large ,apulian vases made for sepulchral purposes 7,vol4 ,i4 p4 #dgf71 of which some half-dozen are conspicuous for the number of subjects and figures they contain4 ,all these are collected together in the ,wiener ,vorlegebltter1 ,series ,e41 the list being as follows3-- 7#a7 ,munich #hdi ,wiener ,vorl4 ,e4 pl4 #a ,reinach1 i4 #beh 7#b7 ,naples #cbbb 0 pl4 #b 0 i4 #afg 7#c7 ,karlsruhe #chh 0 pl4 #c1 #a 0 i4 #ajh 7#d7 ,naples ,s4,a4 #gji 0 pl4 #c1 #b 0 i4 #dee 7#e7 ,petersburg #dbd 0 pls4 #d and #e1 #a 0 i4 #cee 7#f7 ,petersburg #dbf 0 pl4 #f1 #b 0 i4 #dgi ,no4 7#a7 is reproduced in ,plate ,,lii4 ,on a smaller scale1 or fragmentary1 are the following3-- 7#g7 ,petersburg #dih ,wiener ,vorl4 ,e4 pl4 #e1 #b 7#h7 ,b4,m4 ,f #bgj 0 pl4 #f1 #a ,reinach1 i4 #cef 7#i7 ,karlsruhe #bef 0 pl4 #f1 #c 0 i4 #dee 7#aj7 ,jatta ,coll4 #ajid 0 pl4 #f1 #d 0 i4 #cef 7#aa7 ,naples ,s4,a4 #aa 0 pl4 #f1 #e 0 i4 #dja ,there are also three ,b4,f4 vases having reference to the under-world1 though in the first two cases it is probable that the scene relates to the return of ,persephone 7see p4 #bh71 the accompanying figure of ,sisyphos only being introduced to mark the locality3-- 7#ab7 ,b4,m4 ,b #bfa 7,hades1 ,persephone1 ,hermes1 ,sisyphos74 7#ac7 ,munich #gbh ,wiener ,vorl4 ,e4 pl4 #f1 #f ,reinach1 ii4 #dh 7similar scene74 7#ad7 ,berlin #ahdd 7,persephone and ,sisyphos only74 ,on the ,apulian vases there is usually in the centre a pillared building representing the palace of ,hades1 in which he and his spouse stand or sit2 round this are grouped various figures and episodes connected with the nether regions3 ,herakles carrying off ,kerberos#hbi2 ,orpheus with his lyre1 sometimes accompanied by ,eurydike#hcj2 persons undergoing punishment1 such as ,sisyphos with his rock#hca2 ,tantalos threatened with a rock1 not as in the usual legend suffering from thirst#hcb2 the ,danaids with their hydriae#hcc2 and ,theseus and ,peirithos sitting with their hands bound behind them4#hcd ,in one instance a ,fury1 at the instance of ,hades and ,hekate1 is binding one1 the other having already entered on his punishment#hce2 in another we see ,theseus liberated and about to depart from his friend 7see below1 p4 #aaa74hcf ,among the administrators of these penalties are ,aiakos1 ,minos1 and ,rhadamanthos1 the judges of the souls#hcg2 the ,erinnyes or ,furies#hch2 and allegorical personages1 such as ,dike 7,justice71#hci ,ananke 7,necessity71#hdj or ,poinae 7,punishments74#hda ,of the ,chthonian deities1 ,hermes1#hdb ,hekate1#hdc ,triptolemos1#hdd and ,iacchos#hde are present4 ,olympian deities are also sometimes introduced as spectators4#hdf ,other figures introduced are ,megara with the two children of ,herakles#hdg2 ,pelops with ,myrtilos and ,hippodameia#hdh2 a group of the ,blessed ,shades#hdi2 and 7but not on this class of vase7 ,oknos with his ass1 a subject depicted by ,polygnotos in his great fresco at ,delphi4#hej ,the subject of ,ixion on the wheel is usually found by itself1 but occurs on the neck of one of the ,apulian vases4#hea ,another subject which may be associated with the above scenes is that of ,charon and his bark2 on the vases1 however1 its significance is purely sepulchral1 as it is confined to the ,attic white lekythi 7,vol4 ,i4 p4 #dei71 on some of which the dead man is represented entering the ferry-boat4#heb ,some vases of ,etruscan fabric also represent groups of ,chthonian deities1 especially ,charon1 who in the mythology of that people is no longer 8the grim ferryman that poets write of10 but ,charun1 a hideous demon wielding a huge hammer4#hec ,in one instance he separates ,alkestis from ,admetos#hed2 in another he watches ,ajax stabbing a captive ,trojan4#hee ,illustration3 ,from ,baumeister4 ,,fig4 #abb4 ,,charon',s ,,bark 7,,lekythos ,,at ,,munich74 ,the ,erinnyes or ,furies play an important part in the nether-world scenes1#hef and one is also represented at the punishment of ,ixion4#heg ,they pursue ,orestes after the slaughter of his mother and ,aigisthos to ,delphi and ,tauris1#heh and even when with ,pylades he comes to make himself known to ,electra4#hei ,among other mythological scenes they are found at the combat of ,herakles and ,kyknos#hfj2 with ,pelops1#hfa and with ,medeia and ,jason#hfb2 and threatening with punishment the hero ,agrios1 who is seized and bound upon an altar by ,oineus and ,diomedes4#hfc ,kerberos is once seen without ,herakles in the under-world vases#hfd2 and there is a very curious representation of his being chained up by ,hermes4#hfe ,hekate as a ,chthonian deity frequently appears on the under-world vases#hff2 she is also connected with ,eleusinian scenes and legends1#hfg such as the sending of ,triptolemos1#hfh the birth of ,dionysos or ,iacchos1#hfi or with the rape and return of ,persephone4#hgj ,she appears also as a single figure4#hga ,allusion has already been made to the ,chthonian associations of ,hermes1 ,triptolemos1 and ,iacchos 7pp4 #bg1 #eb74 ,illustration3 ,,fig4 #abc4 ,,thanatos ,,and ,,hypnos ,,with ,,body ,,of ,,warrior 7,,from ,,brit4 ,,mus4 ,d #eh74 ,thanatos1 the personification of ,death1 appears on vases#hgb almost exclusively in one aspect1 as the bearer of souls in conjunction with ,hypnos 7,sleep72 they convey the body of ,memnon from ,troy to his home in ,egypt1#hgc and this type is borrowed for other scenes 7e4g4 on the funeral lekythi7 in which an ordinary warrior is borne 8to his long home40#hgd ,in one instance ,thanatos is seen urging ,ajax on to commit suicide#hge2 he also appears on another vase where the subject may relate to the story of ,ixion4#hgf ,representations of ,death-demons or ,harpies1#hgg and of 1 or small winged figures boding or signifying death1#hgh are by no means uncommon4 ,it has been held by some writers that the personifications of ,thanatos above referred to are more properly to be regarded as 4#hgi ,these small winged figures are also employed to represent a soul escaping from a deceased person#hhj2 or1 again1 to indicate the souls of ,achilles and ,hector 7or ,memnon7 when weighed by ,zeus 7see below1 pp4 #acj1 #acb74hha ,we also find actual representations on ,b4,f4 vases of the ghost of a hero1 especially in ,trojan scenes2 he floats through the air fully armed1 with large wings4#hhb #c4 ,,cosmogonic ,,and ,,other ,,deities ,in the next instance it will be found appropriate to discuss sundry representations which are connected with the earlier or ,titanic cosmogony1 although1 with the exception of the ,gigantomachia1 already discussed1 allusions thereto are comparatively rare on vases4 ,chief among these personages is ,ge or ,gaia1 the ,earth-mother1 half ,titanic1 half ,chthonian1 who is usually represented as a figure rising half out of the ground1 with flowing hair4 ,she thus appears in several ,gigantomachia scenes 7as the mother of the giants1 who were 1 earth-born71#hhc and at the birth of ,dionysos and ,erichthonios1 where she hands the child to ,athena4#hhd ,as a full-length figure she appears protecting her sons ,tityos and ,antaios against ,apollo and ,herakles respectively#hhe2 also in certain doubtful scenes on ,b4,f4 vases as the ,nursing-mother 771 with two children in her arms1#hhf though we have already seen 7p4 #cj7 that these are susceptible of another interpretation4 ,finally1 the series of scenes in which men are represented hammering on the head of a female figure rising from the earth#hhg may be regarded as referring to ,gaia1 with allusion to the custom of smiting on the earth to raise spirits4 ,in this connection ,gaia is undoubtedly to be identified with ,pandora 7see below74#hhh ,a cognate subject is that of a similar female head or bust in company with ,eros1 sometimes found on late ,italian vases4#hhi ,if ,gaia is here intended1 her connection with ,eros finds some support in the poetic cosmogonies#hij2 otherwise it may be ,aphrodite4 ,the story of ,kronos1 who swallowed the stone given to him by his wife ,rhea in place of his children1 is possibly depicted on one vase1#hia though the genuineness thereof is open to doubt4 ,the stone is enveloped in drapery to prevent discovery4 ,a bust of ,kronos has also been identified on a vase4#hib ,the story of ,zagreus and his destruction by the ,titans1 which belongs to the same cycle1 also finds one or two representations4 ,one vase appears to represent them devouring him piecemeal4#hic ,another personage who may perhaps be regarded as of pre-,olympian origin is ,themis1 who comes between ,gaia and ,apollo in the occupation of the prophetic stool at ,delphi 7,aesch4 ,eum4 #b74 ,aigeus1 the father of ,theseus1 is represented as consulting her seated on her tripod1#hid and one vase has been supposed to depict her conversing with ,zeus before the birth of ,dionysos4#hie ,she also appears at the ,judgment of ,paris4#hif ,kybele1 the mother of the gods1 only occurs in one or two doubtful instances1 with the lion which is usually associated with her4#hig ,among the primitive and recondite ,greek cults which go back to a remote origin1 that of the ,kabeiri may perhaps be mentioned here4 ,previous to the discovery1 in #ahhg-hh1 of their sanctuary near ,thebes1 little was known1 either from literary or monumental sources1 of these mysterious deities2 but the excavations on this site yielded large quantities of pottery with scenes relating to their cult1 mostly of a burlesque character4#hih ,among these was one very interesting fragment representing 7with names inscribed7 the ,kabeiros and his son 7,pais7 banqueting1 and attended by two deities known as ,mitos and ,pratoleia4#hii ,lenormant noticed that the spectator-deities on an under-world vase in the ,british ,museum correspond exactly to the four ,cabeiric deities as described by certain ancient authorities4#ijj ,turning next to myths which treat of the semi-divine personages of the earliest cosmogony1 we have the legends given by ,hesiod of ,prometheus and the creation of ,pandora2 and we may include with them the ,titan ,atlas4 ,pandora1 it has been already noted1 is only a variation of ,gaia1#ija and this is borne out by the name given to her on a beautiful polychrome cup in the ,british ,museum representing her creation1 completed by ,hephaistos and ,athena4#ijb ,she is there named 1 8,she who sends up gifts10 ,e4g4 from the earth4 ,the subject is not so popular as might have been expected1 but appears on two other vases in the ,museum1 in each case with ,olympian deities as spectators of the event1 and on a beautiful vase now at ,oxford4#ijc ,the story of the opening of the has not found its way into art1 but its connection with the ,athenian feast of the is curiously illustrated in one instance4#ijd ,prometheus too is seldom seen1 and chiefly on ,b4,f4 vases4 ,in one case he receives a libation from ,hera1#ije and there are two or three representations of his liberation by ,herakles4#ijf ,on a ,cyrenaic cup he is grouped with ,atlas1 the vulture pecking at his breast1 while the other groans under the burthen of the heavens4#ijg ,atlas is found almost exclusively with ,herakles in connection with his visit to the ,garden of the ,hesperides4 ,either he is actually present in the ,garden#ijh or is confronted with the hero1 who in some cases bears his burden for him while he obtains the apples4#iji ,he is also seen in company with a ,sphinx4#iaj 99 99 99 99 99 ,we now come to discuss a few subordinate deities or semi-divine personages who do not fall into any of the preceding categories4 ,asklepios1 chiefly a figure of later art1 is exceedingly rare on vases4 ,there is1 in fact1 only one on which he can certainly be identified4 ,this is a late ,r4,f4 vase at ,athens1 on which he is seen reclining on a couch feeding a serpent and accompanied by ,hygieia4#iaa ,nor does the latter occur elsewhere1 though her name1 as already noted 7p4 #dc71 is sometimes given to one of the personified figures attending on ,aphrodite4#iab ,eileithyia1 the goddess of childbirth1 generally appears1 in duplicated form1 assisting ,zeus at the birth of ,athena1#iac or ,leto at that of ,apollo and ,artemis4#iad ,she is closely related to ,artemis1 and a representation of a goddess who has been identified as ,artemis-,eileithyia may be seen on an early ,boeotian vase with reliefs at ,athens4#iae ,iris1 the messenger of the gods1 is usually distinguished from ,nike by her caduceus or herald's staff1 and from ,hebe by her wings4 ,she is often depicted as a single figure1#iaf or pouring a libation to ,hera1 ,athena1 or other deities4#iag ,she is associated more especially with ,hera1 as ,hermes is with ,zeus1 and attends on the former in several scenes of assemblages of the gods4#iah ,in company with ,hera she is attacked by a troop of ,seileni and defended by ,herakles1#iai and on another vase she is similarly surprised by a troop of ,centaurs4#ibj ,she assists at the creation of ,pandora1#iba at the ,judgment of ,paris1#ibb and at the wedding of ,peleus and ,thetis1#ibc and also appears in the ,garden of the ,hesperides4#ibd ,she is also seen with ,paris carrying off ,helen#ibe2 and with ,menelaos fetching her back#ibf2 and in another scene1 apparently drawn from a ,homeric source 7,il4 viii4 #cig ff471 where she dissuades ,athena and ,hera from taking sides in the war1 at the behest of ,zeus4#ibg ,she conveys the infant ,herakles to the ,centaur ,cheiron1#ibh and is also seen in company with a warrior4#ibi ,hebe in ,olympos performs somewhat similar functions to ,iris1 more particularly that of pouring out wine for the gods4#icj ,she is also specially associated with ,herakles at and after his apotheosis1#ica appearing as his bride in several instances4#icb ,besides these1 she frequently appears in assemblies of the gods1#icc or at the punishment of ,marsyas1#icd or the ,judgment of ,paris4#ice #d4 ,,personifications ,the next group of deities with which we have to deal is that of the various personifications which are to be found in great numbers on vases of all periods1 especially the later4 ,these naturally fall under several headings1 which1 following the lines of the classification adopted by ,m4 ,pottier in a valuable article on the subject1#icf we may distribute as follows3-- #a4 ,physical 7,sun1 ,moon1 ,dawn1 ,winds1 etc474 #b4 ,geographical 7,cities1 ,rivers1 ,mountains1 etc474 #c4 ,products of earth 7,wine1 ,harvest1 etc474 #d4 ,groups of various kinds 7,muses1 ,nymphs1 etc474 #e4 ,physical conditions 7,health1 ,old ,age1 etc474 #f4 ,social advantages 7,wealth1 ,peace1 ,victory1 etc474 #g4 ,ethical ideas 7,justice1 ,envy1 ,strife1 etc474 #h4 ,metaphysical ideas 7,necessity1 ,law1 etc474 #i4 ,social enjoyments 7,comedy1 ,tragedy1 ,revelry1 etc474 #aj4 ,descriptive names4 ,of some of these1 indeed1 we have already treated--such as the beings included in the following of ,aphrodite and ,dionysos1 ,ge-,pandora1 ,hebe 7,youth71 and the deities of the nether world4 ,the rest we now proceed to consider in order1 beginning with natural phenomena1 and firstly those of an astronomical character4 ,i4 ,helios1 the ,sun1 who in some senses1 especially in the mythology of the ,roman poets1 is identical with ,phoebus ,apollo1 is only once so identified on vases4#icg ,he is usually depicted in his four-horse chariot rising out of the sea 7as on the eastern pediment of the ,parthenon71 either as a single figure or in connection with some myth1 indicating that the action takes place at sunrise4 ,as a single figure he appears both on early and late vases1 on the latter1 usually1 as an upper decoration on the large ,apulian kraters4#ich ,he is also accompanied by ,eos 7,dawn7 and ,selene 7,moon71 by ,hemera 7,day71 or by ,eros#ici2 but in most cases he and ,selene appear together1 the latter descending as he rises 7as on the ,parthenon pediment74 ,thus on ,r4,f4 vases they denote the time of the action1 as when ,theseus descends below the sea to visit ,poseidon1#idj or as on the ,blacas krater in the ,british ,museum1 when ,eos pursues ,kephalos4#ida ,on the latter vase four stars are also depicted diving into the sea1 to indicate their setting4 ,on ,apulian vases he is present at the seizure of ,persephone1#idb at the flight of ,pelops from ,oinomaos1#idc at the madness of ,lykourgos1#idd at the ,judgment of ,paris1#ide and in the ,garden of the ,hesperides4#idf ,in one instance a group of ,satyrs start back affrighted at his appearance4#idg ,there are two instances of his encounter with ,herakles1 who endeavoured to stay his progress with his bow4#idh ---------------------------------------- -------------- ,,plate ,,liii ,illustration3 ,,helios ,,and ,,stars1 ,,from ,,the ,,blacas ,,krater ,,in ,,the ,,british ,,museum4 ---------------------------------------- -------------- ,selene1 the ,moon1 appears in many of the scenes already described under ,helios1 as on the ,blacas krater4 ,she is depicted under two types1 either on horseback#idi or driving a chariot like ,helios1#iej both as a single figure and in other scenes2 and she is sometimes characterised by the lunar disc or crescent4 ,besides the scenes already referred to1 she appears on horseback at the birth of ,dionysos#iea and at the pursuit of ,medeia by ,jason4#ieb ,the magic arts used by ,thessalian witches to draw down the moon from heaven are also the subject of a vase-painting1#iec where two women essay to perform this feat by means of a rope1 addressing her1 8,o ,lady ,moon60 ,stars are occasionally represented with an astronomical reference1 as on the ,blacas krater1 where they appear in the form of youths1 or grouped with ,helios1 ,selene1 and ,eos4#ied ,phosphoros1 the ,morning ,star1 may be identified in this connection1 represented as a youth running#iee2 but in other cases they are not personified1 as on a vase which represents the moon and stars with the constellation ,pegasos4#ief ,hemera1 the ,day1 we have already once noted2 but in art she is hardly to be distinguished from ,eos 7,dawn74 ,nor can ,nyx 7,night7 be identified with certainty on vases4#ieg ,eos is not an uncommon figure1 especially on ,r4,f4 vases1 and she also plays a part in certain myths4 ,as a single figure she appears rising from the sea in1 or driving1 a four-horse chariot like ,helios1#ieh her steeds in one case being named ,phlegethon and ,lampon4 ,she is also represented flying with two hydriae1 from which she pours out dew upon the earth4#iei ,she is frequently seen pursuing or carrying ,kephalos#ifj or ,tithonos1#ifa and is present at the apotheosis of ,alkmena4#ifb ,at the combat of her son ,memnon with ,achilles she and the other mother1 ,thetis1 are generally present4#ifc ,she also pleads with ,zeus for her son's safety1#ifd and bears away his body after the fatal issue of the fight4#ife ,next we have to deal with the ,winds1 as personified by the figures of ,boreas1 ,zephyros1 etc4 ,as single figures they seldom appear1 though we have possible instances of ,boreas1 with the unusual type of a serpent's tail1#iff or simply as a winged male figure4#ifg ,a wind-god is seen in an episode from the ,gigantomachia opposing the chariot of ,zeus1#ifh and another in an assemblage of deities round ,apollo ,kitharoidos4#ifi ,zephyros is seen pursuing ,hyakinthos1#igj and he and ,boreas together bear the body of a warrior to the tomb in the same manner as ,hypnos and ,thanatos4#iga ,but the most important subject connected with ,boreas is his pursuit of the ,athenian maiden ,oreithyia1 a frequent scene on the later ,r4,f4 vases1#igb some being very fine examples4 ,erechtheus1 ,kekrops1 and the ,nymphs ,aglauros1 ,herse1 and ,pandrosos1 are usually present1 and the latter in one case announce the news to ,kekrops or ,erechtheus4#igc ,boreas is also depicted in the act of punishing ,phineus by blinding him1 and attacked by the latter's friend ,parebios4#igd ,on some early ,b4,f4 vases we find winged beings which may be styled ,boreades1 in conjunction with ,harpies1 apparently representing the influences of good and evil winds respectively4#ige ,zetes and ,kalais1 the sons of ,boreas1 will be treated of in the story of the ,argonautika4#igf ,the ,aurae or breezes have been identified on a well-known vase in the ,british ,museum1#igg and on an ,apulian vase in the same collection is a head undoubtedly intended for ,aura4#igh ,the ,hyades or rain-goddesses in two instances extinguish the flames of a funeral pyre at the bidding of ,zeus1 at the apotheosis of ,alkmena#igi and of ,herakles#ihj2 in one of the latter instances they are named ,arethusa and ,premnusia4 ,they also receive the infant ,dionysos4#iha ,echo belongs perhaps rather to the ,dionysiac cycle1 appearing as the beloved of ,pan4#ihb 99 99 99 99 99 ,,ii4 ,we may next consider the personifications of cities and countries1 which are1 indeed1 in some cases more than merely symbolical figures1 being actual goddesses with a definite cult1 such as the ,nymph ,kyrene1 who often appears on works of art4#ihc ,on the great ,naples vase representing ,dareios in a council of war1 personifications of ,hellas and ,asia are placed among the spectator-deities1#ihd and the former seems also to be indicated on a similar vase with a battle of ,greeks and ,persians4#ihe ,on one of the late vases with the subject of ,pelops and ,oinomaos1 a personification of the locality ,olympia appears to be similarly present1#ihf just as on the ,hieron kotyle the personification of ,eleusis is included among the ,eleusinian and other deities at the sending forth of ,triptolemos4#ihg ,the city of ,thebes is personified in several instances1 especially as a spectator of ,kadmos slaying the dragon#ihh2 also on a 8,megarian0 bowl with reliefs in the ,british ,museum1 the subjects on which are taken from the ,phoenissae of ,euripides4#ihi ,nemea1 the scene of ,herakles' victory over the lion1 and of the death of ,archermos1 is similarly personified as a ,nymph in the representations of both subjects1#iij and the town of ,krommyon as a ,nymph protests against the slaying of the sow by ,theseus4#iia ,the ,nymph ,sparta occurs once1 dismounting from her horse4#iib ,two cups of the early ,b4,f4 class usually known 7from their subjects7 as ,cyrenaic1 bear representations of the ,nymph ,kyrene 7see above7--in one case with ,apollo1 in the other holding a branch of silphium 7the local product7 and surrounded by ,boreads and ,harpies 7see above74#iic ,among the ,greek islands1 ,aegina and ,salamis were supposed to have derived their names from ,nymphs beloved of ,zeus and ,poseidon1 who are represented pursuing these quasi-personified figures#iid2 we may also regard ,europa as coming under that category4#iie ,zeus also pursues ,taygeta1 who is connected with the mountain in ,laconia4#iif ,on one vase we find the names of the islands ,delos1 ,euboea1 and ,lemnos1#iig given1 presumably in pure fancy1 to two ,maenads and a ,satyr in a ,dionysiac scene where all the figures are named4 ,a more genuine instance is that of the ,nymph ,krete on the ,talos vase1 indicating the locality4#iih ,turning to other geographical features1 we have ,mount ,olympos transformed into a lyre-playing companion of ,satyrs#iii2 or1 again1 river-gods such as ,achelos1 who as a combination of man and bull1 or with a fish-body like ,triton1 wrestles with ,herakles4#ajjj ,the river ,nile appears once1 but not personified--only as an indication of landscape4#ajja ,in connection with the city of ,thebes we find personifications of the local river ,ismenos and the local fountain-,nymphs ,dirke and ,krenaia4#ajjb 99 99 99 99 99 ,,iii4 ,natural products1 such as ,oinos 7,wine7 and ,opora 7,harvest71 are only found personified among the ,dionysiac conceptions with which we have already dealt 7p4 #fe72 to these two names we may add those of ,hedyoinos 7,sweet ,wine71 ,kissos 7,ivy71 ,kalyke 7,bud71 and ,rodo 7,rose71 the three latter coming more under the heading of pet-names than of strict personifications4 99 99 99 99 99 ,,iv4 ,our next class includes certain groups of personages 7all feminine7 which for the most part hold their own throughout all periods of art and literature1 and are1 so to speak1 more crystallised into definite mythological personages1 associated with the gods and human beings of the legendary ages4 ,these are the ,muses1 the ,charites or ,graces1 the ,horae or ,seasons1 the ,moirae or ,fates1 and the ,erinnyes or ,furies4 ,the ,muses do not appear so frequently in vase-paintings as in sculpture1 and mostly on later vases4 ,two fine ,r4,f4 examples of the whole nine 7with their appropriate attributes7 call for mention#ajjc2 other vases give a more limited number1 or even single figures#ajjd2 but it must be remembered that in such cases identification is difficult1 as characterisation by means of a lyre or scenic mask does not necessarily connote the presence of a ,muse4 ,on one vase ,terpsichore is seen with two figures inscribed as ,mousaios and ,melousa#ajje2 but these may be no more than fancy names for an ordinary group of musicians4 ,five of them are seen in a group with ,apollo1 ,thamyris1 and ,sappho1#ajjf and elsewhere they accompany ,apollo4#ajjg ,the ,graces can nowhere be identified on ,greek vases1 though they form a well-known type in sculpture2 but there is an ,etruscan kylix in the ,british ,museum 7probably copied from a ,greek original71 which appears to represent them as an interior group4#ajjh ,the ,horae or ,seasons appear 7without distinctive names7 on the ,franois vase at the nuptials of ,peleus and ,thetis1 and on the ,sosias cup#ajji in an ,olympian assemblage 7three in each case72 also two of them at the sending forth of ,triptolemos4#ajaj ,the three ,moirae 7,fates7 appear on the ,franois vase 7as above71 and once also at the birth of ,athena#ajaa2 the ,furies have already been discussed4#ajab 99 99 99 99 99 ,v4 ,the personifications having reference to physical conditions 7as distinguished from ethical ideas7 are comparatively few in number4 ,they include ,hebe 7,youth71 who by virtue of her divine attributes has already been discussed in another section 7p4 #gg72 ,hygieia 7,health71 who is also a fully developed goddess1 but only once occurs on a vase1 except among the somewhat vague personifications surrounding ,aphrodite 7see pp4 #dc1 #gf72 and three others1 regarded as of masculine sex4 ,these are ,geras 7,old ,age71 ,hypnos 7,sleep71 and ,thanatos 7,death74 ,geras is seen in combat with ,herakles#ajac2 ,thanatos has already been discussed 7p4 #ga74 ,hypnos as a winged youth hovers over ,alkyoneus1 whom ,herakles overcame while asleep#ajad2 causes ,ariadne to sleep while ,theseus escapes#ajae2 and with ,thanatos carries the body of ,memnon1#ajaf or an ordinary mortal1#ajag to the tomb4 99 99 99 99 99 ,,vi4 ,social advantages as apart from ethical qualities are perhaps difficult to determine exactly2 but we may fairly rank under this heading such ideas as are suggested by ,chrysos 7,gold7 and ,ploutos 7,wealth72 ,eirene 7,peace72 ,nike 7,victory72 and the numerous attendants of ,aphrodite and ,dionysos1 such as ,eunomia1 ,eudaimonia1 and others already named 7pp4 #dc1 #fe74 ,chrysos and ,ploutos as boys accompany ,nike in her chariot#ajah2 ,eirene's appearance on vases is doubtful1 but she may appear in one instance carrying the infant ,ploutos4#ajai ,the birth of ,ploutos seems to be represented in one instance4#ajbj ,but by far the most important personage in this class is ,nike 7,victory71 whose appearance as a winged female figure is so often attested by inscriptions on ,r4,f4 vases that she can generally be identified with certainty4 ,she is especially popular as a single figure on the ,nolan amphorae and lekythi of the 8severe0 and 8strong0 periods1 some of which are conspicuously beautiful examples4#ajba ,altogether her appearances rival those of ,eros in number1 though on the ,italian vases they are far fewer4 ,whether ,nike ever occurs on ,b4,f4 vases is a very doubtful point1 and has been denied by many scholars1 but some figures are not easy to explain in any other way4#ajbb ,on other works of art she does not appear before #dhj ,b4,c41 unless the 8,nike0 of ,archermos is to be so identified2 it seems probable that she was an offshoot from ,athena1 whom we know to have been worshipped under the name of ,nike1 as in her temple on the ,athenian ,acropolis4 ,she is frequently associated with the gods1 either in scenes from mythology or in groups apart from action#ajbc2 usually she pours libations to them1 or crowns them in reference to some achievement4 ,thus we find her with ,zeus1#ajbd with ,hera1#ajbe with ,athena1#ajbf with ,poseidon and ,dionysos1#ajbg with ,apollo 7especially at his victory over ,marsyas71#ajbh with ,artemis ,elaphebolos1#ajbi and with ,aphrodite4#ajcj ,she frequently crowns or pours libations to ,herakles1 or attends him at his apotheosis#ajca2 on the later vases she takes ,athena's place in conveying him in a chariot to ,olympos4#ajcb ,among the numerous mythological events in which ,nike plays a more or less symbolical part may be mentioned the ,gigantomachia1 in which she drives ,zeus' chariot1#ajcc the birth of ,athena1#ajcd the sending of ,triptolemos1#ajce the ,judgment of ,paris1#ajcf the birth of ,dionysos#ajcg and that of ,erichthonios1#ajch and the punishment of ,ixion4#ajci ,among ,trojan scenes she appears with ,achilles arming1#ajdj at his 7supposed7 fight with ,telephos and possibly also at that with ,memnon1#ajda and at the carrying off of the ,palladion4#ajdb ,she is also seen with ,herakles in the ,garden of the ,hesperides1#ajdc with the ,dioskuri1#ajdd with ,perseus and ,bellerophon1#ajde with ,orestes at ,delphi#ajdf2 crowning ,hellas as the victor over the ,persians#ajdg2 and in many scenes with ,dionysos4#ajdh ,more numerous and characteristic1 however1 are the scenes in which she appears as a single figure1 or associated with mortals1 usually victorious warriors or athletes4 ,as a single figure she most commonly pours a libation over an altar1#ajdi or flies towards the altar bearing a torch1 incense-burner1 lyre1 tripod1 sash1 or other attribute#ajej2 in one case 7unless ,iris is intended7 a jug and caduceus4#ajea ,especially characterised as the goddess of ,victory1 she often holds a palm-branch4#ajeb ,she frequently takes part in religious and sacrificial ceremonies1 such as the decoration or dedication of a choragic tripod1#ajec or burns incense1#ajed or herself sacrifices a ram or bull4#ajee ,the last-named subject is1 however1 commoner on gems and a certain class of terracotta reliefs4#ajef ,on one vase she gives drink to a bull#ajeg2 or1 again1 she rides on a sacrificial bull#ajeh2 or places a hydria on a fountain or altar4#ajei ,she pursues a hare1 doe1 or bird1#ajfj or offers a bird to a youth4#ajfa ,on the later ,panathenaic amphorae and elsewhere she holds the or stern-ornament of a ship#ajfb2 and sometimes she erects a trophy4#ajfc ,illustration3 ,,fig4 #abd4 ,,nike ,,sacrificing ,,bull 7,,british ,,museum ,f #ff74 ,she appears in a chariot drawn by female ,centaurs1#ajfd or accompanied by ,chrysos and ,ploutos 7see above71#ajfe and she also conducts a victorious warrior in this manner4#ajff ,in other instances she pours a libation to a warrior1#ajfg who is sometimes inscribed with a fanciful name#ajfh2 or1 again1 as anticipating his victory1 she brings him his helmet4#ajfi ,she is1 however1 more frequently seen in athletic scenes1 crowning a victorious athlete1#ajgj rider1#ajga or charioteer1#ajgb or superintending the games in the palaestra1#ajgc torch-races1#ajgd or the taking of an oath by an athlete4#ajge ,in musical contests she performs the same functions1 crowning or pouring libations to a successful performer4#ajgf ,she crowns a successful potter in his workshop1#ajgg and also a poet 7874#ajgh ,a being of similar character1 who may perhaps be recognised in the figure of a winged youth on some ,b4,f4 and early ,r4,f4 vases1 is ,agon1 the personification of athletic contests4#ajgi ,on the later ,r4,f4 vases the figure of ,nike is often duplicated1 probably more to produce a balanced composition than for any other reason4#ajhj 99 99 99 99 99 ,,vii4 ,the next class of personifications is that of abstract ethical ideas4 ,even on the earlier vases there are found a considerable number of these1 such as ,eris 7,strife72 but on the later1 unlimited play is given to the tendency of the age 7seen also in sculpture and painting7 to invest every abstract idea with a personality1 apart from any idea of deification or mythological import4 ,among these1 by far the most numerous examples are1 of course1 those relating to the passion of ,love4 ,we have already traced the development of the type and conception of ,eros in vase-paintings1 and in the same place we have had occasion to speak of the associated ideas which became personified as subsidiary conceptions to that of ,love1 such as ,peitho 7,persuasion71 ,pothos 7,yearning71 and ,himeros 7,charm71 ,phthonos 7,envy or ,amor invidiosus71 and ,talas 7,unfortunate or ,unrequited ,love74#ajha ,of a similar type are the feminine conceptions associated with ,aphrodite-,eudaimonia 7,happiness71 ,euthymia 7,cheerfulness71 and the like4#ajhb ,among other abstract ideas are those of ,arete 7,virtue7 and ,hedone 7,pleasure71 which have been suggested as represented on one vase4#ajhc ,on a ,r4,f4 vase in ,vienna1 ,dike 7,justice7 is seen overcoming ,adikia 7,injustice7#ajhd2 ,apate 7,deceit7 on the vase with ,dareios in council beguiles the goddess ,asia with bad advice1#ajhe and also leads ,tereus astray#ajhf2 ,phobos 7,fear7 drives the chariot of ,ares when he assists ,kyknos against ,herakles#ajhg2 he is specially associated with the god of war1 the idea being that of inducing panic among enemies2 and in many cases his head appears1 like that of the ,gorgon1 as a device on shields4#ajhh ,in one instance he appears as a lion-headed monster4#ajhi ,artemis1 in the capacity of ,aidos 7,shame71 hinders ,tityos from carrying off ,leto4#ajij ,eris 7,strife7 appears on ,b4,f4 vases as a winged female figure running1 in scenes of combat1 chariot-races1 etc41 or as a single figure4#ajia ,but the identification is not always certain2 in some combat scenes it is possible that ,ate or a ,ker is meant1 and in those of an agonistic character we may see ,agon1 the personification of athletics 7see above1 p4 #hi74ajib 99 99 99 99 99 ,,viii4 ,the metaphysical ideas next to be discussed are almost exclusively punitive agencies1 either connected with scenes in the under-world 7,ananke1 ,poinae1 and the ,furies71 or bringing down penalties and disasters on the heads of wrong-doers1 such as the personifications of madness which occur in many of the tragic subjects on ,apulian vases4 ,in the first group we reckon ,ananke 7,necessity7 and the ,poinae 7,punishments71 who appear with the ,furies in a scene from the under-world1#ajic ,ate or ,ker 7,destiny71 a winged figure seen at the death of ,hector#ajid and at the madness of ,lykourgos#ajie2 and ,nemesis 7,vengeance7 in the scene between ,atreus and ,thyestes1#ajif with reference to its fate-fraught character4 ,in less tragic circumstances the latter is present in a bridal scene1 with attributes of a flower and an apple4#ajig ,the ,moirae or ,fates have already been mentioned 7p4 #hc71 as has ,themis or ,divine ,ordinance 7p4 #gd74 ,the second group includes ,lyssa 7,frenzy71 who drives ,aktaeon1 ,hippolytos1 and ,lykourgos to madness or destruction#ajih2 ,mania 7,madness71 who similarly drives ,herakles to slay his children#ajii2 and ,oistros 7,e4g4 a ,gad-fly71 who performs similar functions when ,medeia is about to slay hers4#aajj 99 99 99 99 99 ,,ix4 ,personifications relating to social enjoyments1 such as games1 the drama1 or banquets1 are closely analogous to many of those described under headings ,,iii4 and ,,vi41 and occur in the same connection4 ,thus in ,dionysiac scenes we find ,choro 7,dance71 ,molpe 7,song71 ,dithyrambos1 ,hedymeles 7,sweet ,song71 ,komos 7,revelry71 ,komodia and ,tragoedia 7,comedy and ,tragedy71 and ,pannychis and ,kraipale1 typifying all-night revels and their consequences4#aaja 99 99 99 99 99 ,x4 ,finally1 there are what ,m4 ,pottier has described as personifications of individualities1 under which heading fall many conceptions which do not find a place in any of the classes already discussed4 ,among these are many of the names given to ,maenads and ,satyrs 7p4 #fe71 which are intermediate between personal names and embodiments of abstract or physical ideas1 some inclining more to one side1 some to the other4 ,of these it is only necessary to mention as illustrative of the present subject the ,mainas#aajb and the ,nymphe#aajc found as names of individuals on several vases1 and the ,oinopion or 8,wine-drinker0 on vases by ,exekias4#aajd ,to the same class belong the names given to ,nymphs of various kinds1 such as the ,nereids 7see p4 #bf7 or the ,hesperides4 ,the latter are named on one vase#aaje as ,asterope1 ,chrysothemis1 ,hygieia1 and ,lipara2 on another#aajf as ,aiopis1 ,antheia1 ,donakis1 ,kalypso1 ,mermesa1 ,nelisa1 and ,tara4 ,of more general signification1 and sometimes perhaps to be regarded as descriptive titles rather than names1 are such as ,archenautes 7,ship-captain71#aajg ,komarchos 7,master of ,revels71#aajh or ,paidagogos 7,tutor74#aaji ,on the other hand1 ,neanias1 ,komos1 ,paian 7given to boys at play71#aaaj and ,eutychia 7on the tomb of a woman7#aaaa may be merely fanciful personal names4 ----- ,footnote #fba3 ,b4,m4 ,b #ehi1 ,b #fic2 ,b #ahj 7between vine-poles72 ,bibl4 ,nat4 #agf2 ,hartwig1 pl4 #cj1 fig4 #b 7,hieron72 ,branteghem ,coll4 ,no4 #bh 7,hermaios72 ,athens #aehc ,rayet and ,collignon1 p4 #bia2 ,amer4 ,journ4 of ,arch4 #aijj1 pl4 #a1 p4 #ahe 7,duris in ,boston74 ,footnote #fbb3 ,petersburg #hhj ,reinach1 i4 #ac4 ,footnote #fbc3 ,b4,m4 ,f #aid4 ,footnote #fbd3 ,b4,m4 ,e #beg4 ,footnote #fbe3 ,wiener ,vorl4 #ahij-ia1 pl4 #g1 fig4 #b 7,nikosthenes in ,boston74 ,footnote #fbf3 ,b4,m4 ,e #dci4 ,footnote #fbg3 ,b4,m4 ,e #cfb4 ,footnote #fbh3 ,athens #aehc ,rayet and ,collignon1 p4 #bia4 ,footnote #fbi3 ,bibl4 ,nat4 #egf ,hartwig1 ,meistersch4 pl4 #cc1 #a4 ,footnote #fcj3 ,reinach1 ii4 #ce4 ,footnote #fca3 ,ibid4 i4 #aei4 ,footnote #fcb3 ,b4,m4 ,b #bbe1 ,b #cgh1 ,b #dbf1 ,e #ajb2 ,louvre ,f #acc2 ,petersburg #hee ,reinach1 i4 #ah4 ,footnote #fcc3 ,b4,m4 ,e #dbi2 ,millin-,reinach1 i4 #fj1 ii4 #ag2 ,reinach1 i4 #afh1 ii4 #cjb4 ,footnote #fcd3 ,reinach1 ii4 #cb 7cf4 ,triptolemos74 ,footnote #fce3 ,bourguignon ,sale ,cat4 #eg2 ,mon4 ,grecs1 #ahgi1 pl4 #c4 ,footnote #fcf3 ,b4,m4 ,b #gi4 ,footnote #fcg3 ,mus4 ,greg4 ii4 #c1 #c;,e4g44 ,footnote #fch3 ,munich #cci ,reinach1 ii4 #cf ,wiener ,vorl4 #ahhh1 #g1 #a4 ,footnote #fci3 ,cat4 #ifi ,reinach1 i4 #dae3 see p4 #agh4 ,footnote #fdj3 ,b4,m4 ,e #ahb2 ,bibl4 ,nat4 #bai ,mon4 di ,barone1 pl4 #a2 ,reinach1 i4 #a and #c ,petersburg #agib and #agic2 and see p4 #ai4 ,footnote #fda3 ,b4,m4 ,e #dib2 ,reinach1 i4 #ic1 #abb2 ,helbig #ajc ,rayet and ,collignon1 p4 #bbc4 ,footnote #fdb3 ,petersburg #bjjg ,reinach1 i4 #g4 ,footnote #fdc3 ,bibl4 ,nat4 #ddj ,reinach1 ii4 #bfj4 ,footnote #fdd3 ,reinach1 i4 #ic4 ,footnote #fde3 ,baumeister1 i4 p4 #dcd1 fig4 #dhc3 cf4 ,b4,m4 ,e #fie 7doubtful74 ,footnote #fdf3 ,b4,m4 ,f #bga2 ,naples #cbai ,reinach1 i4 #abe and #cbcg ,millingen-,reinach1 #a ,baumeister1 ii4 p4 #hcd1 fig4 #iah4 ,footnote #fdg3 ,naples #cbcg ,millingen-,reinach1 #b ,baumeister1 ii4 p4 #hce1 fig4 #iai4 ,footnote #fdh3 ,b4,m4 ,e #gge ,fig4 #aca2 ,munich #hjg ,baumeister1 ii4 p4 #abjd1 fig4 #acif2 ,jahrbuch1 vii4 7#ahib71 pl4 #e1 p4 #aed 7,dionysos not present72 and see below1 p4 #adb4 ,footnote #fdi3 ,b4,m4 ,b #adi1 ,b #aec1 ,e #aff4 ,footnote #fej3 ,b4,m4 ,f #aid 7,d4 with bull's head74 ,footnote #fea3 ,naples ,s4,a4 #agb ,reinach1 i4 #dih3 cf4 ,louvre ,f #acf and ,f #caa 7,reinach1 i4 #add74 ,footnote #feb3 ,berlin #aijd4 ,footnote #fec3 ,b4,m4 ,b #cdg 7,hermes and ,apollo72 ,bibl4 ,nat4 #bca2 ,athens #ijc 7,ares1 ,hermes1 ,herakles72 ,munich #aeg2 ,reinach1 i4 #h 7,petersburg #ahjg71 #bjc1 ii4 #bd1 #db1 and #ge 7,munich #dg1 #fji1 #fb71 #cj1 #ce1 #gd4 ,footnote #fed3 ,b4,m4 ,b #cjb2 ,e #ff 7,herakles74 ,footnote #fee3 ,b4,m4 ,e #daj4 ,footnote #fef3 ,b4,m4 ,b #bjj1 ,b #bja1 ,b #cah-ba2 ,berlin #aifa1 #bbgh4 ,footnote #feg3 ,berlin #cbeg4 ,footnote #feh3 ,munich #ggc2 and see ,overbeck1 ,her4 ,bildw4 p4 #baj4 ,footnote #fei3 ,berlin #agcb ,reinach1 ii4 #ff4 ,footnote #ffj3 ,b4,m4 ,e #fe4 ,footnote #ffa3 ,see p4 #ag4 ,footnote #ffb3 ,b4,m4 ,b #bec1 ,e #h1 ,e #cjc1 ,e #ddc2 ,bibl4 ,nat4 #bcj2 and see p4 #ad4 ,footnote #ffc3 ,boston ,mus4 ,report1 #aijj1 ,no4 #ad 7,maenads72 ,froehner1 ,muses de ,france1 pl4 #f 7,seileni74 ,footnote #ffd3 ,petersburg #afjj ,reinach1 i4 #be2 ,bibl4 ,nat4 #cia ,froehner1 ,muses de ,france1 pl4 #h4 ,footnote #ffe3 ,b4,m4 ,b #afh 7873 see ,reinach1 ii4 #ch and p4 #cj4 ,footnote #fff3 ,b4,m4 ,e #dde4 ,footnote #ffg3 ,b4,m4 ,b #bjc4 ,footnote #ffh3 ,b4,m4 ,e #ddd2 ,reinach1 i4 #bjc3 see note #fec1 p4 #ef4 ,footnote #ffi3 ,berlin #bagi ,wiener ,vorl4 iii4 #f4 ,footnote #fgj3 ,b4,m4 ,f #aga 7crowned by ,nike72 ,athens #ffg2 ,forman ,sale ,cat4 #cef4 ,footnote #fga3 ,millin-,reinach1 ii4 #dc 7doubtful72 ,baumeister1 i4 p4 #fah1 fig4 #fhg4 ,footnote #fgb3 ,b4,m4 ,b #aih1 ,b #bef-ei1 ,e #abi1 ,e #bgi1 ,f #cjg2 ,reinach1 i4 #afa ,baumeister1 i4 p4 #dda1 fig4 #dia2 ,millin-,reinach1 ii4 #af1 #di ,a 7,d4 throws himself into arms of ,a474 ,footnote #fgc3 ,b4,m4 ,b #bjd1 #bjf1 #bjh1 ,f #a1 #fi4 ,footnote #fgd3 ,wrzburg1 ,phineus cup ,reinach1 i4 #bja ,furtwaengler and ,reichhold1 pl4 #da 7lions and stags74 ,footnote #fge3 ,b4,m4 ,e #edf2 ,jatta #ajib ,reinach1 i4 #dhb4 ,footnote #fgf3 ,petersburg #adbg ,reinach1 i4 #ah4 ,footnote #fgg3 ,reinach1 ii4 #cg1 #f4 ,footnote #fgh3 ,b4,m4 ,b #agi2 ,micali1 ,storia1 #hf4 ,footnote #fgi3 ,b4,m4 ,b #bjf4 ,footnote #fhj3 ,b4,m4 ,b #cjb1 ,b #dgf1 ,b #eef2 ,bibl4 ,nat4 #dcc ,millin-,reinach1 i4 #ch2 ,cambridge #dh4 ,footnote #fha3 ,millin-,reinach1 i4 #cg4 ,footnote #fhb3 ,reinach1 i4 #bae4 ,footnote #fhc3 ,b4,f43 ,b4,m4 ,b #bjf1 ,b #cjj ,fig4 #abj1 ,b #dbg2 ,reinach1 ii4 #ada and i4 #bjc ,wiener ,vorl4 ,d4 #a1 #c 7,d4 in chariot74 ,r4,f43 ,b4,m4 ,e #af1 #ee1 #ge1 #bbh1 #cfb1 #dfb2 ,berlin #bdga ,coll4 ,sabouroff1 i4 #ee2 ,bibl4 ,nat4 #ceg ,monuments ,piot1 vii4 pl4 #b2 ,roscher1 iii4 p4 #baah4 ,late3 ,b4,m4 ,f #a1 #gg1 #agi1 #cjc-d2 ,reinach1 ii4 #bjj4 ,see also p4 #fa4 ,footnote #fhd3 ,see ,b4,m4 ,cat4 and ,reinach1 ,e4g42 ,b4,m4 ,b #adh1 ,e #aaj1 #bec1 #ejc1 ,f #adi2 ,berlin #bagd2 ,bibl4 ,nat4 #bbb ,reinach1 ii4 #bea2 ,louvre ,f #c1 ,f #e1 ,f #aja1 ,f #abd1 ,f #bjd1 ,g #dc4 ,footnote #fhe3 ,b4,m4 ,e #cej 7receiving wine from ,nymph74 ,footnote #fhf3 ,b4,m4 ,e #ahd4 ,footnote #fhg3 ,berlin #bdjb ,coll4 ,sabouroff1 i4 #eg2 ,berlin #bbij ,baumeister1 i4 p4 #eee1 fig4 #eib 7,hieron72 ,reinach1 ii4 #aee ,wiener ,vorl4 #ahhi1 #d1 #e 7,taleides71 and ii4 #bhi1 #f4 ,footnote #fhh3 ,b4,m4 ,e #dfe1 ,f #aec4 ,footnote #fhi3 ,reinach1 ii4 #cja4 ,footnote #fij3 ,b4,m4 ,e #eaa1 ,f #ef4 ,footnote #fia3 ,b4,m4 ,f #cg1 #bge2 in ,f #bgc ,ariadne similarly occupied4 ,footnote #fib3 ,b4,m4 ,e #ff1 ,e #ghf4 ,footnote #fic3 ,anzeiger1 #ahie1 p4 #dj4 ,footnote #fid3 ,jahrbuch1 i4 7#ahhf71 p4 #bgh3 cf4 ,b4,m4 ,f #ahh4 ,footnote #fie3 ,hartwig1 ,meistersch4 pl4 #f ,louvre ,g #cd4 ,footnote #fif3 ,ibid4 pls4 #ch-ci1 #a1 and see p4 #aha4 ,footnote #fig3 ,athens #abhb-hc ,bull4 de ,corr4 ,hell4 #ahie1 p4 #ih4 ,footnote #fih3 ,b4,m4 ,e #gjc1 ,f #aeb2 ,millin-,reinach1 ii4 #af and ii4 #dj4 ,footnote #fii3 ,b4,m4 ,f #aad2 ,millin-,reinach1 ii4 #ba4 ,footnote #gjj3 ,reinach1 ii4 #ch4 ,footnote #gja3 ,b4,m4 ,b #baj2 ,bourguignon ,sale ,cat4 #ah 7both ,exekias74 ,footnote #gjb3 ,b4,m4 ,e #bbh1 #bda1 #dce1 ,f #afc1 #bgj2 ,reinach1 ii4 #cja2 ,millingen-,reinach1 #b4 ,footnote #gjc3 ,b4,m4 ,e #bbh1 ,f #bjc1 ,f #bec4 ,footnote #gjd3 ,b4,m4 ,f #dcg4 ,footnote #gje3 ,petersburg #bafa4 ,footnote #gjf3 ,b4,m4 ,f #hc1 #cha4 ,footnote #gjg3 ,b4,m4 ,f #afc2 ,munich #hdh ,reinach1 i4 #chc4 ,footnote #gjh3 ,naples #cbdj ,reinach1 i4 #aad ,baumeister1 i4 pl4 #e1 fig4 #dbb4 ,footnote #gji3 ,minervini1 ,mon4 du ,barone1 pl4 #g4 ,footnote #gaj3 ,b4,m4 ,e #dea-eb1 #dga2 ,berlin #aicj1 #bbij 7 ,wiener ,vorl4 ,a4 #d72 ,naples #bdai ,furtwaengler and ,reichhold1 pls4 #cf-g 7see ,vol4 ,i4 p4 #ada72 ,schreiber-,anderson1 pl4 #ad1 #h4 ,footnote #gaa3 ,berlin #bjbi2 ,naples #bdaa ,reinach1 i4 #aed4 ,footnote #gab3 ,bologna #bhf4 ,footnote #gac3 ,b4,m4 ,b #ccb4 ,footnote #gad3 ,see p4 #ag2 and cf4 ,b4,m4 ,b #db 7,plate ,,xxi474 ,footnote #gae3 ,see pp #bb1 #gf2 also ,berlin #beia4 ,footnote #gaf3 ,froehner1 ,muses de ,france1 pl4 #ba and p4 #fi ff42 ,reinach1 i4 #add1 #bbh2 ,harrison1 ,prolegomena to ,gk4 ,religion1 p4 #bgg2 and see pp4 #bi1 #gc4 ,footnote #gag3 ,see p4 #fj1 note #gaj4 ,footnote #gah3 ,b4,m4 ,e #eje4 ,footnote #gai3 ,reinach1 i4 #dgb1 ii4 #aih4 ,footnote #gbj3 ,b4,m4 ,b #bjc-d1 #bjf1 #dbg1 ,f #eh1 #gg1 #hj-a1 #aef4 ,footnote #gba3 ,b4,m4 ,f #ge-f1 #bgf2 ,louvre ,f #abj1 ,f #abd 7 ,wiener ,vorl4 #ahij1 #e1 #c71 ,g #cc1 ,g #eg2 ,naples #caac1 #cbda 7 ,reinach1 i4 #chd72 ,munich #ahd ,furtwaengler and ,reichhold1 pl4 #df 7,hieron72 ,gaz4 ,arch4 #ahhg1 #ae 7,hieron in ,brussels72 ,hartwig1 ,meistersch4 pls4 #f1 #ca-b4 ,footnote #gbb3 ,hartwig1 ,e4g4 pl4 #e2 ,wiener ,vorl4 ,e4 #ab1 #a2 ,mus4 ,greg4 ii4 #gi1 #b;,e4g42 ,b4,m4 ,b #big 7,plate ,,xxx472 ,satyr as single figure1 ,louvre ,g #bd4 ,footnote #gbc3 ,b4,m4 ,e #ce1 ,e #gfh2 ,hartwig1 ,e4g4 pl4 #de 7,hieron72 ,cambridge #dh4 ,footnote #gbd3 ,b4,m4 ,f #acc2 ,naples #bdai ,furtwaengler and ,reichhold1 pl4 #cg2 ,forman ,sale ,cat4 #ceb4 ,footnote #gbe3 ,b4,m4 ,b #bif2 ,reinach1 ii4 #ge 7,munich #fb71 #ada2 ,karlsruhe #bei ,furtwaengler and ,reichhold1 pl4 #cj2 ,amer4 ,journ4 of ,arch4 #aijj1 pp4 #ahh-ahi2 ,vienna #bca4 ,footnote #gbf3 ,louvre ,f #ccd4 ,footnote #gbg3 ,b4,m4 ,b #dbf2 ,bibl4 ,nat4 #cbj2 ,petersburg #i ,reinach1 ii4 #bd2 ,j4,h4,s4 #ahii1 pl4 #e2 ,wiener ,vorl4 #ahij-ia1 pl4 #c1 #b 7,nikosthenes74 ,footnote #gbh3 ,b4,m4 ,e #eaj4 ,footnote #gbi3 ,b4,m4 ,e #dcg1 ,e #dci1 ,f #di1 ,f #bbg4 ,footnote #gcj3 ,b4,m4 ,e #cai2 ,mus4 ,greg4 ii4 #gb1 #b;,e4g42 ,munich #djh ,furtwaengler and ,reichhold1 pls4 #dd-e4 ,footnote #gca3 ,b4,m4 ,e #eee2 ,berlin #bbda2 ,naples ,s4,a4 #cac2 ,reinach1 i4 #cdj1 ii4 #bfa 7,bibl4 ,nat4 #heb74 ,footnote #gcb3 ,b4,m4 ,b #bfe1 ,e #cfh2 ,bibl4 ,nat4 #eci ,reinach1 ii4 #bfa2 l4 ,cr4 i4 #de2 ,louvre ,f #afa1 ,f #cha1 ,g #cd 7 ,hartwig1 pl4 #f71 ,g #df4 ,footnote #gcc3 ,b4,m4 ,f #aib2 ,munich #ahd ,furtwaengler-,reichhold1 pl4 #df 7,hieron72 ,reinach1 i4 #bbc ,wiener ,vorl4 ,d4 #e2 and cf4 ,adamek1 ,vasen des ,amasis1 pl4 #b 7in ,berlin74 ,footnote #gcd3 ,sale ,cal4 ,htel ,drouot1 #aa ,may1 #aijc1 ,no4 #fb4 ,footnote #gce3 ,reinach1 i4 #bja4 ,footnote #gcf3 ,roscher1 i4 #aiih4 ,footnote #gcg3 ,munich #ccb ,baumeister1 ii4 p4 #hdg1 fig4 #ibh4 ,footnote #gch3 ,b4,m4 ,e #bec1 and cf4 ,e #eaj2 ,bibl4 ,nat4 #ceg ,monuments ,piot1 vii4 pl4 #c2 ,munich #cgb ,reinach1 ii4 #aag2 and cf4 ,j4,h4,s4 xix4 p4 #bbj4 ,footnote #gci3 ,b4,m4 ,e #ceg2 ,karlsruhe #bdb2 ,reinach1 i4 #bha 7872 ,hartwig1 ,meistersch4 p4 #cb4 ,footnote #gdj3 ,athens #acec ,bull4 de ,corr4 ,hell4 #ahie1 p4 #ie2 ,bibl4 ,nat4 #ceg ,monuments ,piot1 vii4 pl4 #b2 ,munich #hjg ,millingen-,reinach1 pl4 #e4 ,footnote #gda3 ,louvre ,f #caa ,reinach1 i4 #add4 ,footnote #gdb3 ,b4,m4 ,b #bhd 7871 ,b #dhf 7872 ,reinach1 ii4 #gg2 ,millin-,reinach1 ii4 #ab4 ,footnote #gdc3 ,b4,m4 ,b #eae1 ,e #efg4 ,footnote #gdd3 ,millin-,reinach1 ii4 #di ,a4 ,footnote #gde3 ,munich #edb2 ,stackelberg1 #bd2 ,forman ,sale ,cat4 #cca 7as racing charioteers1 driving ,maenads74 ,footnote #gdf3 ,b4,m4 ,e #cgg2 ,louvre ,g #gc 7trumpeting72 ,froehner1 ,muses de ,france1 pl4 #f2 and see p4 #ef1 note #ffc4 ,footnote #gdg3 ,b4,m4 ,e #c 7with pelta and trumpet72 ,louvre ,g #hi4 ,footnote #gdh3 ,b4,m4 ,e #eci4 ,footnote #gdi3 ,millin-,reinach1 i4 #bj4 ,footnote #gej3 ,inghirami1 ,mus4 ,chius4 #bjh4 ,footnote #gea3 ,b4,m4 ,e #dhg4 ,footnote #geb3 ,b4,m4 ,e #ajh4 ,footnote #gec3 ,see ,vol4 ,i4 p4 #baf1 ,fig4 #fh4 ,footnote #ged3 ,berlin #behi ,baumeister1 iii4 p4 #afhd1 fig4 #agff4 ,footnote #gee3 ,helbig1 #ahf ,mus4 ,greg4 ii4 #hj1 #a;,e4g44 ,footnote #gef3 ,berlin #beej4 ,footnote #geg3 ,b4,m4 ,b #adh4 ,footnote #geh3 ,berlin #begh4 ,footnote #gei3 ,b4,m4 ,b #afh2 ,reinach1 ii4 #ih2 with a mouse1 ,reinach1 i4 #ejj4 ,footnote #gfj3 ,b4,m4 ,e #ajb2 ,b #afh4 ,footnote #gfa3 ,b4,m4 ,e #aci1 ,e #cch4 ,footnote #gfb3 ,millingen-,reinach1 #ei4 ,footnote #gfc3 ,boston ,mus4 ,report1 #aijj1 ,no4 #ad4 ,footnote #gfd3 ,inghirami1 ,vasi ,fitt4 ii4 #aii4 ,footnote #gfe3 ,berlin #bbdj2 ,b4,m4 ,f #cfc2 ,wiener ,vorl4 ,c4 #g1 #a2 ,hartwig1 ,meistersch4 pl4 #de1 p4 #bh2 ,forman ,sale ,cat4 #cca4 ,footnote #gff3 ,b4,m4 ,e #bd1 ,e #bfa2 ,hartwig1 ,e4g4 ,footnote #gfg3 ,munich #aci2 ,reinach1 i4 #dfj2 ,hartwig1 pls4 #g and #dd1 #a4 ,footnote #gfh3 ,b4,m4 ,e #ce1 ,e #ecj1 ,e #gfh4 ,footnote #gfi3 ,berlin #bbfg ,hartwig1 ,e4g4 pl4 #b1 #a4 ,footnote #ggj3 ,reinach1 ii4 #cjc4 ,footnote #gga3 ,bourguignon ,cat4 #eg2 ,louvre ,g #ia4 ,footnote #ggb3 ,b4,m4 ,e #chg1 ,e #dfg4 ,footnote #ggc3 ,b4,m4 ,b #efj1 ,e #ehc2 ,berlin #bbdc2 ,louvre ,f #bjd ,amer4 ,journ4 of ,arch4 #ahif1 p4 #ad2 ,baumeister1 i4 p4 #eee1 fig4 #eib4 ,footnote #ggd3 ,naples #cbce ,reinach1 i4 #ajc ,roscher1 iii4 #hfa4 ,footnote #gge3 ,j4,h4,s4 vii4 pl4 #fb1 p4 #ed4 ,footnote #ggf3 ,b4,m4 ,f #bgc2 ,reinach1 ii4 #bja1 #bce2 ,naples #bhdf2 ,bourguignon ,cat4 #da1 #eg4 ,footnote #ggg3 ,see ,loeschcke in ,ath4 ,mitth4 #ahid1 p4 #eba4 ,footnote #ggh3 ,vol4 ,i4 pp4 #cec1 #cee1 and p4 #bjh below4 ,footnote #ggi3 ,see generally ,heydemann1 ,satyr- u4 ,bakchennamen4 ,footnote #ghj3 ,cat4 #bdga4 ,footnote #gha3 ,reinach1 ii4 #bfh4 ,footnote #ghb3 ,e #fe4 ,footnote #ghc3 ,see also ,jatta ,coll4 #ajic2 ,b4,m4 ,e #bec2 ,naples #bcfi2 ,roscher1 iii4 p4 #baah2 ,de ,witte1 ,coll4 l',htel ,lambert1 pls4 #ac1 #bg4 ,for ,terpon see also ,reinach1 i4 #bjc1 and ,hartwig1 ,meistersch4 pl4 #f4 ,footnote #ghd3 ,b4,m4 ,e #bec4 ,footnote #ghe3 ,reinach1 i4 #bdi2 ,roscher1 iii4 p4 #baae4 ,footnote #ghf3 ,de ,witte1 ,coll4 l',htel ,lambert1 #bg4 ,footnote #ghg3 ,reinach1 ii4 #bjj4 ,footnote #ghh3 ,munich #chd ,reinach1 i4 #acj 7see ,heydemann1 ,e4g4 pp4 #be1 #cf3 cf4 ,hydris1 ,b4,m4 ,e #fe74 ,footnote #ghi3 ,heydemann1 ,satyr- u4 ,bakchennamen1 p4 #bi 7,e4g474 ,footnote #gij3 ,b4,m4 ,e #hb2 ,berlin #bdga1 #becb2 ,naples #bcfi2 ,reinach1 i4 #dbf1 ii4 #f1 #ch1 #bjj4 ,footnote #gia3 ,berlin #becb4 ,footnote #gib3 ,reinach1 ii4 #bhg 7name also read as ,molpos74 ,footnote #gic3 ,ibid4 ii4 #cjb4 ,footnote #gid3 ,berlin #bafj4 ,footnote #gie3 ,munich #ghj2 ,naples #bcfi1 #cbce2 ,jatta #ajic2 ,reinach1 ii4 #bfh4 ,footnote #gif3 ,naples #cbce4 ,footnote #gig3 ,bologna #bhf4 ,footnote #gih3 ,naples #bcfi4 ,footnote #gii3 ,heydemann1 ,e4g4 p4 #bh 7x74 ,footnote #hjj3 ,jatta #ajic2 ,reinach1 ii4 #cjb4 ,footnote #hja3 ,jatta #ajic4 ,footnote #hjb3 ,berlin #cbeg4 ,footnote #hjc3 ,b4,m4 ,e #bec4 ,footnote #hjd3 ,reinach1 ii4 #f4 ,footnote #hje3 ,jatta #ajic4 ,footnote #hjf3 ,reinach1 ii4 #c ,millin-,reinach1 i4 #i2 ,reinach1 ii4 #ch4 ,footnote #hjg3 ,heydemann1 ,e4g4 p4 #bi 774 ,footnote #hjh3 ,ibid4 774 ,footnote #hji3 ,b4,m4 ,e #dib2 ,naples #bdai2 ,karlsruhe #bjh2 ,de ,witte1 ,coll4 l',htel ,lambert1 #ac4 ,footnote #haj3 ,b4,m4 ,e #cej3 cf4 ,nymphe on ,berlin #bdga4 ,footnote #haa3 ,jatta #ajic4 ,footnote #hab3 ,b4,m4 ,e #ahb2 ,heydemann1 p4 #bj 7,x7 ,dubois-,maisonneuve1 ,introd4 #bb4 ,footnote #hac3 ,naples ,s4,a4 #caf2 ,heydemann1 p4 #ai 7,u74 ,footnote #had3 ,heydemann4 p4 #ai 7,u74 ,footnote #hae3 ,gerhard1 ,ant4 ,bildw4 pl4 #ei4 ,footnote #haf3 ,naples ,s4,a4 #agb ,reinach1 i4 #dih4 ,footnote #hag3 ,pourtals ,cat4 #bi1 #b4 ,footnote #hah3 ,naples #cbce1 #bdai4 ,footnote #hai3 ,heydemann1 p4 #bi 7z74 ,footnote #hbj3 ,naples #bhhc4 ,footnote #hba3 ,strena ,helbigiana1 p4 #aaa ,boston ,mus4 ,report1 #aijj1 ,no4 #bj4 ,footnote #hbb3 ,b4,m4 ,e #ahc4 ,footnote #hbc3 ,b4,m4 ,b #bfa1 ,b #dbe1 ,f #ccb 7,plate ,,xlv474 ,footnote #hbd3 ,munich #gbh2 ,mus4 ,greg4 ii4 #ba1 #a2 and see ,nos4 #a-g in the list given below4 ,footnote #hbe3 ,b4,m4 ,e #hb1 ,f #fh4 ,footnote #hbf3 ,b4,m4 ,b #dbe3 cf4 ,mus4 ,greg4 ii4 #ba1 #a4 ,footnote #hbg3 ,millin-,reinach1 ii4 #aj2 ,ber4 d4 schs4 ,gesellsch4 #ahee1 pls4 #a-b4 ,footnote #hbh3 ,roscher1 i4 p4 #ahjb4 ,footnote #hbi3 ,see below1 p4 #ii1 and ,j4,h4,s4 xviii4 p4 #bif 7,hades is frequently present74 ,footnote #hcj3 ,see ,nos4 #a-d1 #g1 #h1 #aa2 for ,eurydike1 ,nos4 #g-i4 ,footnote #hca3 ,see ,nos4 #a-c and #ab-ad2 also ,munich #aec1 and ,louvre ,f #chb4 ,footnote #hcb3 ,see ,no4 #a2 for the rock version of the legend1 cf4 ,pind4 ,ol4 i4 #ij4 ,footnote #hcc3 ,nos4 #b1 #c1 #e1 #f2 ,b4,m4 ,f #baj2 ,munich #aec ,baumeister1 iii4 p4 #aibd1 fig4 #bjdj2 ,reinach1 i4 #djh 7parody74 ,footnote #hcd3 ,nos4 #c1 #d1 #i 7,p4 only71 and #aa4 ,footnote #hce3 ,no4 #aj4 ,footnote #hcf3 ,no4 #a4 ,footnote #hcg3 ,nos4 #a1 #b1 #e1 #i4 ,footnote #hch3 ,nos4 #a-f1 #aj1 #aa4 ,footnote #hci3 ,nos4 #a1 #d1 #aj4 ,footnote #hdj3 ,no4 #b 7see ,baumeister1 iii4 p4 #aibh74 ,footnote #hda3 ,no4 #c4 ,footnote #hdb3 ,nos4 #a-e1 #h4 ,footnote #hdc3 ,nos4 #c1 #f1 #aj4 ,footnote #hdd3 ,nos4 #b1 #c1 #i4 ,footnote #hde3 ,no4 #aa4 ,footnote #hdf3 ,see ,nos4 #e and #h4 ,footnote #hdg3 ,nos4 #a-c3 cf4 ,od4 xi4 #bfi1 and ,paus4 x4 #bi1 #g4 ,footnote #hdh3 ,no4 #b4 ,footnote #hdi3 ,no4 #a4 ,footnote #hej3 ,reinach1 i4 #djh 7parody73 cf4 ,paus4 x4 #bi1 #a4 ,footnote #hea3 ,b4,m4 ,e #aee2 ,berlin #cjbc ,reinach1 i4 #ccj ,baumeister1 i4 p4 #gfg1 fig4 #hba2 and ,no4 #e above4 ,footnote #heb3 ,b4,m4 ,d #fa2 ,berlin #bdee1 #bfhj1 #bfha 7 ,reinach1 i1 #deg72 ,munich #bji ,baumeister1 i4 p4 #cgh1 fig4 #dad 7,fig4 #abb72 ,athens #affj-fb 7 ,ant4 ,denkm4 i4 #bc72 ibid4 #affc1 #affe 7 ,bull4 de ,corr4 ,hell4 i4 pls4 #a-b74 ,footnote #hec3 ,b4,m4 ,f #dhf2 ,vienna #ddh ,reinach1 i4 #cdc2 ,reinach1 i4 #bbj2 ,helbig1 #aba ,reinach1 ii4 #aba is doubtful4 ,footnote #hed3 ,bibl4 ,nat4 #iah ,reinach1 i4 #cie ,dennis1 ,etruria1 ii4 frontispiece4 ,footnote #hee3 ,bibl4 ,nat4 #ibj ,reinach1 i4 #hh4 ,footnote #hef3 ,see above1 p4 #fi1 note #hch4 ,footnote #heg3 ,see ,no4 #e above4 ,footnote #heh3 ,see below1 p4 #ach4 ,footnote #hei3 ,boston ,mus4 ,report for #ahii1 ,no4 #ch4 ,footnote #hfj3 ,reinach1 i4 #dge4 ,footnote #hfa3 ,ibid4 i4 #bjd1 #bij 7,berlin #cjgb74 ,footnote #hfb3 ,naples #cbba ,ibid4 i4 #djb4 ,footnote #hfc3 ,b4,m4 ,f #aee3 see below1 p4 #ada4 ,footnote #hfd3 ,no4 #h above4 ,footnote #hfe3 ,bibl4 ,nat4 #bfi4 ,footnote #hff3 ,see above1 p4 #fi1 note #hdc4 ,footnote #hfg3 ,b4,m4 ,f #fh2 ,petersburg #ebe ,reinach1 i4 #aa4 ,footnote #hfh3 ,b4,m4 ,e #ahc2 ,reinach1 ii4 #cbd4 ,footnote #hfi3 ,petersburg #agib ,reinach1 i4 #a3 cf4 ,rev4 ,arch4 xxxvi4 7#aijj71 p4 #ic4 ,footnote #hgj3 ,b4,m4 ,f #bgg2 ,reinach1 i4 #ii 7and see i4 #aee72 ,e4g4 i4 #ebb1 #a1 and ,baumeister1 i4 p4 #dbc1 fig4 #dfc4 ,footnote #hga3 l4 ,cr4 iii4 #cg ,a4 ,footnote #hgb3 ,see ,ubell1 ,thanatos1 p4 #bb ff4 ,he doubts the possibility of the identification of ,thanatos on ,greek vases4 ,footnote #hgc3 ,athens #ajic ,roscher1 ii4 #bfgh2 ,reinach1 i4 #adi ,baumeister1 i4 p4 #gbg1 fig4 #gha3 cf4 ,louvre ,f #chh 7where ,pottier identifies the warrior as ,sarpedon74 ,footnote #hgd3 ,b4,m4 ,d #eh 7 ,fig4 #abc71 ,e #ab 7 ,wiener ,vorl4 ,d4 pl4 #c1 figs4 #a-b72 ,athens #afed ,dumont-,pottier1 i4 pl4 #bi2 ,arch4 ,anzeiger1 #ahic1 p4 #hf 7in ,berlin72 with body of woman1 ,athens #afec ,dumont-,pottier1 i4 pls4 #bg-bh1 and ,jahrbuch1 #ahie1 pl4 #b4 ,all but two of these are funeral lekythi4 ,footnote #hge3 ,reinach1 i4 #bgh4 ,footnote #hgf3 ,b4,m4 ,e #aee4 ,footnote #hgg3 ,berlin #baeg ,jahrbuch1 i4 p4 #baa2 ,arch4 ,anzeiger1 #ahie1 p4 #cg 7see under ,herakles1 p4 #ajc1 note #aagb74 ,footnote #hgh3 ,see ,j4,h4,s4 xii4 p4 #cdj 7,ker seizing soul of fallen warrior72 also for a ,ker in combats1 ,reinach1 ii4 #fc1 #abf 7,munich #gha71 #ig 7in the latter case protecting ,aeneas against ,diomede72 also i4 #aac 7,berlin #agac1 #agad71 #bbc1 where they represent demons of good or evil according to the will of the gods4 ,footnote #hgi3 ,see ,robert1 ,thanatos1 and ,j4,h4,s4 xii4 p4 #cde4 ,the ,ker hovering over ,alkyoneus 7see below1 p4 #ajj7 in ,reinach1 i4 #bee1 #dea1 may be a ,hypnos 7see ,koepp in ,arch4 ,zeit4 #ahhd1 p4 #db ff474 ,footnote #hhj3 ,b4,m4 ,d #ed2 ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 pls4 #ad1 #cc2 ,athens #fhh ,reinach1 i4 #afe ,roscher1 ii4 #aadg2 ,stackelberg1 pl4 #dh3 and cf4 ,reinach1 i4 #cdg 7 ,bourguignon ,cat4 #ai7 and ,benndorf1 ,e4g4 pl4 #db1 #b2 in the former the soul is armed2 in the latter the winged figure may be the 4 ,there often seems to be a confusion between the or ghost and the or 1 both in its functions and its art-form4 ,thus1 on the vase given in ,j4,h4,s4 xx4 p4 #aja 7see p4 #eb71 small winged figures like souls are seen flying out of the jar1 which are here intended to represent evil spirits or maleficent ghosts1 like the evils let out of the jar by ,pandora4 ,footnote #hha3 ,b4,m4 ,b #fci2 ,reinach1 i4 #hi2 ,millin-,reinach1 i4 #ai4 ,footnote #hhb3 ,b4,m4 ,b #bdj1 ,b #edc2 ,berlin #aiba4 ,footnote #hhc3 ,fig4 #aab1 p4 #ad2 ,naples #bhhc ,reinach1 i4 #aha3 cf4 the beautiful conception on the ,pergamene frieze4 ,footnote #hhd3 ,b4,m4 ,e #ahb and ,petersburg #agib ,reinach1 i4 #a2 ,reinach1 i4 #ff1 #aac1 #bjh4 ,footnote #hhe3 ,b4,m4 ,e #bgh1 ,reinach1 i4 #bdd 7,louvre ,e #hfd71 #bde1 #bdi2 ,b4,m4 ,b #aif4 ,footnote #hhf3 ,b4,m4 ,b #afh1 ,b #bac2 l4 ,cr4 ii4 #a1 #b4 ,footnote #hhg3 ,bibl4 ,nat4 #bih ,reinach1 i4 #bdi1 #d ,j4,h4,s4 xx4 p4 #ajf1 fig4 #b 7and cf4 ibid4 xix4 p4 #bce72 ,naples #ccee ,reinach1 i4 #bdh2 l4 ,cr4 i4 #ec ,reinach1 i4 #bdi1 #f3 cf4 also ,b4,m4 ,f #adg2 ,froehner1 ,muses de ,france1 p4 #fi2 ,harrison1 ,prolegomena to ,gk4 ,religion1 p4 #bgg2 and see above1 p4 #bi4 ,footnote #hhh3 ,as on the vase ,j4,h4,s4 xxi4 pl4 #a1 p4 #e3 cf4 ,schol4 in ,ar4 ,av4 #iga1 and ,sophocles' drama of ,pandora or the ,hammerers 773 see also ,jahrbuch1 vi4 7#ahia71 p4 #aac ff41 and for another explanation1 ,robert1 ,arch4 ,mrchen1 p4 #aid ff4 ,a vase in ,berlin 7,cat4 #bfdf ,reinach1 i4 #bbi ,j4,h4,s4 xix4 p4 #bcb7 represents the of ,ge-,pandora1 with ,satyrs astonished at the sight4 ,footnote #hhi3 ,munich #eeh2 ,naples ,s4,a4 #bhg2 ,reinach1 i4 #abi4 ,footnote #hij3 ,hes4 ,theog4 #aaf2 ,ar4 ,av4 #fif ff4 ,footnote #hia3 ,gaz4 ,arch4 #ahge1 pl4 #i4 ,footnote #hib3 ,roscher1 ii4 p4 #aeej4 ,footnote #hic3 ,b4,m4 ,e #bdf3 see ,j4,h4,s4 xi4 p4 #cdc4 ,footnote #hid3 ,berlin #bech ,reinach1 ii4 #afb4 ,footnote #hie3 ,petersburg #agic ,reinach1 i4 #c2 but see below1 p4 #abe4 ,footnote #hif3 ,petersburg #ahjg ,reinach1 i4 #g4 ,footnote #hig3 ,b4,m4 ,b #di ,reinach1 ii4 #abb2 ,millin-,reinach1 i4 #ej4 ,footnote #hih3 ,see ,ath4 ,mitth4 xiii4 7#ahhh71 p4 #dab ff4 and ,j4,h4,s4 xiii4 p4 #gg ff42 also ,vol4 ,i4 p4 #cia4 ,footnote #hii3 ,ath4 ,mitth4 #ahhh1 pl4 #i4 ,footnote #ijj3 ,b4,m4 ,f #bgj3 see ,daremberg and ,saglio1 ,dict41 ,e4g4 ,cabeiri4 ,footnote #ija3 ,see above1 p4 #gc1 note #hhh1 for representations of ,ge-,pandora rising from the earth1 which may be considered in connection with the creation of ,pandora4 ,footnote #ijb3 ,d #d4 ,footnote #ijc3 ,e #dfg1 #ghi2 ,j4,h4,s4 xxi4 pl4 #a 7here ,p4 rises out of the ground1 assisted by ,epimetheus with his hammer2 ,zeus and ,hermes are present74 ,footnote #ijd3 ,j4,h4,s4 xx4 p4 #aja3 see above1 p4 #eb4 ,footnote #ije3 ,bibl4 ,nat4 #edb ,reinach1 i4 #ada4 ,footnote #ijf3 ,berlin #agbb ,wiener ,vorl4 ,d4 #i1 #h1 and another ,b4,f4 vase in ,reinach1 i4 #chh2 ,jahrbuch1 iv4 7#ahhi71 pls4 #e-f1 fig4 #a4 ,footnote #ijg3 ,helbig1 #bge ,reinach1 ii4 #dh ,baumeister1 iii4 p4 #adaa1 fig4 #aefg4 ,footnote #ijh3 ,b4,m4 ,f #adh2 ,naples #cbee ,reinach1 i4 #bcf4 ,footnote #iji3 ,berlin #cbde ,gerhard1 ,ges4 ,akad4 ,abhandl4 pl4 #ai2 ,athens #ieg ,j4,h4,s4 xiii4 pl4 #c 7,h4 bears the heavens74 ,footnote #iaj3 ,reinach1 i4 #dga4 ,footnote #iaa3 ,athens #aibf ,reinach1 i4 #eae4 ,possibly also on a ,berlin vase 7,arch4 ,anzeiger1 #ahij1 p4 #hi7 with a similar subject1 which may1 however1 denote a 8sepulchral banquet40 ,see ,harrison1 ,prolegomena to ,gk4 ,religion1 p4 #cdi4 ,footnote #iab3 ,b4,m4 ,e #bbd1 ,e #fih4 ,footnote #iac3 ,b4,m4 ,b #bah1 #bdd 7,fig4 #aac71 ,e #daj2 ,louvre ,e #hfa and ,berlin #agjd ,reinach1 i4 #aef1 #aih4 ,footnote #iad3 ,athens #aifb4 ,footnote #iae3 ,ibid4 #dff ,plate ,,xlvii4 ,footnote #iaf3 ,b4,m4 ,e #gbj2 ,munich #cea ,reinach1 ii4 #df2 ,berlin #bbdh ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 #bg1 #b2 ,bibl4 ,nat4 #hda ,millin-,reinach1 i4 #fb2 ,roscher1 ii4 p4 #cej 7with tablets2 ,b4,f4 in ,louvre74 ,footnote #iag3 ,reinach1 ii4 #cbd2 ibid4 #cbe l4 ,cr4 i4 #cb 7may be ,nike74 ,footnote #iah3 ,b4,m4 ,e #fg2 ,bibl4 ,nat4 #ddd2 ,reinach1 i4 #ii1 #cci1 #dfc3 and see ,arch4 ,anzeiger1 #ahie1 p4 #ch 7,berlin74 ,footnote #iai3 ,b4,m4 ,e #fe ,reinach1 i4 #aic2 ,berlin #beia3 cf4 ,bibl4 ,nat4 #hdj ,reinach1 ii4 #bfj4 ,footnote #ibj3 ,j4,h4,s4 i4 pl4 #c4 ,footnote #iba3 ,b4,m4 ,e #dfg4 ,footnote #ibb3 ,berlin #ahie4 ,footnote #ibc3 ,franois vase4 ,footnote #ibd3 ,reinach1 i4 #cja4 ,footnote #ibe3 ,b4,m4 ,r4,f4 amphora 7uncatalogued74 ,footnote #ibf3 ,reinach1 ii4 #cd4 ,footnote #ibg3 ,ibid4 ii4 #bif3 see p4 #ci4 ,footnote #ibh3 ,ibid4 ii4 #dg4 ,footnote #ibi3 ,ibid4 ii4 #bgi4 ,footnote #icj3 ,b4,m4 ,e #cha7872 l4 ,cr4 i4 #bj1 #ca 7 ,reinach1 ii4 #i71 #cc 7 ,e4g4 ii4 #cba74 ,footnote #ica3 ,b4,f4 7,h4 in chariot73 ,b4,m4 ,b #bja1 #cag2 ,bibl4 ,nat4 #bec ,reinach1 i4 #cii2 ,reinach1 ii4 #gf1 #afa4 ,in ,olympos3 ,b4,f43 ,b4,m4 ,b #cgi4 ,r4,f43 ,reinach1 ii4 #ahf4 ,footnote #icb3 ,berlin #cbeg ,baumeister1 i4 p4 #fcj1 fig4 #gjj2 ,forman ,sale ,cat4 #cfd2 ,reinach1 ii4 #h3 see p4 #ajh4 ,footnote #icc3 ,berlin #bbgh ,ant4 ,denkm4 i4 #i2 ,reinach1 i4 #aeg1 #bjc2 ,roscher1 iii4 p4 #baai 7with ,aphrodite74 ,footnote #icd3 ,jatta #ajic2 ,reinach1 i4 #age4 ,footnote #ice3 ,petersburg #ahjg ,reinach1 i4 #g4 ,footnote #icf3 ,mon4 ,grecs1 #ahhi-ij1 p4 #e ff43 see also on the subject generally the article ,personifikationen in ,roscher's ,lexikon4 ,footnote #icg3 l4 ,cr4 ii4 #fb ,reinach1 ii4 #bhg3 see above1 p4 #cb4 ,footnote #ich3 ,b4,f43 ,berlin #aihc2 ,bibl4 ,nat4 #bbj and ,reinach1 ii4 #baa l4 ,cr4 ii4 #aae-aaf 7in the former case the solar disc is on his head74 ,late3 ,b4,m4 ,f #cje2 ,reinach1 i4 #beh 7,karlsruhe #chh71 #cfh2 ,millin-,reinach1 i4 #af1 ii4 #di4 ,footnote #ici3 ,reinach1 i4 #ii1 #ajj1 #cab 7,naples #cbbb71 #bia l4 ,cr4 ii4 #aad 7,hemera72 ,inghirami1 ,vasi ,fitt4 #cid 78see p4 #gi1 note #ied74 ,in the last but one they step out of a boat4 ,footnote #idj3 ,reinach1 i4 #bcb4 ,footnote #ida3 ,b4,m4 ,e #dff ,plate ,,liii4 ,a general view in colours1 ,art ,journal1 ,sept4 #aijd4 ,footnote #idb3 ,reinach1 i4 #ii4 ,footnote #idc3 ,ibid4 i4 #ajj4 ,footnote #idd3 ,ibid4 i4 #abe4 ,footnote #ide3 ,wiener ,vorl4 ,e4 #aa ,jahrbuch1 #ahid1 p4 #beb4 ,footnote #idf3 ,reinach1 i4 #bcf4 ,footnote #idg3 ,ibid4 i4 #aji4 ,footnote #idh3 ,cambridge #ajj ,stackelberg1 pl4 #ae2 ,athens #ijj ,j4,h4,s4 xix4 pl4 #i4 ,footnote #idi3 ,b4,m4 ,e #beb1 #dff1 #ggf2 ,berlin #beai ,coll4 ,sabouroff1 i4 #fc2 ,reinach1 i4 #cab 7,naples #cbbb71 #dea4 ,footnote #iej3 ,berlin #bbic ,j4,h4,s4 xix4 p4 #bfh 7a fine ,r4,f4 kylix72 ,athens #acde ,j4,h4,s4 xix4 pl4 #aj4 ,the figure in the chariot may be perhaps identified as ,nyx2 see ,berlin #beai1 where ,selene rides a horse and another goddess drives a chariot2 also ,b4,m4 ,e #ggf4 ,see ,art ,journal1 ,sept4 #aijd1 p4 #bij4 ,footnote #iea3 ,petersburg #agic ,reinach1 i4 #c4 ,footnote #ieb3 ,reinach1 i4 #djb4 ,footnote #iec3 ,ibid4 ii4 #cai l4 ,cr4 ii4 #aah4 ,footnote #ied3 ,b4,m4 ,e #dff 7,plate ,,liii472 ,naples #cbef ,reinach1 i4 #ajj 7here as stars74 ,footnote #iee3 ,b4,m4 ,e #dff2 ,reinach1 i4 #bcf1 #bia 7871 #cci2 ,inghirami1 ,vasi ,fitt4 iv4 #cid 7874 ,footnote #ief3 ,bibl4 ,nat4 #ddi ,reinach1 i4 #abi3 cf4 ,b4,m4 ,f #egc1 ,e #feh1 ,e #fei1 and ,art ,journal1 ,sept4 #aijd1 p4 #bhi4 ,footnote #ieg3 ,but see above1 note #iej2 p4 #cj1 note #bci4 ,footnote #ieh3 ,r4,f43 ,b4,m4 ,e #ddi1 ,e #ggf 78 ,nyx2 see above72 ,helbig1 #acb ,reinach1 ii4 #df4 ,late3 ,millin-,reinach1 ii4 #cg 7with ,hermes2 vase by ,lasimos in ,louvre74 ,footnote #iei3 ,millingen1 ,anc4 ,uned4 ,mon4 i4 #f l4 ,cr4 ii4 #ajh ,a ,roscher1 i4 #abeg2 ,de ,witte1 ,coll4 l',htel ,lambert1 pl4 #f4 ,footnote #ifj3 ,b4,f43 ,louvre ,e #gjb ,reinach1 i4 #ced4 ,r4,f43 ,b4,m4 ,e #gb1 #dff2 ,reinach1 i4 #dfc 7 ,bibl4 ,nat4 #dbc71 and ii4 #ha 7 ,helbig1 #hj72 ,reinach1 i4 #ajg ,hartwig1 ,meistersch4 pls4 #ci-dj 7by ,hieron2 may be either ,k4 or ,t472 ,bibl4 ,nat4 #cgd ,millin-,reinach1 ii4 #cd4 ,late3 ,millin-,reinach1 i4 #dh4 ,eos carrying ,k43 ,berlin #becg ,reinach1 i4 #bjh4 ,footnote #ifa3 ,oxford #bge ,j4,h4,s4 xiii4 p4 #acg2 ,bibl4 ,nat4 #hdf4 ,footnote #ifb3 ,b4,m4 ,f #adi4 ,footnote #ifc3 ,reinach1 ii4 #aje2 ,b4,m4 ,e #dfh3 see ,reinach1 i4 #add1 ii4 #bed 7,bibl4 ,nat4 #bjg74 ,footnote #ifd3 ,reinach1 i4 #aef1 #a4 ,footnote #ife3 ,reinach1 i4 #cdg ,bourguignon ,sale ,cat4 #ai2 ,millingen1 ,anc4 ,uned4 ,mon4 i4 pl4 #e2 ,roscher1 i4 #abfe ,wiener ,vorl4 vi4 #g4 ,footnote #iff3 ,b4,m4 ,b #ajd ,vol4 ,i4 p4 #cea2 and cf4 l4 ,cr4 iii4 #ca ff4 ,footnote #ifg3 ,b4,m4 ,b #dca1 ,b #dde2 ,forman ,sale ,cat4 #cah4 ,footnote #ifh3 ,b4,m4 ,f #bcg4 ,footnote #ifi3 ,b4,m4 ,b #bab4 ,footnote #igj3 ,b4,m4 ,f #ci2 ,berlin #bcje ,hartwig1 ,meistersch4 pl4 #gb1 #a2 ibid4 pl4 #bb1 #a 7see p4 #dg1 note #ejfab72 and cf4 ,reinach1 ii4 #bdh2 ,philologus1 #ahic1 p4 #baa4 ,footnote #iga3 ,b4,m4 ,d #ei4 ,footnote #igb3 ,b4,m4 ,e #dhj1 ,e #eab2 ,j4,h4,s4 xviii4 pl4 #f2 ,berlin #bafe ,reinach1 i4 #ceb2 ,munich #cgf ,reinach1 i4 #bdj ,baumeister1 i4 p4 #ceb1 fig4 #cgc2 ,reinach1 i4 #cje2 ,helbig1 #aja ,reinach1 ii4 #gh ,wiener ,vorl4 ii4 #i2 ,rayet and ,collignon1 p4 #bii 7in ,louvre74 ,footnote #igc3 ,berlin #bafe ,reinach1 i4 #ceb4 ,footnote #igd3 ,reinach1 i4 #cdf3 cf4 ,serv4 ad ,aen4 iii4 #bji2 ,ann4 dell' ,inst4 #ahhb1 p4 #ij ff42 ,roscher1 iii4 p4 #aeff4 ,footnote #ige3 ,b4,m4 ,b #d1 ,b #ajd3 see ,studniczka1 ,kyrene1 p4 #bf1 and ,j4,h4,s4 xiii4 p4 #aji ff4 ,footnote #igf3 ,see below pagelink81 pp4 #aae1 #aaf4 ,footnote #igg3 ,b4,m4 ,e #hjd ,j4,h4,s4 xiii4 p4 #ace4 ,footnote #igh3 ,b4,m4 ,f #bgg4 ,footnote #igi3 ,b4,m4 ,f #adi4 ,footnote #ihj3 ,munich #chd ,reinach1 i4 #acj2 ,reinach1 i4 #dha4 ,footnote #iha3 ,de ,witte1 ,coll4 l',htel ,lambert1 pl4 #aa3 cf4 ,reinach1 i4 #a4 ,footnote #ihb3 ,b4,m4 ,e #bbh 7see note in ,cat472 ,f #cha4 ,footnote #ihc3 ,see especially ,studniczka1 ,kyrene1 and on the subject generally1 ,j4,h4,s4 ix4 p4 #dg ff4 ,footnote #ihd3 ,naples #cbec ,reinach1 i4 #aid4 ,footnote #ihe3 ,naples #cbef ,reinach1 i4 #ih4 ,footnote #ihf3 ,b4,m4 ,f #bga4 ,footnote #ihg3 ,b4,m4 ,e #adj ,plate ,,li4 ,footnote #ihh3 ,naples #cbbf ,millingen1 ,anc4 ,uned4 ,mon4 i4 pl4 #bg2 ,millin-,reinach1 ii4 #g 7in ,louvre72 ,berlin #bfcd ,roscher1 ii4 #hcg4 ,footnote #ihi3 ,g #ajd4 ,footnote #iij3 ,b4,m4 ,b #cai2 ,naples #cbee ,reinach1 i4 #bce2 ibid4 i4 #dff 7,petersburg #ebc71 ii4 #ea4 ,footnote #iia3 ,b4,m4 ,e #dh1 #gd1 #hd2 ,ant4 ,denkm4 ii4 #a3 see ,arch4 ,zeit4 #ahhe1 p4 #aaf1 and ,loeschcke in ,dorpater ,programm for #ahhg4 ,footnote #iib3 ,boston ,mus4 ,report1 #aijj1 p4 #fc4 ,footnote #iic3 ,b4,m4 ,b #d1 ,b #f4 ,see ,vol4 ,i4 p4 #cda ff4 ,footnote #iid3 ,see above1 pp4 #ai1 #bd4 ,footnote #iie3 ,see above1 p4 #ai4 ,footnote #iif3 ,reinach1 ii4 #add3 see ,paus4 iii4 #a1 #b1 and #ah1 #aj2 ,apollod4 iii4 #aj1 #c1 #a2 ,hartwig1 ,meistersch4 p4 #dia1 note4 ,footnote #iig3 ,de ,witte1 ,coll4 l',htel ,lambert1 pl4 #bh4 ,footnote #iih3 ,jatta #aeja ,furtwaengler and ,reichhold1 pl4 #ch4 ,footnote #iii3 ,naples #cbce ,reinach1 i4 #ajc ,roscher1 iii4 #hfa4 ,footnote #ajjj3 ,b4,m4 ,e #dcg 7fish-body72 and see p4 #aja4 ,footnote #ajja3 ,petersburg #cej ,reinach1 i4 #ab4 ,footnote #ajjb3 ,naples #cbbf ,millingen1 ,anc4 ,uned4 ,mon4 i4 pl4 #bg 7,ismenos and ,krenaia73 cf4 ,millin-,reinach1 ii4 #g4 ,the nymph ,dirke is1 according to ,robert1 represented in the figure rising from the ground to receive the child ,dionysos at his birth on the vase ,petersburg #agib ,reinach i4 #a 7otherwise ,gaia73 see his ,arch4 ,mrchen1 p4 #ahe4 ,footnote #ajjc3 l4 ,cr4 ii4 #hf2 ,munich #hje ,reinach1 i4 #cia 7see ibid4 p4 #bgg7 ,wiener ,vorl4 iv4 #d4 ,footnote #ajjd3 ,franois vase 7at ,peleus and ,thetis' nuptials72 ,b4,m4 ,e #hje2 ,berlin #bcia1 #bdja 7,klio and ,terpsichore73 cf4 ,bull4 de ,corr4 ,hell4 #ahie1 p4 #ajb 7in ,louvre2 three figures named ,ourania1 ,kalliope1 and ,melpomene74 ,footnote #ajje3 ,b4,m4 ,e #bga4 ,footnote #ajjf3 ,reinach1 i4 #ebf ,jatta #aech4 ,footnote #ajjg3 ,see p4 #cb4 ,footnote #ajjh3 ,f #dgh2 and see ,jatta #fed ,gaz4 ,arch4 #ahhj1 pl4 #ai1 for a possible instance4 ,footnote #ajji3 ,berlin #bbgh ,ant4 ,denkm4 i4 #i4 ,footnote #ajaj3 ,petersburg #cej ,reinach1 i4 #ab4 ,footnote #ajaa3 ,louvre ,e #hfa ,reinach1 i4 #aef4 ,footnote #ajab3 ,see p4 #gj2 and also p4 #acg1 under ,orestes4 ,footnote #ajac3 ,b4,m4 ,e #bij4 ,footnote #ajad3 ,reinach1 i4 #bee1 #dea 7but see note #hgi on p4 #gb74 ,footnote #ajae3 ,reinach1 i4 #bbb ,plate ,,xxxix42 ,boston ,mus4 ,report1 #aijj1 ,no4 #be4 ,footnote #ajaf3 ,b4,m4 ,e #ab2 ,reinach1 i4 #adi ,baumeister1 i4 p4 #gbg1 fig4 #gha4 ,footnote #ajag3 ,b4,m4 ,d #eh ,fig4 #abc2 ,jahrbuch1 #ahie1 pl4 #b2 ,dumont-,pottier1 i4 pls4 #bg-h4 ,footnote #ajah3 ,berlin #bffa ,rayet and ,collignon1 p4 #beg4 ,for ,ploutos see also ,reinach1 i4 #a 7at birth of ,dionysos71 and the following notes4 ,footnote #ajai3 ,munich #bia ,reinach1 ii4 #dg 7more probably ,iris74 ,footnote #ajbj3 ,rev4 ,arch4 xxxvi4 7#aijj71 p4 #ic4 ,footnote #ajba3 ,see e4g4 ,b4,m4 ,e #bhg1 ,e #egd 7,plate ,,xxxvi471 ,e #fdc2 ,oxford #cab-cad4 ,footnote #ajbb3 ,studniczka1 ,siegesgttin 7#ahih71 and in ,roscher's ,lexikon1 iii4 p4 #cah3 see also ,sikes1 ,nike of ,archermos 7,cambridge1 #ahij71 and ,j4,h4,s4 xiii4 p4 #aaa ff4 ,studniczka regards the following as certain ,b4,f4 instances3 ,b4,m4 ,b #a1 ,b #ajfc1 ,b #abeb1 ,b #ccd2 ,jahrbuch1 #ahhi1 pls4 #e-f1 figs4 #b1 #b;a2 ,jahn1 ,entfhrung d4 ,europa1 pl4 #e4 ,the instances on late careless ,b4,f4 vases1 such as ,b #cef1 ,b #ceg1 ,b #feb in ,b4,m41 are not to the point1 as these belong to the fifth century4 ,footnote #ajbc3 ,b4,m4 ,e #ddd2 ,reinach1 i4 #aeg1 #a2 ,mus4 ,greg4 ii4 #ba1 #a2 ,berlin #bbgh ,ant4 ,denkm4 i4 #i4 ,footnote #ajbd3 l4 ,cr4 i4 #ad 7in ,b4,m472 ,reinach1 i4 #ff1 #aid1 #dag1 ii4 #bff 7,n4 crowning ,z472 ,berlin #bafg 7,z4 and ,poseidon74 ,footnote #ajbe3 l4 ,cr4 i4 #cb and iii4 #ch 7 ,berlin #bcag72 ,petersburg #cee ,reinach1 i4 #ad4 ,footnote #ajbf3 ,naples #ccgc2 l4 ,cr4 i4 #gf ,a3 cf4 ,reinach1 i4 #a1 #c1 #e1 #cg1 #aeh2 ,b4,m4 ,b #fjh1 #faj1 ,e #ebc2 l4 ,cr4 i4 #fh4 ,footnote #ajbg3 ,b4,m4 ,e #dde4 ,footnote #ajbh3 ,reinach1 i4 #ad1 #bec 7,bibl4 ,nat4 #cib71 #djf1 #eaa1 ii4 #caj2 ,naples #ahia l4 ,cr4 ii4 #ce2 ibid4 ii4 #dh4 ,footnote #ajbi3 ,b4,m4 ,e #dcb4 ,footnote #ajcj3 ,reinach1 ii4 #bij4 ,footnote #ajca3 ,b4,m4 ,e #bfb2 ,reinach1 i4 #bb1 #bea2 ,b4,m4 ,f #agh1 ,athens #acdf ,dumont-,pottier1 i4 pl4 #ae1 ,jahrbuch1 #ahib1 p4 #fi 7,n4 crowning ,h474 ,footnote #ajcb3 ,see p4 #ajg1 note #abbb4 ,footnote #ajcc3 ,mon4 ,grecs1 #ahge1 pls4 #a-b2 ,petersburg #ebc ,reinach1 i4 #dfg4 ,footnote #ajcd3 ,b4,m4 ,e #daj4 ,footnote #ajce3 ,reinach1 i4 #bhf 7871 #cih 7,berlin #beba74 ,footnote #ajcf3 ,b4,m4 ,f #aji2 ,reinach1 i4 #g4 ,footnote #ajcg3 ,b4,m4 ,e #ahb2 ,reinach1 i4 #a1 #c4 ,footnote #ajch3 ,reinach1 i4 #aac2 and cf4 ,,bm4 ,e #ghh4 ,footnote #ajci3 ,berlin #cjbc ,reinach1 i4 #ccj4 ,footnote #ajdj3 ,overbeck1 ,her4 ,bildw4 #ah1 #g4 ,footnote #ajda3 ,millingen1 ,anc4 ,uned4 ,mon4 i4 #bb2 ,reinach1 i4 #ceh 7unwinged figure2 may be ,eris74 ,footnote #ajdb3 ,naples #cbca ,reinach1 i4 #bii4 ,footnote #ajdc3 ,reinach1 i4 #bcf4 ,footnote #ajdd3 ,ibid4 i4 #cfa 7crowning them72 ,inghirami1 ,vasi ,fitt4 #ahg4 ,footnote #ajde3 ,reinach1 ii4 #di2 i4 #ajh1 #aie4 ,footnote #ajdf3 ,ibid4 i4 #cij4 ,footnote #ajdg3 ,ibid4 i4 #ih4 ,footnote #ajdh3 ,b4,m4 ,f #afc2 ,reinach1 i4 #aig1 #h1 ii4 #aih1 #bhg4 ,footnote #ajdi3 ,b4,m4 ,e #egd ,plate ,,xxxvi42 ,b4,m4 ,e #bhg1 ,e #fdc2 ,reinach1 ii4 #g4 ,footnote #ajej3 ,reinach1 i4 #bed 7,bibl4 ,nat4 #cib71 #cdj1 ,athens #ajah ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 #ai1 #c 7torch72 ,b4,m4 ,e #bea1 ,e #eac1 ,roscher1 iii4 #cbi1 ,benndorf1 op4 cit4 #dg1 #b 7incense-burner72 ,b4,m4 ,e #egd 7lamp72 ,oxford #bgd1 ,athens #acfb1 ,reinach1 ii4 #bce1 #caj1 ,de ,witte1 ,coll4 l',htel ,lambert1 pl4 #d1 ,benndorf1 op4 cit4 #dg1 #a 7lyre72 ,athens #acfb1 ,reinach1 i4 #daj 7tripod72 ,benndorf1 op4 cit4 #dh1 #a 7wreath74 ,on ,oxford #cab she plays on a lyre4 ,on her costume and attributes generally see ,roscher1 iii4 p4 #ccj4 ,footnote #ajea3 ,munich #cea ,reinach1 ii4 #df3 see above1 p4 #gf1 note #ajdh4 ,footnote #ajeb3 ,petersburg #cee ,reinach1 i4 #ad2 ,b4,m4 ,f #aji2 ,jatta #ajej4 ,footnote #ajec3 ,b4,m4 ,e #dee-ef2 ,reinach1 i4 #aie1 ii4 #ahj2 ibid4 i4 #djc1 #dbh2 ,roscher1 iii4 #ccj2 ,cab4 ,pourtals1 pl4 #f4 ,footnote #ajed3 ,reinach1 i4 #dib4 ,footnote #ajee3 ,b4,m4 ,f #ff ,fig4 #abd2 ,naples #bfhd ,reinach1 i4 #dgd2 ,reinach1 ii4 #bjf2 ,boston ,mus4 ,report1 #ahih1 ,no4 #ea4 ,footnote #ajef3 ,j4,h4,s4 vii4 p4 #bge ff4 ,footnote #ajeg3 ,munich #chf ,reinach1 ii4 #df ,furtwaengler and ,reichhold1 pl4 #ai4 ,footnote #ajeh3 ,inghirami1 ,vasi ,fitt4 #cfa4 ,footnote #ajei3 ,athens #ajbf ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 #bc1 #b4 ,footnote #ajfj3 ,oxford #bfe2 ,b4,m4 ,e #ech2 l4 ,cr4 i4 #ajj4 ,footnote #ajfa3 ,reinach1 ii4 #baf4 ,footnote #ajfb3 ,b4,m4 ,b #fjh2 ,berlin #bbaa l4 ,cr4 i4 #if4 ,footnote #ajfc3 ,b4,m4 ,e #gjj2 ,reinach1 ii4 #cbf ,roscher1 iii4 #cbf 7here she is putting on the inscription74 ,footnote #ajfd3 ,b4,m4 ,f #eej4 ,footnote #ajfe3 ,berlin #bffa ,rayet and ,collignon1 p4 #beg4 ,footnote #ajff3 ,reinach1 ii4 #d2 ,millin-,reinach1 i4 #bd2 ,jatta #ajej4 ,footnote #ajfg3 ,b4,m4 ,e #bfd1 #bge1 #dgf1 #egf4 ,footnote #ajfh3 ,b4,m4 ,e #cgi4 ,footnote #ajfi3 ,b4,m4 ,e #abh2 ,reinach1 i4 #bfh4 ,footnote #ajgj3 ,b4,m4 ,f #agj2 ,reinach1 i4 #de1 #cgh1 #b1 ii4 #ahg1 #bcj1 #bib4 ,footnote #ajga3 ,reinach1 ii4 #bfb 7,bibl4 ,nat4 #cfd71 #bia2 and see #bih4 ,footnote #ajgb3 ,millin-,reinach1 ii4 #gb4 ,footnote #ajgc3 ,b4,m4 ,b #fjg2 ,stackelberg1 pl4 #be 7,hegias72 ,oxford #bhh 7,cat4 pl4 #ae72 ,louvre ,f #aji 78 ,agon74 ,footnote #ajgd3 ,reinach1 ii4 #cbj2 ,tyszkiewicz ,coll4 pl4 #ce 7now in ,b4,m472 ,inghirami1 ,vasi ,fitt4 #cfc4 ,footnote #ajge3 ,reinach1 i4 #cbb4 ,footnote #ajgf3 ,b4,m4 ,e #dfj1 #dfi2 ,reinach1 i4 #di1 #cgh1 ii4 #bgd4 ,footnote #ajgg3 ,vol4 ,i4 p4 #bbc4 ,footnote #ajgh3 ,reinach1 i4 #fc4 ,footnote #ajgi3 ,b4,m4 ,b #a 7872 ,petersburg #ahc ,micali1 ,storia1 pl4 #hg2 ,reinach1 ii4 #abf 7872 ,daremberg and ,saglio1 ,dict4 s4v4 ,agon1 fig4 #ahj2 ,louvre ,f #aji3 see also ,burlington ,fine ,arts ,club ,cat4 7#aijc71 pp4 #ib1 #ig4 ,footnote #ajhj3 ,b4,m4 ,f #bj2 ,berlin #cjbc2 ,millingen-,reinach1 #cf2 ,helbig1 #ij ,mus4 ,greg4 ii4 #fj1 #c2 and see ,knapp1 ,nike1 p4 #cg4 ,footnote #ajha3 ,see above1 p4 #di4 ,footnote #ajhb3 ,see p4 #dc4 ,footnote #ajhc3 ,jahreshefte1 #ahii1 p4 #af ,reinach1 i4 #bgi2 but more probably the scene refers to ,orestes and ,pylades in ,tauris4 ,footnote #ajhd3 ,vienna #cai ,reinach1 i4 #cec3 for ,dike in under-world see p4 #fi4 ,footnote #ajhe3 ,naples #cbec ,reinach1 i4 #aid4 ,footnote #ajhf3 ,naples #cbcc ,reinach1 i4 #bci4 ,footnote #ajhg3 ,berlin #agcb ,reinach1 ii4 #ff2 ,b4,m4 ,b #cfd1 ,b #cfe3 see ,reinach1 i4 #bbc4 ,footnote #ajhh3 ,see ,roscher1 iii4 p4 #bicd4 ,footnote #ajhi3 ,louvre ,e #gbc3 see ,ath4 ,mitth4 #aijb1 p4 #bee4 ,footnote #ajij3 ,reinach1 ii4 #bf1 #d 7in ,louvre74 ,footnote #ajia3 ,b4,m4 ,b #ccd2 ,berlin #agge2 ,karlsruhe #bei2 ,petersburg #ahjg ,reinach1 i4 #g 7at ,judgment of ,paris72 ,reinach1 i4 #ajj 7with ,pelops71 ii4 #bf1 #a1 #afa2 ,baumeister1 i4 p4 #ah1 fig4 #bj4 ,footnote #ajib3 ,for unidentified winged deities see ,louvre ,f #ed ,wiener ,vorl4 #ahhh1 pl4 #e1 fig4 #b 7,exekias72 ,wiener ,vorl4 #ahij-ia1 pl4 #c1 fig4 #b 7,nikosthenes74 ,footnote #ajic3 ,naples #cbbb ,baumeister1 iii4 p4 #aibg1 fig4 #bjdb ,a3 see p4 #fi4 ,footnote #ajid3 ,reinach1 ii4 #ajj 7now in ,b4,m43 see ,class4 ,review1 #ahii1 p4 #dfh74 ,footnote #ajie3 ,naples #cbcg ,baumeister1 ii4 p4 #hcd1 fig4 #iah 7873 see below1 p4 #ia1 note #ajih1 for other interpretations4 ,footnote #ajif3 ,millingen-,reinach1 #bc4 ,footnote #ajig3 ,reinach1 i4 #agc4 ,footnote #ajih3 ,ibid4 i4 #bbi 7in ,boston72 ,b4,m4 ,f #bgi2 ,b4,m4 ,f #bga and ,naples #cbcg ,baumeister1 ii4 p4 #hcd1 fig4 #iah3 cf4 ,reinach1 i4 #cca1 #a4 ,the name of ,typhlosis 7,blindness7 has also been suggested for the figure on the ,naples vase4 ,footnote #ajii3 ,vol4 ,i4 p4 #dhj 7,assteas vase in ,madrid74 ,footnote #aajj3 ,munich #haj ,reinach1 i4 #cfc4 ,footnote #aaja3 ,see above1 p4 #fe1 for instances4 ,footnote #aajb3 ,b4,m4 ,e #dib2 ,naples #bdai2 ,karlsruhe #bjh4 ,footnote #aajc3 ,berlin #bdga4 ,footnote #aajd3 ,b4,m4 ,b #baj3 see p4 #eh1 note #gja4 ,footnote #aaje3 ,b4,m4 ,e #bbd4 ,footnote #aajf3 ,naples #bhgc 7,assteas74 ,footnote #aajg3 ,b4,m4 ,e #dee4 ,footnote #aajh3 ,munich #cgh4 ,footnote #aaji3 ,naples #cbee ,reinach1 i4 #bce4 ,footnote #aaaj3 ,berlin #bfeh ,reinach1 i4 #cge4 ,footnote #aaaa3 ,b4,m4 ,f #aaa4 ,,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--,attic and other legends--,orpheus and the ,amazons--,monsters--,historical and literary subjects4 ,in treating of the subject of heroic legends1 we propose to deal first with the more prominent heroes1 such as ,kastor and ,polydeukes1 ,herakles1 ,theseus1 and ,perseus1 and with the tales of ,thebes and ,troy2 next with the series of myths connected specially with ,attica or other localities2 then with semi-mythical personages1 such as ,orpheus and ,thamyris1 which lead us on to the next division of the subject--scenes connected with ,greek history4 99 99 99 99 99 ,kastor and ,polydeukes do not play a very extensive part on vases2 and as they are not further characterised than by the petasos and two spears1 which are the ordinary equipment of young horsemen1 they are not always to be identified with certainty1 except in mythological scenes4 ,among these they appear in the ,gigantomachia1#aaab or in company with ,herakles are initiated into the lesser mysteries at ,agra#aaac2 they are also seen at the apotheosis of ,herakles4#aaad ,they are present when ,leda discovers the egg laid by ,nemesis1#aaae and on two ,b4,f4 vases appear with ,leda and ,tyndareus in a family group#aaaf2 they are also seen in company with ,hermes1#aaag with ,paris and ,helen1#aaah with ,danaos taking refuge in ,attica1#aaai in a scene from the ,merope of ,euripides1#aabj and at the slaying of the ,sphinx by ,oedipus4#aaba ,they take part in the hunt of the ,calydonian boar1#aabb and in many scenes from the ,argonautika1 such as the death of ,talos1#aabc the punishment of ,amykos1#aabd and others of doubtful meaning4#aabe ,there is more than one representation of their carrying off the ,leukippidae1#aabf the best being the beautiful ,meidias vase in the ,british ,museum 7,plate ,,xli471 where all the figures are named4#aabg ,they appear as hunters1#aabh as deified beings present at a ,theoxenia 7lectisternium71 or feast of the gods1#aabi and are crowned by ,nike 7with stars over their heads74#aacj ,,herakles ,of all the heroic legends the most numerous and the most important are those of the ,herakleid4 ,they appear on vases of all periods1 though in the largest proportion on the black-figured varieties1 and include every event in his life1 from his birth to his deified life in ,olympos4 ,of the visit of ,zeus to his mother ,alkmena we have already spoken1 as also of her apotheosis4#aaca ,as an infant we see ,herakles engaged in strangling the serpents sent by ,hera1 while his brother ,iphikles recoils in terror#aacb2 later on ,hera appears to be reconciled to his existence1 for she is actually seen suckling him at her breast4#aacc ,next he is carried off by ,hermes to ,cheiron the ,centaur for his education1#aacd and we see him undergoing instruction on the lyre from ,linos1#aace or on his way1 accompanied by an old woman carrying his lyre4#aacf ,by the time when his series of labours begins he is usually represented as a full-grown bearded man1 especially on the archaic vases2 but he appears in a few instances as a quite youthful beardless figure4 ,of all the achievements of ,herakles the most famous are the ,twelve ,labours1 to which he was subjected by ,hera at the hands of ,eurystheus4 ,we find them all represented on vases1 with the exception of the cleansing of the ,augean stables1 which may be presumed to have offered too many difficulties to the painter2 it only occurs once in the whole history of ,greek art1 on a metope at ,olympia4 ,the horses of ,diomede only occur once1 the ,keryneian stag thrice1 and the ,stymphalian birds five times2 but the rest may be described as common4 ,in all these scenes ,herakles is usually accompanied by ,athena2 also1 but less frequently1 by ,iolaos and ,hermes4 99 99 99 99 99 ,i4 ,the ,nemean ,lion4 ,of this subject we find two 8normal0 types on ,b4,f4 vases1#aacg with one or two abnormal versions2 on ,r4,f4 vases the treatment is less stereotyped4 ,b4,f4 7#a7 ,standing type3--,herakles plunges sword into lion's neck 7both upright73 ,b4,m4 ,b #afj1 ,b #bcb1 ,b #fba 7,plate ,,xxx474 ,h4 strangles lion3 ,berlin #agbj ,wiener ,vorl4 #ahhh1 #f1 #c 7,exekias72 ,wiener ,vorl4 #ahhi1 #f1 #c 7,charitaios74 7#b7 ,crouching type3--,herakles stoops and strangles lion3 ,b4,m4 ,b #aei1 ,b #aii1 ,b #cah 7,fig4 #abe72 ,petersburg #fh ,wiener ,vorl4 #ahhi1 #d1 #f 7,taleides74 7#c7 ,abnormal3--,lion on its back2 ,herakles slays it with club3 ,reinach1 ii4 #eb4 ,herakles pursues lion3 ,louvre ,f #ajh ,wiener ,vorl4 #ahij-ia1 pl4 #a1 #e 7,nikosthenes74 ,r4,f4 7#a7 ,herakles with lion over shoulder about to hurl it on ,eurystheus 7type borrowed from ,erymanthian ,boar1 see below73 ,b4,m4 ,b #aic ,plate ,,xxxii4 7,andokides74 7#b7 ,crouching type3 ,munich #dae ,reinach1 i4 #aej ,baumeister1 i4 p4 #fef1 fig4 #gbc2 ,b4,m4 ,e #afh2 ,rm4 ,mitth4 v4 7#ahij71 pl4 #ab ,wiener ,vorl4 #ahij-ia1 #g1 #b 7,nikosthenes1 in ,boston74 ,see also ,b4,m4 ,e #ajd 7abnormal74 ,illustration3 ,,fig4 #abe4 ,,herakles ,,and ,,the ,,nemean ,,lion 7,,british ,,museum74 ,we may also note here a curious ,b4,f4 vase1 on which ,herakles is seen in the forests of ,nemea preparing the lion's skin for his own wear4#aach ,,ii4 ,the ,cretan ,bull4 ,type3 ,herakles seizes the bull from the front and ties its legs with a cord4 ,b4,f4 ,b4,m4 ,b #cji2 ,berlin #ahhf1 #ahih2 ,helbig1 #ca2 ,reinach1 ii4 #ee1 #e ,baumeister1 i4 p4 #ffj1 fig4 #gbg4 ,r4,f4 ,b4,m4 ,e #ajd2 ,wiener ,vorl4 #ahij-ia1 pl4 #g1 #b 7,nikosthenes1 in ,boston7 ,rm4 ,mitth4 v4 7#ahij71 p4 #cbd4 ,late4 ,berlin #cade ,millingen-,reinach1 #aa2 ,athens #aica4 ,see also a very remarkable vase in ,forman ,sale ,cat4 ,no4 #cje 7now at ,boston71 where the same subject appears each side1 one ,b4,f41 the other ,r4,f4 7by ,andokides74#aaci ,,iii4 ,the ,erymanthian ,boar 7see ,klein1 ,euphronios1 p4 #hg74 7#a7 ,the capture3 ,b4,m4 ,b #dfb2 ,louvre ,f #bcf2 ,berlin #aiha1 #bjcd2 ,naples #bgje and ,s4,a4 #aej2 ,athens #heh1 #hfj 7all ,b4,f474 7#b7 ,the bringing back of the boar 7,eurystheus absent2 ,athena usually receives the hero73 ,b4,m4 ,b #ddg1 #dib2 ,cambridge #eg2 ,munich #fid2 ,athens #ajig 7all ,b4,f474 ,illustration3 ,,fig4 #abf4 ,,herakles ,,bringing ,,the ,,boar ,,to ,,eurystheus 7,,british ,,museum74 7#c7 ,herakles hurls the boar upon ,eurystheus1 who hides himself in a large sunk jar 773 ,b4,f4 ,b4,m4 ,b #afa 7,fig4 #abf72 ,reinach1 ii4 #ee1 #a2 ,helbig1 #cg2 ,louvre ,f #ei1 #bjb4 ,r4,f4 ,b4,m4 ,e #dd 7,euphronios7 ,furtwaengler and ,reichhold1 pl4 #bc2 ,louvre ,g #ag ,wiener ,vorl4 #ahij1 pl4 #aj4 ,,iv4 ,the ,keryneian ,stag4 ,b4,f4 ,b4,m4 ,b #afi1 ,b #bca4 ,r4,f4 ,reinach1 i4 #bcc4 ,a dispute between ,apollo and ,herakles over a stag 7,rein4 ii4 #ef1 #c3 see p4 #cd7 may perhaps be referred to this subject1 as the myth is not otherwise known1 but it is more usually ,artemis who endeavours to thwart ,herakles' capture4 ,v4 ,the ,stymphalian ,birds4 ,found only on four ,b4,f4 vases 7,b4,m4 ,b #afc2 ,louvre ,f #chg2 ,arch4 ,anzeiger1 #ahib1 p4 #agb2 and ,munich #aaaa ,reinach1 ii4 #eh7 and one late example 7,reinach1 ii4 #big74 ,herakles shoots the birds with bow and arrow4 ,,vi4 ,the ,lernaean ,hydra4 ,this subject1 occurring only on archaic vases1 has no very fixed type2 the ,hydra has seven or nine heads1 and the body of a serpent or of a cuttle-fish4 ,iolaos sometimes assists ,herakles1 and in two cases the crab sent by ,hera is also visible4 ,b4,f4 ,early3 ,reinach1 i4 #chi2 ,jahrbuch1 #ahih1 pl4 #ab2 ,reinach1 i4 #aah 7#f7 ,louvre ,e #hea4 ,later3 ,reinach1 i4 #aah 7#a7 ,berlin #ahed 7crab72 ibid4 #aah 7#c72 #aah 7#e7 ,louvre ,f #chf ,millin-,reinach1 ii4 #ge 7,athena slays crab72 ,reinach1 ii4 #ec ,baumeister1 i4 p4 #feg1 fig4 #gbd2 ,berlin #ahja ,wiener ,vorl4 #ahhi1 #g1 #c3 see also ,athens #gib ,heydemann1 ,gr4 ,vasenb4 pl4 #d1 #a1 where two successive scenes are given4 ,r4,f4 ,reinach1 ii4 #gf4 ,hydra has cuttle-fish body and ten or eleven heads4 ,,vii4 ,the ,horses of ,diomede4 ,naples #bejf2 ,reinach1 ii4 #big 7874 ,,viii4 ,the ,augean ,stables4 ,not found on vases4 ,,ix4 ,the ,combat with ,geryon and ,capture of his ,cattle4 ,a very favourite subject on ,b4,f4 and early vases1 including some of the finest specimens4 ,geryon is at first winged and only three-headed1 then triple-bodied1 represented as three armed warriors united1#aadj one or two of whom generally fall wounded4 ,herakles attacks with bow4 ,early ,b4,f4 8,proto-,corinthian03 ,b4,m4 ,a #dhg ,j4,h4,s4 v4 p4 #agf4 ,chalcidian3 ,b4,m4 ,b #aee2 ,bibl4 ,nat4 #bjb ,reinach1 ii4 #eh and #bec ,plate ,,xxii4 ,late ,b4,f4 ,b4,m4 ,b #aef1 ,b #aid2 ,louvre ,f #ec ,reinach1 ii4 #ei ,baumeister1 i4 p4 #ffb1 fig4 #gbi 7,exekias72 ,j4,h4,s4 xviii4 p4 #bii1 and ,bibl4 ,nat4 #bbc 7abnormal types74 ,r4,f4 ,munich #ccg 7,plate ,,xxxviii47 ,furtwaengler and ,reichhold1 #bb 7,euphronios72 ,noel des ,vergers1 trurie1 pl4 #ch4 ,late4 ,berlin #cbeh2 ,naples #aibd ,millingen-,reinach1 #bg4 ,the driving off of the cattle by ,herakles is also represented3 ,b4,m4 ,e #ajd2 ,reinach1 ii4 #eh1 #e2 and see ,klein1 ,euphronios1 p4 #fa4 ,x4 ,the ,girdle of ,hippolyta4 ,b4,f4 ,b4,m4 ,b #ecc4 ,late4 ,naples #cbda ,reinach1 i4 #chd4 ,besides the scenes in which ,herakles is evidently capturing the girdle1 there are many vases on which he is seen in combat with ,hippolyte and other ,amazons1 such as ,andromache or ,alkaia1 assisted himself by ,iolaos or ,telamon4 ,b4,f4 ,b4,m4 ,b #aed1 ,b #dbf2 ,louvre ,e #hge2 ,cambridge #dd2 ,bourguignon ,sale ,cat4 #ah 7,exekias72 ,berlin #cihh ,coll4 ,sabouroff1 i4 pl4 #di4 ,r4,f4 ,b4,m4 ,e #de2 ,reinach1 i4 #aff2 ,bibl4 ,nat4 #ece ,reinach1 ii4 #bfe2 ,bologna #cbb2 ,reinach1 i4 #cec ,wiener ,vorl4 vii4 #d1 #a 7,duris74 ,late4 ,jatta #dbc ,reinach1 i4 #bjf4 ,,xi4 ,fetching ,kerberos from ,hades4 ,the various types and methods of representing this subject have been collected in ,j4,h4,s4 xviii4 p4 #bif2 as typical examples may be given3 ,early ,b4,f4 ,louvre ,e #gja ,reinach1 i4 #aec2 ,reinach1 i4 #chi1 ii4 #cb4 ,late ,b4,f4 ,j4,h4,s4 xviii4 p4 #bie 7in ,b4,m472 ,reinach1 ii4 #fi4 ,r4,f4 ,jahrbuch viii4 7#ahic71 pl4 #b 7in ,berlin7 and p4 #afj 7in ,boston74 ,late4 ,on several of the 8under-world0 vases1 see p4 #fh1 ,nos4 #a-d1 #aa4 ,,xii4 ,fetching the ,golden ,apples from the ,garden of the ,hesperides4 ,there are two versions of this myth4 ,in one1 which seems to be the earlier1 ,atlas fetches the apples1 while ,herakles supports the universe for him 7see above1 p4 #ge74 ,the vases representing ,herakles in the ,garden surrounded by the ,nymphs 7for whom see p4 #ib7 are almost all of the later period3 ,b4,f4 ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 pl4 #db1 #a4 ,r4,f4 ,b4,m4 ,e #bbd ,furtwaengler-,reichhold1 #h-i 7,plate ,,xli474 ,late4 ,b4,m4 ,f #adh2 ,naples #bhgc ,millin-,reinach1 i4 #c ,wiener ,vorl4 viii4 #ab1 #c 7,assteas72 and ,naples #cbee ,reinach1 i4 #bcf ,baumeister1 i4 p4 #fhf1 fig4 #gde4 ,parody4 ,athens #ahid ,reinach1 i4 #ejf 7874 ,besides the somewhat insignificant part that he plays in the ,gigantomachia1#aada ,herakles had several independent combats of his own with gigantic monsters and such-like beings4 ,of these the most popular subjects are ,antaios and ,alkyoneus4 ,the legend of ,herakles' wrestling with the former is familiar from ,pindar#aadb2 on the vases ,antaios is not characterised as a giant in size or otherwise1 but his mother ,gaia is generally present4#aadc ,alkyoneus1 on the other hand1 is represented as a being of gigantic size1 lying asleep in a cave#aadd2 a small winged figure which sometimes hovers over him has been interpreted by some as ,hypnos 7,sleep71 but might also be a 1 or harbinger of death4#aade ,herakles generally attacks him with club or bow and arrow1 but on one vase is depicted gouging out his eye#aadf2 on another he is assisted by ,telamon with a stone4#aadg ,another giant with whom we find the hero contending is ,cacus1 whose oxen he carried off4 ,this is a purely ,roman myth1 and belongs rather to the legends of the ,roman ,hercules1 but curiously enough it finds a place on one ,greek vase of ,sicilian origin1 which represents ,cacus in a hut with the oxen and ,herakles playing a lyre in triumph4#aadh ,one of the commonest subjects connected with ,herakles is his combat with ,kyknos1 the son of ,ares1 described at length in the ,hesiodic ,scutum ,herculis4 ,it is mostly found on ,b4,f4 vases1 the usual 8type0 showing the two combatants supported by ,athena and ,ares respectively in their chariots1 while ,zeus appears in the midst to interrupt them4#aadi ,one late ,r4,f4 vase seems to show the preparations for the combat1 in the presence of an ,amazon1 a ,fury1 and other personages#aaej2 another vase1 the subsequent attack made on ,athena by ,ares4#aaea ,we find him in combat with ,achelos1 the river-god1 represented as a bull with the face of a bearded man1#aaeb or occasionally1 by confusion with a sea-deity1 with the body and tail of a fish4#aaec ,this latter form is assumed by ,triton1 with whom also the hero contends1#aaed though the myth is unknown in literature4 ,of similar import is his combat with ,nereus1 the old man of the sea 7 71 who appears in human form as an aged man#aaee2 the 8type0 employed on ,b4,f4 vases is similar to that of ,peleus wrestling with ,thetis 7see below1 p4 #abj71 with similar indications of the sea-god's transformation into animals4 ,in one case an air of humour is imparted to the scene1 and ,herakles is represented smashing the furniture in ,nereus' house4#aaef ,another important group of subjects is concerned with ,herakles' adventures with the ,centaurs1 which fall under several headings4 ,allusion has already been made to his early education by ,cheiron1 and again we see him paying a visit of a peaceful nature to the aged ,pholos1 who entertains him by opening a jar of wine4#aaeg ,the smell therefrom attracted the other ,centaurs and led to a combat1 which we see vividly depicted on many early ,b4,f4 vases1 on which it was a favourite subject1 as also on later ones4#aaeh ,we also find him in combat with particular ,centaurs1 from whom he rescues a woman carried off by them4 ,thus we see ,hippolyta delivered from ,eurytion1#aaei and ,deianeira from ,nessos#aafj or ,dexamenos#aafa 7the latter appears on later vases only1 and there seems to be no distinction between them in the myth74 ,other adventures in which he engages include the freeing of ,prometheus from the vulture1 which he slays with his bow#aafb2 the bringing back of ,alkestis from ,hades#aafc2 the seizure of the ,kerkopes1 a pair of brigands1 whom he carries off head downwards over his shoulders#aafd2 and his capture by ,busiris in ,egypt1#aafe with his escape after slaying the king's negro attendants4#aaff ,among rarer myths may be mentioned the destruction of the vines of ,syleus#aafg2 a possible representation of his contest in drawing water with ,lepreos#aafh2 and his combat with ,erginos1 the king of ,orchomenos1 and the capture of his heralds4#aafi ,a vase in ,athens1 on which he is depicted dragging two ,satyrs in a leash1#aagj depicts an unknown myth2 as do those which represent him contending with ,geras1 a personification of ,old ,age1#aaga and beating a winged ,ker with his club4#aagb ,in company with ,athena he attacks an unknown man1#aagc and he is also seen leading a ,sphinx4#aagd ,next we turn to the relations between the hero and the ,olympian or other deities1 which often take the form of disputes or combats4 ,of these the most famous and important is his capture of the ,delphic tripod1 for which he fights with ,apollo1 generally in the presence of ,athena and ,artemis#aage2 in one instance ,herakles is seen in ,athena's chariot1 carrying the tripod off with him#aagf2 other vases represent the final reconciliation with ,apollo4#aagg ,there is a curious representation of a combat between ,herakles and ,hera 7depicted as the ,roman ,juno ,sospita1 wearing a goatskin on her head71 with ,athena and ,poseidon assisting on either side4#aagh ,another rare and interesting subject is that of his attack on ,helios1 whom he interrupts at sunrise to prevent his journey after ,geryon's cattle from becoming known4 ,herakles is shown waiting for the chariot of the sun-god as it rises from the waves1 and preparing to discharge his arrows4#aagi ,a later stage of the story is illustrated by a fine ,r4,f4 vase1 where he voyages over the sea in the golden bowl given him by ,helios4#aahj ,lastly1 he defends ,hera and ,iris against the attacks of a troop of ,seileni4#aaha ,in other scenes where he is associated with the gods1 it is in his divine capacity after his apotheosis4 ,his relations with women are not so frequently depicted but we have at least one representation of his visit to ,omphale#aahb2 or1 again1 of his entertainment by ,eurytos1#aahc the carrying off of his daughter ,iole1#aahd and the subsequent fight with ,eurytos4#aahe ,his rescue of ,deianeira from the ,centaur has already been alluded to1 and there may also be a reference to his carrying her off from her father ,oineus4#aahf ,hesione is not found with him on vases1 but he is seen carrying off ,auge#aahg2 he is also associated with a ,nymph1 who may be ,nemea4#aahh ,on one vase he pursues1 with amorous intention1 a woman1 who may possibly be intended for ,athena4#aahi ,a remarkable vase-painting by ,assteas of ,paestum depicts ,herakles in a fit of madness destroying his children by hurling them on a fire1 on which he has already thrown the household furniture2 his mother and others look on1 expressing various emotions4#aaij ,in more peaceful mood he is seen grouped with his wife ,deianeira and their son ,hyllos1#aaia or with ,oineus1 his father-in-law4#aaib ,we now proceed to note a few subjects which do not admit of more exact classification4 ,herakles is initiated into the lesser mysteries at ,agra1 together with ,kastor and ,polydeukes1#aaic and is conducted by ,hermes to the revels of the ,scythian ,agathyrsi 7cf4 p4 #agi74aaid ,he is also sometimes seen carrying ,hades on his back1 the latter bearing a large cornucopia#aaie2 but the signification of this subject is unknown4 ,he accompanies the ,argonauts on their wanderings1#aaif and appears as a single figure shooting from a bow4#aaig ,he is often represented performing an act of sacrifice1 either as a single figure#aaih or in groups1 sacrificing a ram or other animal4#aaii ,some of these scenes1 where he sacrifices to the xoanon of ,chryse1#abjj a local ,lemnian goddess1 must refer to the story of ,philoktetes1 with which he was connected4 ,or1 again1 conversely1 we see a statue of ,herakles made the subject of offerings from others4#abja ,a scene from the story of ,antigone 7see below1 p4 #aai7 is represented as taking place before a shrine1 in which stands the deified hero interceding with ,kreon for her life4#abjb ,he also appears as protecting god of ,attica1#abjc and also of the palaestra1 with reference to his traditional founding of the ,olympian games4#abjd ,finally1 there is a series of subjects which 7as in the case with most of the preceding section7 may be concerned with ,herakles either before or after his apotheosis4 ,among these are the numerous vases 7especially ,b4,f47 where he is represented as being greeted by ,athena or conversing with her1#abje or receiving a libation from her4#abjf ,these may either refer to his receiving visits of encouragement from her in the intervals between his labours1 or to his reception by her in ,olympos 7see below74 ,many vases represent him banqueting1 usually in company with ,dionysos and other deities4#abjg ,with ,hermes and ,iolaos he takes part in a procession accompanied by music#abjh2 and he is also represented overcome with wine and forming a subject for mockery1#abji while ,satyrs steal his weapons#abaj 7this subject being probably taken from a ,satyric drama74 ,or he is represented bathing at a fountain#abaa2 and in one case fishing with ,hermes and ,poseidon4#abab ,he also takes part in the ,gigantomachia1#abac and is present at the birth of ,athena1#abad in both cases by a curious anticipation of his deified character4 ,exceedingly common are his appearances with a lyre1 as ,kitharoidos4#abae ,the last scenes of ,herakles' earthly life are his last sacrifice on ,mount ,kenaion1#abaf the wearing of the poisoned robe which led to his death1#abag and the subsequent burning of his body on the funeral pyre4 ,the last scene is occasionally combined with his apotheosis2 the ,hyades quench the flames among which his body is consuming1 while the deified hero ascends in the chariot of ,athena or ,nike to ,olympos4#abah ,the vases relating exclusively to his apotheosis fall into two main classes1 which admit of more than one sub-division3 7#a7 his ascent into heaven in the chariot of ,athena or ,nike2 7#b7 his reception in ,olympos4 ,the ascent in the chariot of ,athena is almost confined to ,b4,f4 vases2 on those of the ,r4,f4 period it rarely occurs2 and on the ,italian vases her place is usually taken by ,nike1 who is also represented crowning him with a wreath4 ,on the ,b4,f4 vases the 8type0 is almost invariable 7see ,plate ,,xxix473 ,herakles mounts the four-horse chariot in which the goddess stands ready2 on the farther side of it stand various deities1 the commonest being ,apollo1 ,dionysos1 and ,hebe1 with ,hermes at the horses' heads2 more rarely ,zeus1 ,hera1 and ,artemis are seen4#abai ,in one or two cases ,iolaos acts as charioteer1 ,athena standing at the side#abbj2 or1 again1 ,hebe performs the same office4#abba ,on the late red-figured vases the attendant deities are almost limited to ,hermes and ,eros2 the chariot is here usually represented as on its way4#abbb ,illustration3 ,from ,arch4 ,zeit4 ,,fig4 #abg4 ,,reception ,,of ,,the ,,deified ,,herakles ,,by ,,zeus1 ,,from ,a ,,vase ,,at ,,palermo4 ,the first stage of the hero's introduction into ,olympos is his introduction to ,zeus by ,athena1 a scene common on both ,b4,f4 and ,r4,f4 vases 7,fig4 #abg74 ,the attendant deities vary very greatly3 ,hermes1 ,apollo1 ,hebe1 and ,artemis are most often seen2 also ,hera1 ,poseidon1 ,ares1 and ,dionysos4#abbc ,besides these there are numerous scenes in which he is grouped with various deities1 usually ,athena and ,hermes1 but also ,poseidon1 ,ares1 ,dionysos1 and ,hebe1 apparently in the enjoyment of his new life among the welcoming gods#abbd2 and to this group may be added the scenes in which he is crowned by ,nike4#abbe ,the completion of his bliss is the marriage with ,hebe1 found on two or three fine ,r4,f4 vases1#abbf with a numerous company of attendant deities4 99 99 99 99 99 ,the adventures of ,theseus1 the peculiarly ,attic hero1 are portrayed on vases of all dates2 they are rare on the later kinds1 but are most popular on the ,r4,f4 vases of the 8strong0 and 8fine0 periods1 as would naturally be expected at a time when his cult was coming into special prominence in ,athens 7see ,vol4 ,i4 p4 #dah74 ,of his seven labours the only one commonly found on the ,b4,f4 vases is the combat with the ,minotaur1 but some of the finest ,r4,f4 kylikes give a complete series4 ,they are given in the order of his progress from his birthplace ,troezen through the ,isthmus to ,athens4 ,it should be noted that the ,cretan legends1 which alone are common on the early vases1 are clearly older than the more purely ,attic4 ,the first subject to be mentioned in connection with the story of ,theseus is that of his father ,aigeus consulting the oracle of ,themis4#abbg ,his finding of ,aigeus' sword and sandals beneath the stone 7cf4 ,plate ,,lxii47 is not depicted on vases1 but we have a possible representation of his recognition by ,aigeus1#abbh and an unintelligible scene where he pursues or attacks his mother ,aithra1 apparently wielding the newly found sword4#abbi ,there are only two ,r4,f4 kylikes which give the complete series of adventures1 including that in ,crete2 the ,duris kylix in the ,british ,museum 7,vol4 ,i41 frontisp47 omits two 7the bull and ,prokrustes71 and others give a varying number of scenes1 omitting sometimes one1 sometimes another4 ,the adventure with ,periphetes appears to be confined to literature4 ,we give the list as follows1 with the vases on which they may be seen#abcj3 7#a7 ,the pine-bender ,sinis4 ,b4,f43 ,athens #hgi4 ,r4,f43 ,reinach1 i4 #cac 7 ,naples ,r4,c4 #ahj7 and ii4 #bhj4 7#b7 ,the sow of ,krommyon1 sometimes accompanied by a ,nymph or old woman1 the personification of the locality4 ,reinach1 i4 #dei2 ,noel des ,vergers1 trurie1 pl4 #ad4 7#c7 ,the brigand ,skiron 7in ,megara72 this scene is usually to be identified by the foot-pan and the tortoise4 ,reinach1 i4 #aai4 7#d7 ,the wrestling with ,kerkyon 7at ,eleusis74 ,reinach1 i4 #cbd4 7#e7 ,prokrustes and his bed 7near ,athens74 ,b4,f43 ,athens #hgi4 ,r4,f43 ,b4,m4 ,e #dda-db2 ,athens #aaff ,j4,h4,s4 #ahhi1 pl4 #a2 ,millingen-,reinach1 #i-aj4 7#f7 ,the ,marathonian bull4 ,b4,f43 ,bibl4 ,nat4 #agd4 ,r4,f43 ,b4,m4 ,e #ddb2 ,naples #bhfe ,inghirami1 ,vasi ,fitt4 #ed2 ,millin-,reinach1 i4 #dc3 ,noel des ,vergers1 trurie1 pl4 #ce 7in ,brussels74 7#g7 ,the slaying of the ,minotaur4 ,a very early representation 7about #faj ,b4,c47 on the ,polledrara hydria in the ,british ,museum 7,j4,h4,s4 xiv4 pl4 #g3 see ,chapter ,,xviii474 ,b4,f43 ,b4,m4 ,b #adh1 ,b #bje2 ,munich #ccc ,reinach1 ii4 #aai ,wiener ,vorl4 #ahhi1 #b1 #b1 and #aaee ,wiener ,vorl4 iii4 #g1 #b2 ,berlin #afih ,wiener ,vorl4 iii4 #g1 #a2 ,millin-,reinach1 ii4 #fa 7,taleides74 ,r4,f43 ,b4,m4 ,e #dda2 ,helbig1 #hj ,reinach1 ii4 #ha ,baumeister1 iii4 p4 #agij1 fig4 #ahgd4 ,the complete set of seven is to be found on the following3 ,b4,m4 ,e #hd1 where the scenes are duplicated on the exterior and interior of the kylix2 here the ,minotaur forms the central scene of the interior4 ,ant4 ,denkm4 ii4 #a 7kylix by ,aeson74 ,the following are more or less complete3 ,b4,m4 ,e #dh ,frontispiece1 ,vol4 ,i4 7by ,duris2 five scenes74 ,louvre ,g #ajd 7,euphronios74 ,reinach1 i4 #ebh-cb4 ,after the labours on his journey comes the purification of ,theseus on reaching ,athens4#abca ,to this time may perhaps be referred a scene in which he receives a palm-branch from ,athena4#abcb ,there is a subject which cannot be placed in literary tradition1 but probably comes in point of time immediately before or after the labours2 this is the visit to ,poseidon and ,amphitrite under the sea1 whither he is borne by ,triton4 ,it occurs on the beautiful ,euphronios kylix in the ,louvre 7,g #ajd7 and elsewhere4#abcc ,next in point of time we have to deal with the story of ,theseus' voyage to ,crete and his marriage with and desertion of ,ariadne4 ,it begins with a scene in which he bids farewell to ,aigeus#abcd2 then on his arrival in ,crete he slays the ,minotaur1 as already described4 ,we next see the meeting with ,ariadne1#abce followed by the nuptial ceremonies2 the latter scene1 together with the subsequent arrival at ,delos1 and a dance of boys and maidens liberated by ,theseus1 is vividly depicted on the ,franois vase4 ,his desertion of the sleeping ,ariadne in ,naxos and the appearance of ,dionysos as her consoler form the subjects of two very beautiful ,r4,f4 vases#abcf2 but the return to ,athens and the death of ,aigeus are not depicted4 ,the reign of ,theseus at ,athens is signalised by his combats with the ,amazons and ,centaurs4 ,in the former story he carries off their leader ,hippolyta as his queen1 assisted by his friend ,peirithos#abcg2 and in another version it is ,antiope whom he overcomes1#abch or the subject is treated in a more general fashion4#abci ,this scene is supposed to take place in ,attica2 but the story of the ,centaurs belongs to ,thessaly1 the home of ,peirithos4 ,the ,centaurs are represented interrupting a banquet1 throwing everything into confusion1 and carrying off ,laodameia and other female victims4 ,it occurs on the ,franois vase1 and is treated in a vivid pictorial fashion on several vases of a later period4#abdj ,the episode of the death of ,kaineus 7see p4 #ade7 belongs to this group of subjects4 ,to the same period belongs a vase representing the rape of a girl named ,korone by ,theseus and his friend4#abda ,in the story as told by ,plutarch 7,thes4 #ca7 it was ,helene#abdb whom ,theseus carried off2 curiously enough1 a figure thus inscribed is also present on this vase1#abdc as well as ,antiope 7see above74 ,the rape 7as described by ,plutarch7 was followed by their descent into ,hades to seize ,persephone4 ,for this they were doomed to punishment1 to sit for ever with hands bound behind them#abdd2 but in one version ,theseus is allowed to depart after a time1 as is seen on one of the ,apulian under-world vases4#abde ,a vase signed by ,xenotimos represents ,peirithos seated in a chair holding two spears#abdf2 but its mythological significance is open to question4 ,closely linked with the story of ,theseus is that of the love of ,phaidra for ,hippolytos and the death of the latter1 confined to late ,italian vases2 but ,phaidra has not been certainly identified in any case4#abdg ,there is1 however1 an undoubted representation of the appearance of the bull which overthrew ,hippolytos' chariot4#abdh 99 99 99 99 99 ,next in importance as a hero of ,greek legend comes ,perseus1 born from the golden shower in which ,zeus visited ,danae 7see p4 #ai74 ,we find representations of the scene so touchingly sung of by ,simonides1 the placing of ,danae and her child in the wooden chest and sending them adrift#abdi2 and next we find ,perseus as a full-grown youth1 about to set forth on his mission of slaying the ,gorgon1 and receiving from the ,naiads the cap1 sandals1 and wallet1 which were to aid him in his quest4#abej ,on later vases he receives from ,athena the sickle 7harpe7 with which he slays the monster4#abea ,on his way he seizes the eye and tooth of the ,graiae1 a subject rarely depicted in art4#abeb ,the actual slaying of the ,gorgon#abec is not so often represented as the subsequent flight of ,perseus1 generally accompanied by ,athena and ,hermes#abed2 in one or two instances we see ,perseus approaching his victim unobserved4#abee ,other vases depict the headless corpse of ,medusa1 from which springs the young ,chrysaor or ,pegasos1 and the other two ,gorgons1 ,stheno and ,euryale1 either pursuing ,perseus or remaining with the corpse#abef2 in one instance they appeal to ,poseidon for help4#abeg ,we next see ,perseus arriving at the court of ,kepheus to deliver ,andromeda#abeh2 she is generally represented chained to a column in the palace itself4 ,on other vases he is depicted in the act of slaying the monster1 but this is a somewhat rare subject4#abei ,finally1 we have the return to ,seriphos and the petrifaction of the king ,polydektes by showing him the ,gorgon's head4#abfj ,perseus is also represented showing the head to ,satyrs1#abfa or placing it in the wallet 771#abfb or in combat with ,maenads#abfc2 or1 again1 he is accompanied by ,athena1 who holds the ,gorgon's head while he looks at the reflection4#abfd ,lastly1 on some small ,r4,f4 vases1 a bust of ,perseus is depicted wearing his winged cap4#abfe 99 99 99 99 99 ,the story of ,pelops is chiefly connected with ,olympia1 and his visit to ,oinomaos2 but the subjects are almost exclusively confined to the later ,apulian vases4 ,on one ,b4,f4 7,cyrenaic7 kylix ,pelops is depicted with the winged horses given him by ,poseidon1#abff but this is exceptional4 ,the ,olympia scenes include five episodes3 7#a7 the arrival of ,pelops at ,olympia#abfg2 7#b7 the sacrifice or compact with ,oinomaos#abfh2 7#c7 the race#abfi2 7#d7 the death of ,myrtilos#abgj2 7#e7 the carrying off of ,hippodameia4#abga ,pelops also occurs with ,myrtilos and ,hippodameia in the under-world4#abgb 99 99 99 99 99 ,the adventures of ,bellerophon are not so popular as those of other heroes1 especially in the ,r4,f4 period4 ,the story told in the sixth ,iliad appears in several scenes1 beginning with ,bellerophon's taking leave of ,proitos#abgc2 next we see him delivering the letter with its to ,iobates1 the king of ,lycia1#abgd and then1 mounted on ,pegasos1 slaying the ,chimaera4#abge ,subsequent events represented on vases are the death of the perfidious ,stheneboia1 who falls from the back of ,pegasos1#abgf and the marriage of ,bellerophon with ,philono4#abgg 99 99 99 99 99 ,nor need the story of ,meleager detain us long4 ,scenes from his life are practically confined to the ,calydonian boar-hunt1 a subject popular at all periods1 especially on early vases4#abgh ,kastor and ,polydeukes1 ,peleus1 and other heroes1 together with ,atalante1 are represented as taking part1 as well as ,meleager4 ,there is also a vase on which ,meleager is represented with the boar's hide1 accompanied by ,atalante1 ,peitho1 and ,eros4#abgi ,other scenes where a boar-hunt is represented1 but no names given1 or only names of a fanciful kind1 may or may not be identified in this way4#abhj ,there is one vase which appears to represent the death of ,meleager4#abha 99 99 99 99 99 ,the next of the ,greek heroes with whom we have to deal is ,jason1 with whom we must include the whole cycle of subjects relating to the ,argonautika--such as the stories of ,helle1 ,phineus1 and ,talos4 ,the legend of the golden fleece which gave rise to the famous quest of ,jason is first illustrated by scenes representing ,helle or ,phrixos in flight on the ram1#abhb or the former grouped with her mother ,nephele and her brother ,phrixos1#abhc who accompanied her on her flight4 ,the pursuit of ,phrixos and the ram by ,ino is also represented4#abhd ,lastly1 there is a vase which may represent the setting out of ,jason4#abhe ,in the earlier history of the ,argonautic expedition the most interesting subject found on the vases is the story of ,phineus1 who had been blinded for impiety by ,boreas1#abhf and was subsequently deprived of his food by the ,harpies until he was delivered by the sons of ,boreas1 ,zetes1 and ,kalais4#abhg ,another event is the chastisement of ,amykos by ,kastor and ,polydeukes1#abhh and a fine vase of 8,polygnotan0 style in the ,louvre represents a group of ,argonauts apparently without any special signification4#abhi ,in all these scenes ,kastor and ,polydeukes and the ,boreades are present together with ,jason4 ,there is also a scene which has been interpreted as belonging to the ,argonautika3 ,herakles is represented sacrificing to a statue of ,chryse on the island of ,lemnos4#abij ,then we have the arrival of ,jason and his companions in ,kolchis1#abia and the subsequent feats performed by the hero--his slaying the dragon#abib 7in one version he enters into its mouth#abic71 his contest with the bull1#abid and finally the capture of the fleece1#abie which he is also represented as bringing to ,pelias on his return4#abif ,the only important event relating to the homeward journey is the death of ,talos4#abig ,among the events of his later life are the boiling of the ram by ,medeia1#abih and the subsequent destruction of the aged ,pelias#abii2 the renewal of ,jason's own youth#acjj2 the death of his wife ,glauke by ,medeia's agency#acja2 and the latter's slaughter of her children1#acjb with her pursuit by ,jason4#acjc ,medeia also appears in another connection at ,theseus' leave-taking of his father ,aigeus1#acjd and among the ,athenian tribal heroes on the vase by ,meidias4#acje ,though not necessarily connected with ,jason1 the funeral games held after the death of ,pelias#acjf must also find mention here4 ,scenes therefrom are represented on more than one vase--such as the chariot-race conducted by ,kastor and others in the presence of three judges 7,pheres1 ,akastos1 and ,argeos71 and the wrestling of ,peleus and ,hippalkimos4#acjg ,on another ,zetes is victorious over ,kalais in the foot-race4#acjh ,,the ,,theban ,,legend ,the 8tale of ,thebes0 falls into various episodes1 more or less connected1 especially those which relate to the story of ,oedipus and his line4#acji ,conspicuous as founder of the city is the ,phoenician ,kadmos1 whose encounter with the dragon is depicted on vases of various periods4 ,on some he receives from ,athena the stone with which he is to slay the monster#acaj2 on others he is seen approaching the fountain of ,ares1 where he was to meet it#acaa2 and1 lastly1 we have the actual slaying of the dragon1#acab sometimes in the presence of ,harmonia and various deities and personified figures1 including ,thebes4 ,after the slaying of the dragon ,kadmos sacrifices to ,athena ,onka4#acac ,the completion of the story is seen in his marriage with ,harmonia4#acad ,a rarer subject is the punishment of ,dirke by her brothers ,amphion and ,zethos1 who tied her to a wild bull#acae2 while a later episode of the story is the pursuit of her sister ,antiope by her lover ,phokos4#acaf ,the story of the ,oidipodia is introduced by the subject of ,laios 7the father7 carrying off the young ,chrysippos4#acag ,then we have the exposure of the infant ,oedipus and his discovery by the shepherd ,euphorbos4#acah ,of later events in the life of ,oedipus1 the only one that attained to any popularity is the slaying of the ,sphinx4 ,the actual deed only occurs once1#acai and the usual 8type0 is that of ,oedipus 7usually a young man7 standing before the ,sphinx1 which is seated on a rock or column4#acbj ,it is not always to be identified with certainty4#acba ,in one instance ,oedipus is represented with ,teiresias#acbb2 in another with persons named ,sikon and ,kalliope--a subject hitherto unexplained4#acbc ,we need only make passing reference here to a vase supposed to represent the tomb of ,oedipus1 inscribed with a couplet of verses1 at which stand two youths4#acbd ,before continuing the story of the house of ,oedipus1 we must digress to that of ,amphiaraos1 the warrior-seer1 whose departure from his wife ,eriphyle to the ,theban ,war is a favourite subject on vases4#acbe ,it becomes1 in fact1 a 8type0 adopted in ordinary scenes4#acbf ,we also find on the reverse of one of the vases with this subject the departure of another warrior1 perhaps intended for the hero's son ,alkmaion1 or for ,adrastos4#acbg ,on an early vase ,amphiaraos is seen bringing home ,eriphyle in his chariot4 ,the names of his horses1 ,thoas and ,dion1 are given4#acbh ,a curious subject is that of the hero in the bosom of his family1 with his wife ,eriphyle suckling her son ,alkmaion1 and a maiden spinning4#acbi ,his death is represented on one ,b4,f4 vase#accj2 on another his slaying of ,eriphyle4#acca ,another event is the death of the child ,archemoros1 caused by a serpent4#accb ,a fine late vase in ,naples depicts the prothesis or laying out of his body by his mother ,eurydike and others4#accc ,the subsequent fight of ,tydeus and ,lykourgos1 interrupted by ,adrastos1 also occurs1#accd and the reception of the fugitive ,tydeus by ,adrastos4#acce ,tydeus appears once more as the slayer of ,ismene#accf2 but according to another version she and her sister ,antigone are attacked by ,laodamas when the ,epigoni return to ,thebes many years later4#accg ,we can only point to one possible representation of the combat of ,eteokles and ,polyneikes on vases1#acch though it is common enough1 e4g4 in ,etruscan art2 but there is at least one representation of ,antigone being brought before ,kreon after the burial of her brother1#acci which also forms a burlesque subject on the comic stage4#acdj ,,the ,,trojan ,,cycle ,we now come to the story of the ,trojan ,war1 linked with which are the events which led up to it and those which immediately followed upon it--such as the ,judgment of ,paris on the one hand1 and the stories of ,odysseus and ,orestes on the other4 ,these events are so numerous that they require careful classification4 ,they may be divided into three main sections3 7#a7 ,ante-,homerica1 including the events that led to the war and those that took place during the first nine years of it2 7#b7 ,homerica1 or the events of the ,iliad2 7#c7 ,post-,homerica1 or the stories of the death of ,achilles1 the fall of ,troy1 the ,odyssey and other 1 and the ,oresteia4 ,the literary authorities for these events1 on the lines of which our classification follows1 are discussed elsewhere 7p4 #d ff474 ,in spite of the warning of ,horace that in writing of the story of ,troy it is not necessary to begin ab ovo1 it is impossible here to avoid reference to the earliest event which bears at all on the subject--namely1 the birth of ,helen from the egg1 which was the result of ,zeus' amour with ,nemesis4 ,the subject is referred to on several vases1 the moment chosen being that when the egg is found by ,leda4#acda ,her husband ,tyndareus and her other offspring1 ,klytaemnestra and the ,twin ,brethren1 are usually present4 ,there is one undoubted instance of the nuptials of ,helen and ,menelaos4#acdb ,the first event1 however1 which can be regarded as having a direct effect on the outbreak of the war is the marriage of ,peleus and ,thetis1 at which the apple of discord was flung by ,eris among the goddesses1 and which brought about the birth of the hero of the war1 ,achilles4 ,in ancient art1 especially on vases1#acdc ,peleus is depicted forcibly capturing ,thetis from the company of her sister ,nereids1 while she tries to elude him by assuming various shapes1 all conventionally indicated in the vase-paintings4 ,some vases represent the approach of ,peleus and his pursuit of ,thetis1#acdd the majority the actual struggle 7,fig4 #abh71acde and one or two the announcement of the issue to ,nereus and the company of ,nereids 7who are named74#acdf ,the next stage is the introduction of ,thetis to the ,centaur ,cheiron by ,peleus4#acdg ,then we have the celebration of their nuptials1 with the assembling of the gods1 as described by ,catullus1 and vividly1 if quaintly1 depicted on the ,franois vase1#acdh followed in due course by ,peleus bringing the young ,achilles to be educated by ,cheiron1#acdi and his subsequent sojourn in ,skyros4#acej ,there is one possible representation of the seething of ,achilles in the caldron to secure his immortality4#acea 99 99 99 99 99 ,illustration3 ,,fig4 #abh4 ,,peleus ,,seizing ,,thetis 7,,british ,,museum74 ,the next event is the ,judgment of ,paris1 perhaps of all the scenes from the story of the ,trojan ,war the most popular with the vase-painters of all periods4 ,the story of the forsaken ,oenone1 in the telling of which ,tennyson has familiarised us with the scene of the ,judgment1 did not appeal to the unromantic ,greeks in the same way4 ,we only find one vase on which she is possibly represented4#aceb ,curiously enough1 the vase-paintings seldom show the central act of the story--the award of the golden apple4 ,in fact1 in the earlier examples ,paris is omitted altogether1 and we only see the three goddesses led in procession by ,hermes4 ,one vase1 again1 represents the preparations of the goddesses for the trial1 ,athena washing at a fountain and ,aphrodite performing her toilet with the assistance of ,eros4#acec ,the rest may be classified as follows 7the order adopted showing a rough chronological development of the type#aced73 ,illustration3 ,from ,wiener ,vorlegebltter ,,fig4 #abi4 ,,the ,,judgment ,,of ,,paris 7,,cup ,,by ,,hieron ,,in ,,berlin74 7#a7 ,hermes leads the three goddesses1 ,athena alone being characterised2 ,paris absent4 ,only on ,b4,f4 vases4#acee 7#b7 ,procession-type preserved1 but ,paris is present1 standing4 ,type modified on ,r4,f4 vases4#acef 7#c7 ,procession-type2 ,paris seated2 landscape introduced 7see ,fig4 #abi74aceg 7#d7 ,procession-type abandoned2 goddesses picturesquely grouped1 with attendant figures4 ,only on ,r4,f4 and later vases4#aceh ,in one instance two stages seem to be represented3 first1 the goddesses grouped for the ,judgment1 accompanied by ,apollo1 ,helios1 and ,selene2 secondly1 the victorious ,aphrodite crowned by ,eros4#acei ,parodied renderings of the subject also occur4#acfj ,the reward of ,paris for his judgment was1 as we know1 8the fairest wife in ,greece40 ,accordingly we next find him arrived at ,sparta and carrying off the fair ,helen as his bride4 ,the vases 7all of the ,r4,f4 and late periods7 depict him on his arrival at ,menelaos' palace introduced to ,helen1#acfa or else we see ,helen at her toilet making preparations for her new consort#acfb2 next1 ,paris leads away ,helen or carries her off in his chariot1#acfc and finally introduces her to his father ,priam on his return home4#acfd ,the war having now broken out1 we are introduced to the two chief heroes on the ,greek side1 ,achilles and ,ajax1 as they bid farewell to their family and friends and set out in full equipment4 ,achilles1 accompanied by ,patroklos1 ,menoitios1 and other heroes1 bids farewell to his parents ,peleus and ,thetis#acfe2 he also pays a farewell visit to his grandfather ,nereus1 who presents him with a crown1#acff and receives a valedictory libation from a ,nereid4#acfg ,again1 we see ,achilles and ,patroklos taking leave of ,nestor1 accompanied by ,antilochos4#acfh ,ajax is represented taking leave of ,lykos1#acfi and also of his father ,telamon#acgj2 but as in one of the latter cases the names are wrongly applied on the vase1 it may only represent an idealised departure of an ordinary warrior4 ,there is also a vase which represents ,nestor arming 7putting on a greave7 in presence of ,euaichme4#acga ,we next find the warriors gathered in ,aulis1 waiting for the favouring breeze1 and whiling away the time 7as ,euripides describes#acgb7 in the game of or draughts1 which is played by ,ajax and ,achilles 7names usually given7 seated at a raised board in full armour1 with the statue of ,athena behind them4#acgc ,there is another variety of the type1 in which the presence of ,athena seems to have more meaning4 ,here the two heroes cast lots with dice before the statue1 and there may be some reference to the dispute of ,ajax and ,odysseus for the arms of ,achilles1 which was settled by ,athena4#acgd ,the story of the sacrifice of ,iphigeneia1 though popular with poets and painters1 for some reason never found its way on to the vases until the influence of great pictures and plays was beginning to make itself felt2 and then only appears in one instance1 where the transformation into a deer is indicated4#acge ,the only other incident of the voyage which concerns us is the halt at ,lemnos and the sacrifice to the local goddess ,chryse1 where ,philoktetes is bitten by the serpent and has to be left behind on account of his wound4#acgf ,this island was also the scene of the carrying off by ,achilles of ,chryseis1 the daughter of ,chryses1 the priest of the local goddess1 of which there is one possible representation4#acgg ,two doubtful references to opening scenes of the war are to be found in a supposed consultation of ,zeus with ,themis among the ,olympian deities1#acgh and a representation of the ,greeks formally demanding back ,helen1#acgi a demand which of course was not granted4 ,the story of ,telephos also belongs to an early stage1 and three incidents therefrom are found4 ,in one case he is represented as wounded by the spear of ,achilles#achj2 again1 entering the ,greek camp disguised as a beggar1 in order to apply to ,agamemnon for aid#acha2 and1 lastly1 he is seen seizing the infant ,orestes1 whom he threatens to destroy if his request is not granted4#achb ,a ,r4,f4 kylix in ,boston represents in the interior ,odysseus persuading ,achilles to heal ,telephos' wound2 on the exterior the wounded hero comes1 not to ,agamemnon's tent1 but to his palace at ,mycenae4#achc ,at a much later stage of the war comes the incident of ,troilos1 a subject which attained to great popularity1 especially with the ,b4,f4 vase-painters4 ,it falls into five distinct scenes3 7#a7 the departure of ,troilos1 with his two horses#achd2 7#b7 the ambuscade of ,achilles behind the fountain to which ,polyxena comes to draw water#ache2 7#c7 the flight of ,troilos and ,polyxena1 and pursuit by ,achilles#achf2 7#d7 the death of ,troilos#achg2 and 7#e7 the fight over his body4#achh ,of these1 the ambuscade and the pursuit are the most commonly represented4 ,a few incidents which are not to be traced in literature probably belong to the ,ante-,homeric period4 ,they are 7#a7 ,achilles bandaging the wounded ,patroklos1 on the well-known ,sosias cup#achi2 7#b7 the wounded ,achilles tended by ,patroklos and ,briseis#acij2 7#c7 a combat of ,hector and ,achilles attended by ,sarpedon and ,phoinix 7in one case ,phoinix interrupts7#acia2 7#d7 a general combat of ,greeks and ,trojans4#acib ,it will be most convenient to deal with the various scenes which can be traced to the ,homeric poems 7or to co-ordinate traditions7 in tabular form1 noting where possible the actual passages which they appear to illustrate4 ,but it must be borne in mind that the vase-painter was never an illustrator2 he rather looked to literature for suggestions1 which he worked out on his own lines1 and consequently coincidences with or divergencies from the ,homeric text must not be too closely insisted upon4 ,book ,i4 #ahg ff4 ,the dispute of ,agamemnon and ,achilles4 ,possibly to be identified in such scenes as on ,b4,m4 ,b #cbg1 #cig1 and ,e #ac2 but very doubtful3 see below1 p4 #acc1 and ,robert1 ,bild u4 ,lied1 p4 #bac4 #cbj ff4 ,agamemnon and ,briseis4 ,reinach1 i4 #adh ,baumeister1 i4 p4 #gba1 fig4 #ggf 7,hieron in ,louvre72 and see ,b4,m4 ,e #gf4 ,achilles and ,brises are found grouped together on two ,r4,f4 vases1 but without any particular allusion3 see ,b4,m4 ,e #beh and ,helbig1 #hd ,j4,h4,s4 i4 pl4 #f ,reinach1 ii4 #ia4 #dcj ff4 ,chryses propitiating ,apollo4 ,engelmann-,anderson1 ,atlas to ,iliad1 iii4 #ab4 ,book ,,ii4 #ej ff4 ,agamemnon in council4 ,b4,m4 ,b #adi4 #bab ff4 ,thersites insulting ,agamemnon4 ,b4,m4 ,e #aif4 ,book ,,iii4 #bei ff4 ,priam setting out in his chariot4 ,jahrbuch1 iv4 7#ahhi71 pl4 #aj4 #cdj ff4 ,combat of ,menelaos and ,paris4 ,b4,m4 ,e #bj2 ,duris kylix in ,louvre 7,wiener ,vorl4 vi4 #g ,engelmann-,anderson1 vi4 #bc74 ,book ,v4 #ie-bif4 ,combat of ,diomedes and ,pandaros 7a reminiscence of74 ,berlin #gfd ,ant4 ,denkm4 i4 pl4 #g1 fig4 #ae2 and see ,hermes1 #aija1 p4 #chh2 actually here ,diomedes and ,aeneas fight over the body of ,pandaros4 #cab ff4 ,combat of ,diomedes and ,aeneas1 the latter protected by ,aphrodite4 ,b4,m4 ,e #gc2 ,tyszkiewicz ,coll4 pl4 #ah 7very fine ,r4,f4 vase1 now in ,boston72 ,reinach1 i4 #abj ii4 #ig 7,b4,f474 ,book ,,vi4 #bae ff4 ,diomedes and ,glaukos exchanging arms4 ,stackelberg1 pl4 #aa1 #a4 #beh ff4 7#a7 ,hector arming4 ,munich #cgh ,reinach1 ii4 #id ,furtwaengler and ,reichhold1 pl4 #ad4 7#b7 ,hector bidding farewell to ,priam and ,hecuba4 ,helbig1 #acd ,reinach1 ii4 #id ,engelmann-,anderson1 iii4 #ch4 7#c7 ,hector bidding farewell to ,andromache and ,astyanax4#acic ,j4,h4,s4 ix4 pl4 #c ,b4,m4 ,e #bhb2 ,reinach1 ii4 #bee ,bibl4 ,nat4 #bjg4 7#d7 ,departure of ,hector4 ,b4,m4 ,b #gf1 ,b #bce 7872 ,louvre ,e #fch 7 ,reinach1 i4 #bdc71 ,e #fdb2 ,reinach1 ii4 #afj2 ,jahrbuch1 iv4 7#ahhi71 p4 #bfj4 #cba ff4 ,hector conducting ,paris to battle4 ,bibl4 ,nat4 #bjg ,reinach1 ii4 #bee4 ,book ,,vii4 #afb ff4 ,combat of ,ajax and ,hector4 ,munich #ec2 ,helbig1 #f ,reinach1 i4 #ajd 7see under xiv4 #djb ff472 ,baumeister1 i4 pl4 #ac1 figs4 #ggi-hj2 ,b4,m4 ,e #dch 7,smikros72 and see ,duris kylix in ,louvre 7,wiener ,vorl4 vi4 #g ,engelmann-,anderson1 vii4 #db74 ,book ,,viii4 #hi ff4 ,combat of ,hector and ,diomedes4 ,reinach1 ii4 #if4 #bfa ff4 ,teukros and ,ajax son of ,telamon4 ,robert1 in ,hermes1 #aija1 p4 #cij1 mentions a fragment of a ,corinthian pinax in ,berlin with these two figures1 which may either belong to the above passage1 or to xii4 #cgj ff41 or to xv4 #dae ff4 #cig ff4 ,iris interrupting ,athena 7see pp4 #ci1 #gg74 ,reinach1 ii4 #bif4 ,book ,,ix4 ,achilles lying sick 7apparently a contaminatio or confusion of ix4 #afh ff4 and xviii4 #ce ff474#acid ,jahrbuch1 vii4 7#ahib71 pl4 #a4 #agc ff4 ,embassy of ,odysseus and ,phoinix to ,achilles 7,r4,f4 vases only74 ,b4,m4 ,e #ef ,wiener ,vorl4 ,c4 #c1 #c2 ,berlin #bagf 7 ,reinach1 i4 #bhb71 #bcbf 7 ,reinach1 i4 #dca ,roscher1 iii4 #feh72 ,millin-,reinach1 i4 #ad2 ,reinach1 i4 #adh ,wiener ,vorl4 ,c4 #f 7,hieron7 and #adi4 ,book ,x4 #ccj-dfa4 ,episode of ,dolon2 his capture by ,odysseus4 ,oxford #bbf2 ,munich #ehc ,jahrbuch1 v4 7#ahij71 p4 #adc2 ,bibl4 ,nat4 #ebf ,reinach1 i4 #hi ,wiener ,vorl4 v4 #e 7,euphronios72 ,reinach1 i4 #ccd ,petersburg #hgi2 ,b4,m4 ,f #aeg ,fig4 #acj4 ,dolon as single figure3 ,reinach1 i4 #cjf ,wiener ,vorl4 iii4 #a4 #dfi-ebe4 ,rhesos and his horses4 ,b4,m4 ,b #bcd-ce2 ,naples #biaj ,baumeister1 i4 p4 #gbh1 fig4 #ghb 7,odysseus and ,diomedes with the horses72 ,wiener ,vorl4 ,c4 #c1 #b4 #eff ff4 ,the horses of ,rhesos brought to the tent of ,diomedes4 ,munich #ehc ,jahrbuch1 v4 7#ahij71 p4 #adf 7a slave waters the horses2 another brings drink to ,diomedes74 ,book ,,xi4 ,the fight at the ships4 ,munich #hij ,reinach1 ii4 #ii ,baumeister1 i4 p4 #gbi1 fig4 #ghc4 ,book ,,xiv4 ,combat of ,ajax and ,aeneas 78 l4 #djb ff474 ,reinach1 i4 #cjf ,wiener ,vorl4 iii4 #a2 id4 i4 #ajd ,helbig1 ,no4 #f 78 see above1 under vii4 #afb ff474 ,illustration3 ,,fig4 #acj4 ,,capture ,,of ,,dolon 7,,lucanian ,,krater ,,in ,,british ,,museum74 ,book ,,xvi4 #fff ff4 ,sarpedon carried off by ,hypnos and ,thanatos4 ,see ,louvre ,f #chh2 but this scene is hardly to be distinguished from those with ,memnon 7see below1 p4 #acb74 ,book ,,xvii4 #fj ff4 ,combat of ,menelaos and ,euphorbos1 and fight over his body4 ,b4,m4 ,a #gdi ,baumeister1 i4 p4 #gcj1 fig4 #ghdacie2 and see ,e #bj4 #abc ff4 ,combat over body of ,patroklos4 ,exekias kylix 7,munich #cci ,reinach1 ii4 #cf72 ,reinach1 ii4 #ie2 ,millin-,reinach1 i4 #di2 ,berlin #bbfd 7,oltos and ,euxitheos7 ,wiener ,vorl4 ,d4 #b1 #a ,engelmann-,anderson1 xiv4 #gf4 ,book ,,xviii4 #cfg ff4 7#a7 ,thetis in the smithy of ,hephaistos4 ,berlin #bbid ,overbeck1 ,her4 ,bildw4 #ah1 #f4 7#b7 ,hephaistos polishing ,achilles' shield4 ,rm4 ,mitth4 ii4 7#ahhg71 p4 #bdb4 ,book ,,xix4 #a-ah4 ,thetis and the ,nereids bringing the armour to ,achilles4 7a7 ,riding on sea-monsters over the waves 7all late vases74 ,b4,m4 ,f #fi2 ,jatta #adif ,reinach1 i4 #aab2 ,roscher1 iii4 #bba-bd2 and see ,heydemann1 ,nereiden mit ,waffen4 7b7 ,presenting the weapons to ,achilles4 ,b4,m4 ,e #cfc2 ,millin-,reinach1 i4 #ad4 #cfd ff4 ,achilles arming4 ,athens #fga ,wiener ,vorl4 ii4 #f2 ,overbeck1 ,her4 ,bildw4 xviii4 #d1 #g2 vase by ,amasis at ,boston 7,report for #aija1 ,no4 #e74 ,book ,,xxi4 #aad ff4 ,combat of ,achilles and ,lykaon4 ,b4,m4 ,f #agc4 ,book ,,xxii4 #ahh ff4 ,achilles pursuing ,hector round the walls of ,troy4 ,reinach1 ii4 #ajb 7now in ,boston3 see ,museum ,report for #ahih1 ,no4 #db74 #bji ff4 ,zeus weighing the heroes' souls in his scales4#acif ,b4,m4 ,b #fci2 ,bibl4 ,nat4 #che ,reinach1 i4 #hi2 ,millin-,reinach1 i4 #ai ,baumeister1 ii4 p4 #iba1 fig4 #iid4 #cjf ff4 ,death of ,hector4 ,b4,m4 ,e #dfh2 ,munich #dba2 ,reinach1 ii4 #aja ,helbig1 #ajf2 ,boston ,mus4 ,report for #ahii1 p4 #gi1 ,no4 #ca 7parody74 ,cf4 ,millingen1 ,anc4 ,uned4 ,mon4 i4 #d ,engelmann-,anderson1 ,odyss4 iii4 #ae4 #dcg ff4 ,andromache suckling ,astyanax 7compare only74 ,b4,m4 ,e #eji4 ,book ,,xxiii4 #aeg ff4 ,funeral games for ,patroklos4 ,franois vase 7chariot-race1 etc474 #age ff4 ,sacrifice of ,trojan captives on the pyre of ,patroklos4 ,naples #cbed ,reinach1 i4 #ahg4 ,book ,,xxiv4 #af ff4 ,achilles dragging ,hector's body past the tomb of ,patroklos4 ,b4,m4 ,b #edc and ,forman ,sale ,cat4 #cjf ,reinach1 ii4 #ajj 7now in ,b4,m47#acig2 ,berlin #ahfg ,reinach1 ii4 #ii2 ,naples #bgdf4 #ada ff4 ,achilles offering his hair to the river ,spercheios4 ,b4,m4 ,e #eee 7874 #ddh ff4 ,priam begging ,achilles for the body of ,hector2 the ,achaean princes deliberating over the ransom4 ,munich #djd 7 ,overbeck1 ,her4 ,bildw4 pl4 #bj1 #c71 and #hij 7 ,reinach1 ii4 #ii72 ,petersburg #dbb ,reinach1 i4 #ach ,baumeister1 i4 p4 #gci1 fig4 #gib2 ,reinach1 i4 #agb ,vienna #cbh2 ,athens #hhi ,ath4 ,mitth4 #ahih1 pl4 #d 7,b4,f41 but poor74 #ehj ff4 ,hector's body carried out to prepare for burial4 ,petersburg #dbb 7as above74 ,among the events of the war between the death of ,hector and the final fall of ,troy1 those which relate to the final exploits of ,achilles are most prominent1 and especially the encounters with ,memnon1 and with ,penthesileia1 his death and the events arising out of it4 ,the story of ,achilles' fight with ,penthesileia1 and the death of the ,amazon queen1 is less frequently depicted1 but there are some very fine examples remaining4#acih ,other representations of ,amazons arming1 setting out1 or in combat may be placed here1 but except where ,penthesileia is specially indicated it is better to regard them as having no definite reference to the ,trojan story4#acii ,a remarkable painting on an ,apulian amphora depicts the slaying of ,thersites by ,achilles in the presence of ,phoinix and ,diomedes4 ,thersites had insulted ,achilles after his slaying of ,penthesileia4#adjj ,the story of ,memnon is related on the vases in several scenes1 beginning with his equipment and departure for the fray4#adja ,next we see the great fight of ,achilles and ,memnon over the body of ,antilochos1#adjb at which the respective mothers of the heroes1 ,thetis and ,eos1 are usually present as spectators4#adjc ,the result of the fight was fatal to ,memnon1 whose body we see carried off by ,thanatos and ,hypnos1#adjd or by ,eos herself1#adje for burial in his native land4 ,eos is also represented mourning over him4#adjf ,the ,psychostasia1 or weighing of souls by ,zeus 7see p4 #acj71 has also been referred to this event4 ,the body of ,antilochos is finally rescued and carried off by ,nestor4#adjg ,lastly1 we find a few possible representations of the death of ,achilles1#adjh and others1 more certainly to be identified1 of the battle raging round his body1 in which ,diomedes is wounded#adji2 also of ,ajax carrying the body off out of the battle1#adaj and the subsequent mourning of the ,nereids over it4#adaa ,a representation of the ghost of a warrior1 winged and fully armed1 flying over a ship1#adab is to be regarded as that of ,achilles1 though to what event it alludes is not clear4 ,the dispute over the hero's armour and the suicide of the disappointed ,ajax are introduced by a scene representing the fetching of ,neoptolemos1 his son1 from ,skyros1 where he bids farewell to ,lykomedes and ,deidameia#adac2 of the quarrel between ,ajax and ,odysseus there are also several representations4#adad ,it was decided finally by ,athena1 who is represented presiding over the ,greek chiefs as they vote#adae2 or1 according to another version1 they cast lots before her statue4#adaf ,the armour is then awarded to ,neoptolemos1#adag who1 according to an oracle1 was indispensable for the capture of ,troy4 ,ajax goes mad with disappointment1 and finally commits suicide by falling on his sword#adah2 the episode of his slaying the sheep is not1 however1 represented4 ,the 1 or sack of ,troy1 which is so vividly represented on many of the vases of advanced and late style1 may be said to begin with the episode of the seizure of the ,palladion by ,odysseus and ,diomede4#adai ,it is rapidly followed by the construction of the wooden horse and its entry into the city4#adbj ,there is1 however1 only one certain representation of the death of ,laokon to be traced1#adba and none of the traitorous ,sinon4 ,several vases1 especially of the later epoch1 collect the chief episodes in a frieze or in a series of groups1 including the rape of ,kassandra by ,ajax1 son of ,oileus1 the death of ,priam and ,astyanax1 the recapture of ,helen by ,menelaos1 and the flight of ,aeneas2 other scenes represented are the leading back of ,aithra by ,akamas and ,demophon1 and the sacrifice of ,polyxena and subsequent blinding of ,polymestor by ,hecuba4 ,i4 ,general4 ,berlin #afhe 7 ,overbeck1 ,her4 ,bildw4 pl4 #bf1 #a7 and #bbha2 ,plate ,,liv4 ,furtwaengler and ,reichhold1 pl4 #be 7,brygos in ,louvre72 ,naples #bdbb ,furtwaengler and ,reichhold1 pl4 #cd ,baumeister1 i4 pl4 #ad1 fig4 #gie2 ,b4,m4 ,f #afj1 ,f #bgh4 ,,ii4 7a7 ,ajax seizing ,kassandra at the altar of ,athena4 ,b4,f4 ,b4,m4 ,b #bdb1 #cgi2 ,berlin #afih2 ,roscher1 ii4 p4 #igi4 ,r4,f4 ,b4,m4 ,e #ccf1 ,e #dgj2 ,reinach1 i4 #bba1 #cch ,roscher1 ii4 pp4 #ihe1 #iha2 ,bourguignon ,sale ,cat4 #cc4 ,late4 ,b4,m4 ,f #bji2 ,roscher1 ii4 p4 #ihc4 7b7 ,death of ,priam and ,astyanax4#adbb 7#a7 ,priam only4 ,b4,m4 ,b #bda2 ,rm4 ,mitth4 iii4 7#ahhh71 pp4 #ajh-i2 ,reinach1 ii4 #aji2 ,berlin #ciif4 ,priam dead in all except second4 7#b7 ,priam usually seated on altar2 ,neoptolemos swings body or head of ,astyanax4 ,b4,m4 ,b #bje2 ,berlin #bage1 #cihh2 ,reinach1 i4 #bba1 ii4 #aji2 ,j4,h4,s4 xiv4 pl4 #i4 ,see also under ,i4 7#c7 ,andromache or ,hecuba with body of ,astyanax4 ,millin-,reinach1 ii4 #cg 7,lasimos in ,louvre2 also identified as ,archemoros3 see p4 #aah74 7c7 ,menelaos and ,helen4 ,b4,m4 ,e #afa1 #bfc2 ,reinach1 i4 #dcg1 #c 7,hieron71 ii4 #cd2 ,helbig1 #dc 7 ,mus4 ,greg4 ii4 #di1 #b71 and ii4 p4 #cbe 7 ,baumeister1 i4 p4 #gdf1 fig4 #gih72 ,millingen1 ,anc4 ,uned4 ,mon4 pl4 #cb2 ,louvre ,g #c 7,pamphaios72 ,reinach1 i4 #bbb ,wiener ,vorl4 ,d4 #h1 #a2 ,noel des ,vergers1 trurie1 iii4 pl4 #ci4 7d7 ,akamas and ,demophon with ,aithra4 ,b4,m4 ,b #bdd 7871 ,e #deh2 ,overbeck1 ,her4 ,bildw4 pl4 #bf1 #ac4 7e7 ,flight of ,aeneas with family4 ,b4,m4 ,b #agc1 ,b #bhj2 ,reinach1 ii4 #aaj 7 ,munich #ijc71 #aaf1 #bgc2 ,baumeister1 i4 p4 #ca1 fig4 #cb2 ,helbig1 #bja ,mus4 ,greg4 ii4 #he1 #b2 ,naples #bdha2 ,bibl4 ,nat4 #bfa2 ,louvre ,f #abb ,wiener ,vorl4 #ahij-ia1 pl4 #e1 #a4 7f7 ,sacrifice of ,polyxena4 ,plate ,,xxiii4 ,j4,h4,s4 xviii4 pl4 #ae 7,b4,m472 ,overbeck1 ,her4 ,bildw4 pl4 #bg1 #ai4 7g7 ,polymestor blinded4 ,reinach1 i4 #ia ,hill1 ,illustrations of ,school ,classics1 p4 #agj 7now in ,b4,m474 7h7 ,ajax stabbing a captive 7874 ,reinach1 i4 #hh4 ---------------------------------------- -------------- ,,plate ,,liv ,illustration3 ,from ,furtwaengler and ,reichhold4 ,,the ,,sack ,,of ,,troy2 ,,kylix ,,by ,,brygos ,,in ,,louvre4 ---------------------------------------- -------------- ,among the various adventures described by the ,cyclic poets in the 1 few seem to have found their way into the vase-paintings except the fate of ,agamemnon1 the interview of ,menelaos with ,proteus 7told in the ,odyssey71 and1 of course1 the adventures of ,odysseus4 ,the house of ,atreus and its story will be dealt with later under the heading of the ,oresteia3 we turn now to the ,odyssey1 scenes from which are surprisingly few in ,greek art1 and appear to have attracted the painter less than the more stirring events of the ,iliad4 ,the following1 however1 have been identified3 ,book ,,ii4 #id ff4 ,penelope at her loom4 ,reinach1 i4 #aia4 ,book ,,iii4 #ab ff4 ,arrival of ,telemachos at ,nestor's house in ,pylos4 ,berlin #cbhi ,roscher1 iii4 #bih ,engelmann-,anderson1 iii4 #ac4 ,book ,,iv4 #cdi ff4 ,the story of ,menelaos' interview with ,proteus4 ,naples #agfg ,mus4 ,borb4 xiii4 #eh ,engelmann-,anderson1 iv4 #bb4 ,book ,v4 #bbh ff4 ,odysseus navigating the sea on a raft4 ,oxford #bfb1 ,cat4 pl4 #bf 7burlesque74 ,see also ,b4,m4 ,e #aef 7,odysseus and ,leukothea74 ,book ,,vi4 #abf ff4 ,nausikaa washing clothes4 ,munich #dbj ,reinach1 ii4 #aaj ,roscher1 s4v4 ,alkinos and ,nausikaa 7parody74 ,reinach1 i4 #aec4 ,book ,,ix4 #cde ff4 ,odysseus offering wine to ,polyphemos4 ,boston ,mus4 ,report1 #ahii1 p4 #fj4 #cga ff4 ,odysseus putting out the eye of ,polyphemos4 ,plate ,,xvi4 ,helbig1 i4 p4 #dce1 ,no4 #fda 7,aristonos72 ,bibl4 ,nat4 #aij ,reinach1 i4 #fd2 ,b4,m4 ,b #aed2 ,louvre ,f #cdb ,gaz4 ,arch4 #ahhg1 pl4 #a2 ,berlin #babc2 ,arch4 ,anzeiger1 #ahie1 p4 #ce2 ,jahrbuch1 #ahia1 pl4 #f3 see ,bolte1 ,monum4 ad ,odyss4 pert4 p4 #b4 #dbj ff4 ,odysseus escaping under the ram4 ,b4,m4 ,b #djg1 #ejb1 #fhg2 ,karlsruhe #afg ,j4,h4,s4 iv4 p4 #bdi2 ,louvre ,a #dhb2 ,reinach1 i4 #fd3 see also ,ath4 ,mitth4 #ahig1 pl4 #h 7a very early instance72 generally1 ,j4,h4,s4 iv4 p4 #bdh ff41 and ,rev4 ,arch4 xxxi4 7#ahig71 p4 #bh ff4 ,book ,x4 #baj ff4 ,odysseus and ,kirke 7see ,j4,h4,s4 xiii4 p4 #hb74 7a7 ,arrival of ,odysseus4 ,reinach1 i4 #adb ,roscher1 ii4 #aaie4 7b7 ,transformations of comrades4 ,reinach i4 #cif2 ,berlin #bcdb ibid4 i4 #dah2 ,boston ,mus4 ,report1 #ahii1 pp4 #ei1 #fa 7both early ,b4,f474 7c7 ,odysseus and ,kirke4 ,j4,h4,s4 xiii4 pls4 #b 7,athens #ief71 #d 7in ,b4,m471 p4 #ha 7,oxford #bfb72 and see ,reinach1 i4 #adb4 ,book ,,xi4 #bc ff4 ,odysseus sacrificing before his visit to ,hades4 ,bibl4 ,nat4 #dbb ,reinach1 i4 #abf ,baumeister1 ii4 p4 #ajdj1 fig4 #abed4 ,book ,,xii4 #afd-bjj4 ,odysseus passing the ,sirens4 ,athens #ieh ,j4,h4,s4 xiii4 pl4 #a2 ,b4,m4 ,e #ddj2 and see ,j4,h4,s4 vi4 pl4 #di1 p4 #bj 7 ,louvre ,f #abc72 ,corinthian aryballos in ,boston 7,strena ,helbigiana1 p4 #ca74 ,scenes from the last twelve books are even rarer3 ,book ,,xviii4 #ce ff4 ,odysseus and ,iros4 ,reinach1 ii4 #ceg4 ,book ,,xix4 #che ff4 ,odysseus recognised by ,eurykleia4 ,reinach1 i4 #aia4 #cid ff4 ,the story of ,autolykos4 ,in connection herewith see ,munich #hje ,reinach1 i4 #bgg for a possible representation of the betrothal of ,laertes and ,antikleia 7,hermes1 #ahih1 p4 #fda2 ,robert1 ,homer4 ,becher1 p4 #ij ff42 ,hyginus1 ,fab4 #bja74 ,book ,,xxi4 #cic--,,xxii4 #e ff4 ,the slaying of the suitors4 ,berlin #behh ,reinach1 i4 #bag4 ,the scenes from the ,oresteia cover roughly the same ground as the great trilogy of ,aeschylos1 together with the ,iphigeneia in ,tauris and the ,andromache of ,euripides4 ,we have first the murder of ,agamemnon by ,klytaemnestra with her axe4#adbc ,next1 ,elektra making her offerings at the tomb of ,agamemnon1 sometimes accompanied by her sister ,chrysothemis4#adbd ,it must be borne in mind that the 8type0 of this scene does not differ in any respect from ordinary scenes of 8offering at a stele10 and therefore1 where the names are not given or are obviously modern additions1 this interpretation is at best a doubtful one4 ,the same applies to the next series of vases1 on which ,orestes meets ,elektra at the tomb#adbe2 but there seems to be one undoubted instance of ,orestes and ,pylades with the urn containing the supposed ashes of the former 7cf4 ,soph4 ,electra1 #ajih ff474#adbf ,the next group to be dealt with shows us ,orestes slaying ,aegisthos1#adbg while ,klytaemnestra is held back by ,talthybios#adbh2 and1 finally1 the death of ,klytaemnestra herself4#adbi ,orestes is then pursued by the ,furies1#adcj and seeks refuge at ,delphi1 where he is purified by ,apollo at the ,omphalos#adca2 and he is also seen at ,athens1 where he afterwards sought the protection of ,athena4#adcb ,other vases1 nearly all of late date1 and therefore under the influence of the ,euripidean tragedy1 represent ,orestes accompanied by ,pylades1 arrived at the temple of the ,tauric ,artemis1 where ,iphigeneia presents ,pylades with the letter4#adcc ,lastly1 we have the death of ,neoptolemos at the hand of ,orestes at ,delphi4#adcd ,,attic ,,legends ,it will now be necessary to deal with sundry isolated subjects1 which do not admit of being grouped together round the name of any one great hero or any particular legend4 ,there are1 however1 a certain number which may perhaps be regarded as having a special connection with ,athens1 and with these we will begin4#adce ,some of the specially ,athenian myths have already been discussed in other connections1 notably the story of ,theseus 7p4 #ajh71 the dispute of ,athena and ,poseidon 7p4 #bd71 the sending of ,triptolemos 7p4 #bg71 and the rape of ,kephalos by ,eos#adcf and of ,oreithyia by ,boreas 7p4 #hj74 ,there remain then the following3 7#a7 ,the birth of ,erichthonios1 who is represented as received by ,athena from ,gaia emerging out of the earth1 in the presence of ,kekrops and his daughters4 ,it only occurs on the later ,r4,f4 vases2 the type closely resembles that of the birth of ,dionysos 7p4 #ai74 ,b4,m4 ,e #cgb2 ,berlin #becg ,reinach1 i4 #bjh ,wiener ,vorl4 ,b4 #ab2 ,munich #cde ,reinach1 i4 #ff2 and ,reinach1 i4 #aac ,wiener ,vorl4 iii4 #b4 ,also a scene from the childhood of ,erichthonios3 ,b4,m4 ,e #ghh4 7#b7 ,the reception of ,dionysos in ,attica 7by ,ikarios or ,amphiktion74 ,b #adi1 ,b #aec1 and ,e #aff in the ,british ,museum appear to refer to this1 but not certainly4 ,see above1 p4 #ef4 7#c7 ,the story of ,tereus and his daughters1 ,prokne and ,philomela4#adcg 7a7 ,tereus meeting ,apate 7,deceit72 ,prokne and ,philomela in chariots4 ,naples #cbcc ,reinach1 i4 #bdj4 7b7 ,prokne and the dumb ,philomela3 ,reinach1 i4 #cjh 7in ,louvre74 7c7 ,aedonaia slaying ,itys4 ,j4,h4,s4 viii4 p4 #ddj 7 ,munich #gii;a74 7#d7 ,the three sons of ,pandion1 ,lykos1 ,nisos1 and ,pallas1#adch with ,orneus the son of ,erechtheus4 ,reinach1 i4 #eaj ,roscher1 ii4 #bahg4 7#e7 ,the death of ,prokris by the agency of ,kephalos4 ,b4,m4 ,e #dgg 7with ,siren as soul of ,prokris or death-deity74 7#f7 ,kreousa defended by ,apollo from the attack of ,ion4 ,reinach1 i4 #cge3 cf4 ,eur4 ,ion4 #abej ff4 7#g7 ,danaos taking refuge in ,attica 7874 ,reinach1 i4 #bdd ,wiener ,vorl4 iii4 #d1 #b 7in ,louvre74 7#h7 ,echelos carrying off ,basile4#adci ,arch4 ,anzeiger1 #ahie1 p4 #ci3 see p4 #bg4 7#i7 ,the story of ,diomos1 the eponymous deme-hero 7874 ,b4,m4 ,b #agh ,j4,h4,s4 xiii4 p4 #aaf4 7#aj7 ,kodros1 the last king of ,athens4 ,bologna #bgc ,baumeister1 iii4 p4 #aiih1 fig4 #badh ,jahrbuch1 #ahih1 pl4 #d4 ,the ,kodros cup 7completely published in ,wiener ,vorl4 i4 #d7 is decorated with groups of figures intended to illustrate the legendary history of the great ,attic families1 in accordance with the genealogising tendencies of the period 7about #dej ,b4,c474 ,the outer scenes represent ,theseus taking leave of ,aigeus1 and ,ajax taking leave of ,lykos2 and ,aigeus and ,ajax 7,aias7 are eponymous heroes of two ,attic tribes4 ,on the ,meidias vase in the ,british ,museum#addj we see a group of ,athenian tribal heroes1 such as ,akamas1 ,antiochos1 ,demophon1 and ,hippothon1 together with ,medeia1 who is also connected with ,athens in the ,theseus scene of the ,kodros cup4 99 99 99 99 99 ,other isolated myths which occasionally appear on vases1 but defy more exact classification1 may be briefly recorded here3 7#a7 ,admetos and ,alkestis4 ,bibl4 ,nat4 #iah ,reinach1 i4 #cie ,dennis1 ,etruria#b1 ii4 frontispiece4 ,see also p4 #fi4 7#b7 ,agamedes and ,trophonios as prisoners fed by ,augias4 ,louvre ,e #fcb ,reinach1 i4 #cdi 7see ,paus4 ix4 #cg1 #e2 ,ann4 dell' ,inst4 #ahhe1 p4 #acj74 7#c7 ,agrios seized by ,oineus and bound on the altar4 ,b4,m4 ,f #aee3 see ,anton4 ,liber4 #cg and ,vogel1 ,scenen ,eur4 ,trag4 p4 #abe4 7#d7 ,atalante offering a cup to her antagonist ,hippomenes4 ,r4,f4 kotyle in ,b4,m4 7#e7 ,atreus and ,thyestes 7the latter as suppliant in the former's palace874 ,millingen-,reinach1 #bc ,wiener ,vorl4 ,b4 #d1 #a4 7#f7 ,daidalos and ,ikaros1 flight of4 ,naples #agfg ,gaz4 ,arch4 #ahhd1 pls4 #a-b4 7#g7 ,glaukos in the tomb brought to life by the seer ,polyeidos4 ,b4,m4 ,d #e ,plate ,,xl43 see ,apollod4 iii4 #c1 #a4 7#h7 ,kanake's suicide4 ,reinach1 i4 #ddh4 7#i7 ,laios1 ,keleos1 ,kerberos1 and ,aigolios stung by bees when stealing the honey on which the infant ,zeus was fed4 ,b4,m4 ,b #agg3 cf4 ,anton4 ,liber4 #ai and ,roscher1 i4 p4 #aed4 7#aj7 ,lykourgos destroying his children in a frenzy4 ,b4,m4 ,f #bga2 ,naples #cbai ,reinach1 i4 #abe1 and #cbcg ,baumeister1 ii4 pp4 #hcd-ce4 ,see also ,reinach1 i4 #ccc3 ,lykourgos slaying ,thoas2 and p4 #ef4 7#aa7 ,melampus healing the daughters of ,proitos from their madness at the altar of ,artemis ,lusia1 in the presence of ,dionysos4 ,naples #agfj ,millingen-,reinach1 #eb ,wiener ,vorl4 ,b4 #d1 #c4 7#ab7 ,merope 7a scene from the tragedy of that name74 ,munich #haj ,reinach1 i4 #cfc3 see ,vogel1 ,scenen ,eur4 ,trag4 p4 #aah4 7#ac7 ,pandareos with the golden dog of ,zeus1 which he stole4 ,louvre ,a #dgh ,hermes #ahih1 p4 #fch2 ,bull4 de ,corr4 ,hell4 #ahih1 p4 #ehf4 7#ad7 ,peleus wrestling with ,atalante4 ,munich #abe 7 ,reinach1 ii4 #abj ,furtwaengler and ,reichhold1 pl4 #ca71 and #ehd ,reinach1 ii4 #hh2 ,bibl4 ,nat4 #hah ,gaz4 ,arch4 #ahhj1 pl4 #ad2 ,micali1 ,mon4 ,ined4 pl4 #da4 7#ae7 ,peleus hunting a stag4 ,berlin #bech ,reinach1 ii4 #afb3 cf4 ,apollod4 iii4 #ac1 #c4 ,illustration3 ,,fig4 #aca4 ,,pentheus ,,slain ,,by ,,maenads 7,,british ,,museum74 7#af7 ,pentheus torn to pieces by his mother ,agave and the frenzied ,maenads4 ,b4,m4 ,e #gge ,fig4 #aca2 ,munich #hjg ,baumeister1 ii4 p4 #abjd1 fig4 #acif2 ,jatta #afag ,mller-,wieseler1 ,denkmaeler1 ii4 #cg1 #dcf2 ,jahrbuch1 #ahib1 pl4 #e 7and see p4 #aed72 ,gaz4 ,arch4 #ahgi1 pls4 #d-e 7874 7#ag7 ,phaon with ,chryse and ,philomele4 ,furtwaengler and ,reichhold1 pl4 #ei 7vase in ,palermo1 formerly interpreted as ,dionysos and ,ariadne3 see text1 p4 #bif1 for the correct interpretation74 7#ah7 ,phineus invoking the gods4 ,b4,m4 ,e #bia ,wiener ,vorl4 ,c4 #h1 #a4 ,for other ,phineus scenes1 see pp4 #ha1 #aae4 7#ai7 ,the madness of ,salmoneus4 ,amer4 ,journ4 of ,arch4 #ahii1 pl4 #d 7interpreted as ,athamas73 cf4 ,class4 ,review1 #aijc1 p4 #bgf and ,harrison1 ,prolegomena to ,gk4 ,religion1 p4 #fa4 7#bj7 ,thoas placed in the chest by ,hypsipyle4 ,berlin #bcjj ,reinach1 i4 #bgc3 see ,ap4 ,rhod4 i4 #fbb1 and ,hartwig1 ,meistersch4 p4 #cgd4 7#ba7 ,aktor and ,astyoche 7uncertain reference74 ,jahrbuch1 #aijb1 pl4 #b 7in ,boston73 see ibid4 p4 #fh1 ,il4 ii4 #eac and #feh2 ,schol4 in ,pind4 ,ol4 vii4 #db4 7#bb7 ,the foundation of ,boiae in ,laconia by the appearance of a hare4 ,reinach1 ii4 #ccc ,inghirami1 ,vasi ,fitt4 #abj 7this is exceedingly doubtful74 7#bc7 ,two boys delivered to a ,nymph 7unknown myth74 ,wiener ,vorl4 ,e4 #ab1 #c4 ,the story of ,orpheus often finds a place on vases of the ,r4,f4 period1#adda but is chiefly confined to two episodes1 his playing the lyre among a group of ,thracians#addb 7the men recognisable by their costume1 see p4 #agi71 and his pursuit by the ,thracian women#addc and subsequent death at their hands4#addd ,in one scene his head after his death is made use of as an oracle4#adde ,he is often present in under-world scenes 7see p4 #fh71 but not always in connection with the fetching back of ,eurydike4#addf ,thamyris1 a quasi-legendary figure1 appears contending with the ,muses for pre-eminence with the lyre#addg2 on one fine ,r4,f4 vase he is accompanied by ,sappho1#addh who1 though strictly an historical personage1 appears among the ,muses in quasi-mythical guise2 he also plays the lyre among ,amazons4#addi ,other semi-historical persons enveloped in a cloud of fable are3 ,taras1 the founder of ,tarentum#adej2 ,midas1 who is generally represented with asses' ears1 and is depicted judging the ,seilenos who was caught in his rose-garden and is led before him with hands tied#adea2 and ,minos1 who appears at the slaying of the ,minotaur by ,theseus1#adeb and in the under-world as one of the judges of souls4#adec 99 99 99 99 99 ,nor must we omit to mention the ,amazons1 who play such a large part on ,greek vases2 besides their connection with various legendary events1 they are often employed purely as decorative figures4 ,mention has already been made of their combats with ,herakles and ,theseus1 and of the part played by their queen ,penthesileia in the ,trojan ,war#aded2 and we also find them in such scenes as the ,judgment of ,paris#adee and ,herakles' fight with ,kyknos4#adef ,they also contend with ,gryphons#adeg2 and many battle scenes in which they are opposed to ,greek warriors may also be here alluded to as not admitting of more definite identification4#adeh ,they are further represented arming and preparing for the fray1#adei or setting out on horseback1#adfj or defending a besieged city#adfa2 and as decorative figures we see them charging1#adfb stringing bows#adfc and discharging arrows1#adfd blowing a trumpet1#adfe running by the side of a horse or checking a restive animal1#adff or fastening a shoe#adfg2 or in peaceful converse with a ,greek warrior1#adfh or else without any distinguishing action4#adfi ,nearly all these subjects belong to the ,r4,f4 and later periods4 99 99 99 99 99 ,we may conclude this section with an account of the monstrous semi-human1 semi-bestial creatures1 which play a large part in the decoration of ,greek vases1 and appear in connection with many legends4 ,such are the ,centaurs1 half man1 half horse2 the ,gorgons1 winged women with snaky locks2 the ,harpies1 also found on early vases in the form of winged women2 and mythical creatures like ,pegasos1 the ,chimaera1 or the ,minotaur4 ,the ,centaurs1 who probably symbolise mountain torrents or other forces of nature1 appear 7mostly on early vases7 in combat with ,herakles1 either in troops or in single combat1 as in the stories of ,nessos1 ,dexamenos1 and ,eurytion#adgj2 or1 again1 in the scenes so often celebrated in the sculptured friezes and metopes of ,greek temples1 where they contend with ,theseus and ,peirithos1#adga or with the ,thessalian ,lapiths4#adgb ,among the latter a common episode is the death of ,kaineus1 whom the ,centaurs buried in the earth1 showering rocks upon him4#adgc ,in a more peaceful aspect appear the aged ,centaurs1 ,pholos and ,cheiron1 especially in the stories of ,herakles and ,achilles1#adgd both of whom are brought to the latter for their youthful education4#adge ,as the friend of ,peleus ,cheiron often assists at his capture of ,thetis4#adgf ,centaurs1 especially ,pholos1 are sometimes represented returning from the chase1#adgg or as single decorative figures#adgh2 in one case they fight with cocks4#adgi ,nike in one or two instances is drawn in her chariot by male or female ,centaurs#adhj2 and1 finally1 representations of youthful ,centaurs are found1 though usually they are middle-aged4#adha ,the ,gorgons appear almost exclusively in connection with the ,perseus legend1#adhb but are besides frequently found as decorative figures1 especially on ,b4,f4 vases1#adhc in the running attitude characteristic of archaic art1 in one case between two ,sphinxes4#adhd ,besides these1 the head or mask of the ,gorgon ,medusa1 familiar at all periods as a decorative motive of ,greek art--first with an ugly and grotesque face1 afterwards refined and beautiful--is often found by itself on ,greek vases1 especially as an interior central ornament of ,b4,f4 kylikes4#adhe ,harpies1 conventionally associated through the medium of the ,roman poets#adhf with the human-headed bird-form which really denotes the ,siren1 are found invariably on vases in the form of winged women4#adhg ,they are1 as has been elsewhere noted 7p4 #ha71 associated with the ,boreades#adhh as symbolical of evil and good influences of winds1 and probably should be regarded as personifications of the southern breezes 7the malevolent influence of which is seen in the sirocco74 ,traditionally they were supposed to guard the ,garden of the ,hesperides in ,africa1 whence the hot baleful winds come4 ,the story of ,phineus is probably to be explained on these lines4#adhi ,a ,harpy appears at the recovery of ,zeus' golden dog from ,pandareos4#adij ,that the human-headed bird represents a ,siren in ,greek art is amply attested by the representations of ,odysseus' adventure with the vocal enchantresses4#adia ,their appearance on the so-called ,harpy monument of ,xanthos1 however1 shows them in another aspect1 that of death-deities#adib--not necessarily of a violent and rapacious character1 as on a vase in ,berlin1#adic but gentle and kindly4 ,so1 again1 a ,siren is represented in connection with a tomb#adid2 and in a scene representing a banquet in ,elysium they are depicted crowning the dead4#adie ,on some vases we find a ,siren playing a flute or a lyre 7probably merely fanciful subjects7#adif2 or1 again1 two ,sirens kissing each other4#adig ,as mere decorative motives their appearances are countless1 and many early vases are modelled in the form of ,sirens#adih2 sometimes they have human arms#adii2 in one case a bird's wings and a fish-tail#aejj2 or1 again1 more anomalously1 bearded masculine heads4#aeja ,more rarely they are seen flying4#aejb ,the ,sphinx is familiar in the first place as the monster1 half woman1 half dog1 which vexed the city of ,thebes till slain by ,oedipus2 this story is often alluded to on vases1#aejc but many groups of a man and a ,sphinx have probably no special meaning4#aejd ,the ,sphinx has sometimes a sepulchral reference1#aeje and is grouped with other figures1 such as ,atlas#aejf or a ,seilenos#aejg 7the latter probably a scene from a ,satyric drama74 ,like the ,siren1 she is exceedingly common as a decorative figure1#aejh especially in the friezes of animals and monsters so dear to the early vase-painters4 ,her invariable form is that of a winged lion or dog with a woman's bust4 ,the ,gryphon1 a kind of dragon composed of an eagle's head and lion's body and legs 7occasionally a bird's71 is almost exclusively decorative#aeji2 but on the later vases we find the fabulous combat of the ,oriental ,arimaspi with the ,gryphons who guarded the mountain of gold in the ,far ,east 7cf4 ,plate ,,xlii47#aeaj2 or1 again1 they contend with the ,amazons1#aeaa with ,scythians1#aeab or with ordinary ,greek warriors4#aeac ,in one instance an ,arimasp woman is seen shooting at a ,gryphon of curious type4#aead ,further1 they draw the chariots of deities1 such as ,persephone1#aeae and ,dionysos#aeaf2 and we have already seen ,apollo coming on a ,gryphon from the ,hyperborean regions4#aeag ,pegasos1 the winged steed of ,bellerophon1 and the monster ,chimaera which he slew1 also appear as decorative figures#aeah2 and the former draws the chariots of ,apollo and of a woman1#aeai and also appears as a constellation with the moon and stars4#aebj ,a human-headed monster attacked by a hero seems to have been suggested by the ,chimaera on a companion vase4#aeba ,the ,minotaur is generally seen in connection with ,theseus1 but also appears as a single or decorative figure1#aebb and one vase appears to represent the youthful monster in his mother's lap4#aebc ,other monsters found occasionally on vases are ,skylla1 who appears1 not in connection with the story of ,odysseus1 but with those of ,perseus and ,andromeda1#aebd and ,phrixos and ,helle1#aebe or as a single figure#aebf2 and ,lamia1 a vampire or ogress in the form of a hideous old woman1 who is seen undergoing torture from ,satyrs1#aebg and in another unexplained scene4#aebh ,another type of monster1 the serpent-footed giant ,typhon1 has already been mentioned4#aebi ,yet another and a unique type is that of the ,nymphs with serpent bodies which protect vines from the attacks of goats4#aecj ,lastly1 another creation of fancy1 though not strictly mythological1 is the or 8cock-horse10 a bird with horse's head1 which appears on some ,b4,f4 vases ridden by a youth4#aeca ,this may also be a convenient place for mentioning the common decorative subject of ,pygmies fighting with cranes4#aecb ,,historical ,,subjects ,the number of vases on which undoubted historical subjects have been discovered is very limited1 though the old systems of interpretation exerted much ingenuity in eliciting an historical meaning from many scenes of daily life1 with or without names inscribed over the figures4 ,in the instances given below1 the names are given in most cases1 obviating all doubts4 ,it is worth noting that the subjects chosen are not as a rule those that would most obviously suggest themselves4 ,they fall into two classes1 one relating to historical events and persons1 the other to literary celebrities3 ,i4 7#a7 ,the weighing of silphium by ,arkesilas1 one of the descendants of ,battos1 who ruled at ,kyrene--probably the second of the name 7,b4,c4 #ehj-eej74 ,this scene occurs on a ,cyrenaic cup in the ,bibliothque at ,paris 7,cat4 #ahi3 see ,vol4 ,i41 p4 #cdb1 ,fig4 #ib71 which is probably a contemporary production4 7#b7 ,kroisos1 the king of ,lydia1 on the funeral pyre 7,b4,c4 #ede74 ,see above1 p4 #f4 ,fig4 #acb ,reinach1 i4 #he ,baumeister1 ii4 p4 #gif1 fig4 #hfj 7in ,louvre74 ,illustration3 ,from ,baumeister4 ,,fig4 #acb4 ,,kroisos ,,on ,,the ,,funeral ,,pyre 7,,vase ,,in ,,louvre74 7#c7 ,harmodios and ,aristogeiton slaying the tyrant ,hipparchos 7,b4,c4 #eaj74 ,b4,f43 ,arch4-epigr4 ,mitth4 aus ,oesterr4 iii4 7#ahgi71 pl4 #f4 ,r4,f42 ,reinach1 i4 #ddi2 and see a late ,panath4 amph4 in ,b4,m4 7,b #fje74 7#d7 ,diitrephes shot to death with arrows1 ,b4,c4 #dgi 7874 ,see ,paus4 i4 #bc1 #c1 and ,frazer's note4 ,bibl4 ,nat4 #bii ,jahrbuch1 #ahib1 p4 #ahe 7but see ,reinach1 ii4 p4 #bee1 and p4 #ae under ,gigantomachia74 7#e7 ,the ,persian king and queen4 ,helbig1 p4 #bha ,reinach1 i4 #bge 7see ,hartwig1 ,meistersch4 p4 #ebe74 7#f7 ,the ,persian king hunting4 ,petersburg1 #agij ,reinach1 i4 #bc 7,xenophantos73 cf4 ,naples #biib4 7#g7 ,dareios in council1 with various deities and personifications as spectators4 ,naples #cbec ,reinach1 i4 #aid ,baumeister1 i4 pl4 #f1 fig4 #ddi4 7#h7 ,battle of ,greeks and ,persians 7with spectator-deities1 etc474 ,naples #cbef ,reinach1 i4 #ih3 see also p4 #agi2 ,reinach1 ii4 #hd2 ,hartwig1 ,meistersch4 pls4 #ee-ef and p4 #eah4 7#i7 ,battle of ,greeks and ,messapians4 ,berlin #cbfd ,reinach1 i4 #bgj4 ,,ii4 7#a7 ,sappho4 7a7 ,as single figure4 ,de ,witte1 ,coll4 l',htel ,lambert1 pl4 #c4 7b7 ,with ,alkaios4 ,fig4 #acc ,munich #gec ,baumeister1 iii4 p4 #aedc1 fig4 #afjg4 7c7 ,reading her poems4 ,athens #abda ,dumont-,pottier1 pl4 #f ,reinach1 i4 #ebf4 7d7 ,in rivalry with ,muses4 ,jatta #aech ,reinach1 i4 #ebf4 7e7 ,with ,eros 7named ,talas74 ,abhandl4 d4 k4 schs4 ,gesellsch4 viii4 7#ahfa71 pl4 #a1 fig4 #a3 see p4 #di4 7#b7 ,aesop4 ,helbig1 #aed ,jahn1 ,arch4 ,beitr4 pl4 #ab1 fig4 #b4 7#c7 ,anakreon4 ,b4,m4 ,e #ah3 cf4 ,e #bff-fg1 #cad-ae2 and see generally ,jahn1 ,gr4 ,dichter auf ,vasenb4 in ,abhandl4 d4 k4 schs4 ,gesellsch4 viii4 7#ahfa71 p4 #fii ff4 ,illustration3 ,from ,baumeister4 ,,fig4 #acc4 ,,alkaios ,,and ,,sappho 7,,vase ,,in ,,munich74 7#d7 ,kydias of ,hermione 7a lyric poet3 cf4 ,schol4 in ,ar4 ,nub4 #ifg7 and ,nikarchos 7a contemporary flute-player7 are to be seen1 according to ,jahn 7op4 cit4 p4 #gdj7 on a psykter in the ,british ,museum 7,e #gfg71 on which these names are inscribed over two revellers2 but the identification is exceedingly doubtful4 ,see also ,munich #ajif ,jahn1 op4 cit4 pl4 #d1 fig4 #a4 ,,iii4 ,mention should also here be made of the names of historical renown which often appear on ,r4,f4 vases with the word 7see ,vol4 ,i4 p4 #djc1 and below1 p4 #bfg71 such as ,alkibiades1 ,glaukon1 ,hipparchos1 ,kleinias1 ,leagros1 ,megakles1 and ,miltiades4 ,the question is dealt with elsewhere1 and it has been shown that only in one or two cases--e4g4 ,leagros1 ,glaukon1 and ,kleinias 7the father of ,alkibiades7--can an identification with the historical personages be certainly maintained2 it is1 however1 of sufficient interest for reference in this chapter1 because the inscribed names may in some cases possibly refer to the figures depicted on the vases4#aecc ,,chapter ,,xv ,,subjects ,,from ,,ordinary ,,life ,religious subjects--,sacrifices--,funeral scenes--,the ,drama and burlesques--,athletics--,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--,animals4 ,it is hardly possible to give within brief limits all the illustrations that the vases afford1 either directly or indirectly1 of the religious and secular life of the ,greeks4 ,it is1 however1 feasible to classify these subjects under several headings1 and to give a list of the most typical and popular in each case4 ,thus we have3 #a4 ,religious ceremonies and sacrifices4 #b4 ,funeral scenes and offerings at tombs4 #c4 ,subjects connected with the drama4 #d4 ,athletic contests1 games and sport1 and musical scenes4 #e4 ,trades and occupations4 #f4 ,scenes from daily life of women and children4 #g4 ,military and naval subjects4 #h4 ,oriental and barbarian figures4 #i4 ,miscellaneous subjects and compositions of no particular import4 #aj4 ,animals 7mostly only decorative74 #a4 ,,religious ,,subjects ,these mostly appear in the form of sacrifices1 either before a simple altar1 or before the statue of some deity1 a cult-image1 or terminal figure4 ,thus we have representations of the offering of a bull to ,athena1#aecd sacrifices to a primitive image of ,dionysos#aece or to a terminal figure of ,hermes1#aecf or a sacrifice or libation to ,persephone1 ,apollo1 or other deities4#aecg ,a procession of six maidens carrying chairs and a boy with game is probably in honour of ,artemis#aech2 and in another scene we have the ,dioskuri coming to the ,theoxenia or feast prepared in their honour4#aeci ,many other examples may be found under the heading of the various ,olympian deities4 ,in other instances we see the preparations for a sacrifice1#aedj or a procession of figures with victims and sacrificial implements#aeda2 the victims are either rams1#aedb bulls1#aedc goats1#aedd or pigs4#aede ,other scenes of sacrifice represent the roasting of a piece of meat held on a spit over a blazing altar#aedf2 or two men stand over a large krater on a stand1 accompanied by a flute-player4#aedg ,in many cases the sacrifice is doubtless intended to celebrate a dramatic1 agonistic1 or other victory4#aedh ,among other religious scenes we have the dedication of a tripod1#aedi religious festival dances1#aeej praying figures1#aeea men or women burning incense over an altar or incense-burner#aeeb2 or scenes of libation1#aeec a ,metragyrtes or mendicant priest praying before devotees1#aeed and a priest examining the entrails of a ram4#aeee ,an ephebos is initiated and purified by the #aeef2 oaths are taken over a tomb1#aeeg or omens from birds on a tumulus#aeeh2 and here perhaps may be mentioned a man making a gesture against the evil eye4#aeei ,there is also a scene illustrative of the 1 an ,athenian feast#aefj2 and a possible representation of the feast of ,adonis1 and the 8gardens0 or pots of flowers exhibited on that occasion4#aefa ,lastly1 there are scenes relating to votive offerings1 such as a figure of a child on a column offered to ,athena1#aefb a youth carrying a votive tablet1#aefc and others in which similar votive tablets occur4#aefd ,the number of scenes which can be shown to relate to ,athenian festivals1 or bear on ,greek religious belief and ritual1 might be greatly expanded and multiplied1 but at present little has been done in this direction4#aefe #b4 ,,funeral ,,scenes ,closely connected with these religious subjects are those which played so large a part in the life of the ,greeks1 and found such a strong reflection in their decorative art--namely1 those which relate to the burial and cult of the dead4 ,the relation of ,greek vases to the tomb has been discussed elsewhere 7,vol4 ,i4 p4 #ada ff471 and it is sufficient here to repeat that there are only three or four classes of vases which yield undoubted evidence that they were expressly made for funeral purposes1 each belonging to a different period of the art4 ,in the earliest period we have the great ,dipylon vases 7,vol4 ,i4 p4 #bhe71 many of which represent funeral processions and rows of mourning women#aeff2 these were made for standing outside the tomb4 ,in the ,b4,f4 period there are the prothesis-amphorae1 made likewise for placing first round the bier and then on the tomb1 as plainly shown in one instance#aefg2 and in the ,r4,f4 period the ,athenian white lekythi are decorated almost exclusively with sepulchral scenes4 ,among the vases of the decadence a whole series of ,lucanian and ,campanian hydriae and ,apulian kraters and amphorae1 as well as some late ,athenian vases1 the ,apulian examples being usually of enormous size1 equally betray the special purpose for which they were made4 ,on the ,b4,f4 vases the commonest subject is the prothesis or conclamatio1 where the body is exposed on the bier and the mourners stand round in attitudes of grief1#aefh a subject also occasionally found on the lekythi4#aefi ,elsewhere we have the carrying of the bier to the tomb1#aegj accompanied by warriors1 and the depositio or placing of the body therein4#aega ,on the vases of this period the tomb invariably assumes the form of a mound 7 or tumulus71#aegb as it appears in some mythical scenes already described4#aegc ,on the lekythi1 on the other hand1 the tomb is in the form of a tall plain stele1 on a stepped base1 crowned with an ornament of acanthus-leaves or a palmette1 and wreathed with coloured sashes1 while vases and baskets of flowers are sometimes placed on the steps4#aegd ,on the vases of ,southern ,italy it is developed either into a tall column with altar-like base1#aege or into a large shrine or heron1 with columns in front and gabled roof1 within which stands the figure of the deceased1#aegf or sometimes an acanthus-plant#aegg or several vases4#aegh ,the subjects on the white lekythi and later vases almost invariably take the form of mourners1#aegi or men and women making offerings to the dead1 or placing sashes1 wreaths1 and vases on the tomb4#aehj ,or1 again1 we may note interesting parallels with the ,athenian sepulchral reliefs of the fourth century1 which are mostly contemporaneous with the vases4#aeha ,thus we have 8farewell scenes0 between a man and woman1#aehb or between two women#aehc2 or the equestrian figure of a warrior1 as on the famous stele of ,dexileos1#aehd or a warrior charging with his spear#aehe2 or1 again1 a hare-hunt at a tomb1 perhaps with reference to the occupations of the deceased4#aehf ,sometimes the tomb of a warrior is indicated by his armour4#aehg ,the interior of a tomb is occasionally shown1 with a dead boy in it1#aehh or a series of vases1#aehi or as in the story of ,polyeidos4#aeij ,in one instance a group of figures is placed on the top of the tomb4#aeia ,mythological figures are sometimes introduced1 as ,charon ferrying the dead in his bark1#aeib or ,hermes ,psychopompos#aeic2 or the type of ,thanatos and ,hypnos 7or that of ,boreas and ,zephyros7 with ,memnon is borrowed for that of a warrior1 a youth1 or a woman whom they place in the tomb4#aeid ,occasionally we see the soul of the deceased as a small flitting winged figure4#aeie ,on the ,italian vases the figure of the deceased usually appears inside the heron1 painted white1 as if to indicate a sculptured marble figure3 a warrior with armour1#aeif or a youth with his horse or dog1#aeig or pouring a libation from a kantharos4#aeih ,these heroa are always surrounded by figures of women bearing baskets of offerings1 unguent-vases1 and wreaths1 and by youths as mourners4#aeii ---------------------------------------- -------------- ,,plate ,,lv ,illustration3 ,,scenes ,,from ,,funeral ,,lekythi 7,,british ,,museum74 #a1 ,,prothesis2 #b1 ,,cult ,,of ,,tomb4 ---------------------------------------- -------------- ,apart from the under-world scenes already described1#afjj the future life is not illustrated by the vases1 except in a curious scene on a ,b4,f4 ,cyrenaic cup1 representing a banquet of the blessed1 attended by ,sirens4#afja ,there is also one single representation of the subject so common on later ,greek reliefs--the sepulchral banquet4#afjb #c4 ,,the ,,drama ,the relation of vase-paintings to the drama has already been discussed in ,chapter ,,xi41 in which it has been shown how the tragedies of ,euripides and the farces of ,rhinthon influenced the artists of ,southern ,italy4 ,it may1 however1 be worth while to recapitulate here the actual representations of actors or of scenes taking place on a stage1 together with some account of the numerous burlesques of mythical subjects4 ,on one curious ,b4,f4 vase 7probably late and imitative7 we see a rude representation of a tragic and a comic chorus1#afjc and occasionally on vases of this period we find figures of actors dressed up as birds1 or otherwise in comic fashion4#afjd ,more important in this connection are the fifth-century vases found on the site of the ,cabeiric temple at ,thebes1 several of which have parodies of well-known subjects1 such as ,odysseus and ,kirke1 or ,peleus bringing the young ,achilles to ,cheiron4#afje ,it seems probable that these scenes are actual reproductions of burlesque performances connected with the worship of the ,kabeiri4 ,we look in vain for representations of scenes from ,aristophanes and the ,old ,comedy1 though there are one or two vases which recall 7if nothing more7 episodes in the ,acharnians#afjf and ,frogs4#afjg ,but for the rest1 these comic scenes are almost confined to the vases of ,southern ,italy1 especially those made at ,paestum1 with their presentations of the or fourth-century farces4 ,a fairly exhaustive list of these was made some years ago by ,heydemann1#afjh and probably requires little emendation as yet2 we repeat below a number of the more interesting subjects1 and others may be collected from the foregoing pages in which myths are burlesqued 7the ,judgment of ,paris1 the apotheosis of ,herakles1 ,oedipus and the ,sphinx1 etc474#afji 7#a7 ,zeus visiting ,alkmena3 ,schreiber-,anderson1 #e1 #h ,heydemann1 loc4 cit4 p4 #bgf3 cf4 ,b4,m4 ,f #aej4 7#b7 ,apollo healing the ,centaur ,cheiron3 ,b4,m4 ,f #aea4 7#c7 ,herakles at ,delphi2 ,apollo takes refuge on the roof of the temple3 ,reinach1 i4 #aec1 #b ,rayet and ,collignon1 p4 #cah4 7#d7 ,combat of ,hephaistos 7,daidalos7 and ,ares 7,enyalios73 ,b4,m4 ,f #bfi4 7#e7 ,herakles with the ,kerkopes3 ,schreiber-,anderson1 #e1 #b ,heydemann p4 #bha4 7#f7 ,herakles seizing ,auge3 ,fig4 #aje1 ,vol4 ,i4 p4 #dgd ,reinach1 i4 #abc ,heydemann1 p4 #bgi4 7#g7 ,burlesque of the story of ,antigone3 ,reinach1 i4 #bgc4 7#h7 ,rape of the ,palladion3 ,b4,m4 ,f #cff4 7#i7 ,death of ,priam3 ,berlin #cjde ,reinach1 i4 #cgj1 #h4 7#aj7 ,odysseus and ,kirke3 ,jatta #ija ,heydemann1 p4 #bga4 7#aa7 ,odysseus in ,phaeacia3 ,reinach1 i4 #aec1 #a4 ,illustration3 ,,fig4 #acd4 ,,scene ,,from ,a ,,farce 7,,british ,,museum1 ,f #ahi74 ,other scenes represent single figures1 such as ,herakles1#afaj or ,taras on the dolphin#afaa2 or subjects from farces of daily life1 such as an actor with a table of cakes#afab or the drunken return from a revel4#afac ,many scenes1 again1 have some reference to the ,satyric drama1 as on the fine vase in ,naples1 where ,dionysos and other figures attend the preparations for a performance of that kind#afad2 or such scenes as that of ,hera and ,iris attacked by ,seileni1#afae or those relating to adventures of ,herakles and ,perseus with ,satyrs4#afaf ,other subjects have no particular significance1 such as an actor attired as a ,seilenos playing on the flute1 or dancing1 or with a ,sphinx1#afag groups of actors#afah 7in one case dressing#afai71 a comic actor among ,satyrs and ,maenads1#afbj and single figures4#afba ,some1 which are apparently mythological1 defy explanation4#afbb ,the influence of ,tragedy on vase-paintings is an indirect one1 and entirely confined to the vases of ,southern ,italy on the one hand1 and to the plays of ,euripides on the other4 ,the subject has been discussed at length elsewhere in this work1#afbc and it is unnecessary here to give a list of the subjects on ,south ,italian vases which can be traced to the influence of ,euripides4 ,it has also been pointed out that this influence made itself felt1 not only in the actual choice of subjects1 but generally in their treatment and arrangement1 in the quasi-architectural setting of many scenes1 and in the elaborate costumes of the figures4 ,illustration3 ,,fig4 #ace4 ,,athletes ,,engaged ,,in ,,the ,,pentathlon 7,,british ,,museum1 ,b #acd74 #d4 ,,athletics ,,and ,,sport ,from the theatre we naturally turn to the palaestra and gymnasium1 which played so important a part in the public and private life of the ,greeks1 and1 like the former1 may be said to be vested with a religious significance1 as exemplified in the ,olympic and other great games4 ,hardly any class of subject is found so frequently and consistently on the vases4 ,the series of ,panathenaic amphorae alone supply instances of every form of athletic exercise in which the ,greeks indulged4#afbd ,many vases1 especially the ,r4,f4 kylikes1 represent groups of athletes in the palaestra engaged in various exercises1 such as boxing1 wrestling1 running1 and leaping#afbe2 in other cases we have single groups of boxers#afbf or wrestlers1#afbg or of the 1 a somewhat brutal combination of the two4#afbh ,a boxer is sometimes seen putting on his caestus4#afbi ,the 1 which played so important a part in the national games1 is not infrequently found1 though often only three or four out of the five contests appear4#afcj ,here1 again1 we also find single figures of diskos-throwers#afca or javelin-throwers1#afcb representations of the long-jump1#afcc and men marking the ground with a pick-axe or poles4#afcd ,an athlete is seen binding round his javelin the cord or by which it was thrown1#afce and the pick-axe afore-mentioned also appears in such a way as to indicate its general use by athletes--viz4 for digging up the ground over which jumps were made1 by way of exercising the limbs4#afcf ,a variation of the javelin contest was one in which the competitors were mounted1 and aimed at a shield set up as a target as they rode past4#afcg ,other important contests are the foot-race#afch2 the horse-race1 generally taken part in by boys 77#afci2 the chariot-race#afdj2 the torch-race 77#afda2 and the race of armed warriors 774#afdb ,in the latter contest various types may be distinguished3 the arming for the race#afdc2 the start#afdd2 the race itself1 with runners turning at the end of the stadion#afde2 the finish#afdf2 and a variation in which the runner carried his armour4#afdg ,on the earlier vases this race is run in full armour2 on the later1 only with helmets and shields4 ,frequently the victorious athlete1 horseman1 or hoplite is seen proclaimed as winner1#afdh and receiving his prize#afdi2 also receiving a crown from ,nike4#afej ,among more miscellaneous scenes may be mentioned athletes anointing themselves#afea and using the strigil#afeb2 the or quintain#afec2 an athlete expiring#afed2 a girl-runner wounded in the foot#afee2 men rolling discs#afef2 acrobats#afeg and female tumblers performing contortions over swords1 or lifting objects with their feet4#afeh ,to the list of palaestra scenes may be added those where ,nike or another deity appears as patron of the palaestra watching the athletes1#afei and scenes of ephebi washing or bathing in preparation for or after their contests4#affj ,the athletes are often accompanied by trainers1 who use a forked stick to direct their movements4#affa ,on the later ,r4,f4 and the ,italian vases it is a regular thing to find on the reverse a roughly painted group of two or three athletes or ephebi1 usually wrapped in himatia and conversing together#affb2 in such cases the palaestra is indicated by a pair of jumping-weights or a ball suspended4 ,subjects coming under the heading of what we call ,sport are not so common1 and are practically limited to hunting scenes4 ,they include hare-hunts1#affc stag-hunts1#affd wolf-hunts and fox-hunts1#affe lion-hunts1#afff and boar-hunts#affg2 in the latter on early ,b4,f4 vases the figures often have fancy names1 with a reference in some cases to the hunt of the ,calydonian boar1 which created the type4 ,some1 especially ,b4,f4 vases1 depict the departure of a hunter for the chase1#affh or his return loaded with game#affi2 or we see a party of hunters resting 7all with fancy names74#afgj ,a group of youths capturing and taming a bull may also be mentioned here1#afga and horse-taming is similarly depicted4#afgb ,we see horses being unharnessed1 groomed1 and watered1#afgc or exercised1#afgd and a man with a backing horse#afge2 and we may also perhaps include among these subjects scenes representing riding-lessons1 a school for ephebi1#afgf or a boy learning to mount a horse4#afgg ,a favourite subject for the interiors of ,r4,f4 cups is that of a young ,athenian on horseback1#afgh often in ,oriental or ,thracian costume 7see p4 #agi74afgi ,on the ,b4,f4 vases a horseman or a chariot is sometimes depicted in front view1 a notable exception to the preference of the time1#afhj and sometimes a three-horse chariot takes the place of the quadriga4#afha ,among miscellaneous chariot-scenes may be mentioned a goddess 787 and a hero mounting chariots1#afhb a girl in a chariot drawn by hinds#afhc2 and people travelling in a country cart4#afhd ,among the various ,games popular with ,greek youths the favourite is1 perhaps1 that of ball1 which was often played by men mounted on each other's shoulders in two parties1 this being known as #afhe2 a rougher variant1 in which the ball was omitted and victory was probably gained by overthrowing the opponent pair1 was known as 4#afhf ,women and children also play at ball1 as does ,eros4#afhg ,equally popular was cock-fighting#afhh2 and we also see a group of boys shooting with bow and arrows at a popinjay or figure of a bird4#afhi ,of indoor amusements the favourite is the 1 a popular relaxation after a banquet1 often seen on kylikes and other ,r4,f4 vases4#afij ,other games1 more suitable to younger boys1 are top-spinning#afia and bowling a hoop#afib2 others1 again1 in which boys and girls join1 or even occasionally ,eros and ,satyrs1 are the games of morra 7micare digitis1 or 8,how many fingers do ,i hold up8071#afic and its variant1 the 1 played with knucklebones#afid2 swinging#afie and see-sawing#afif2 and flying a kite4#afig ,a game of similar character to the morra is played by a winged girl1 who places her hands over the eyes of a boy in a chair4#afih ,the so-called magic wheel1 which was twirled on a string1 is almost exclusively used by ,eros on the vases of ,southern ,italy4#afii ,children with their toys1 such as go-carts1 vases of various shapes1 etc41 are often depicted on the smaller ,r4,f4 vases of the fine style1 some of which were perhaps actually made for playthings#agjj2 and we often see them accompanied by pet dogs1 tortoises1 and other animals4#agja ,similarly there are representations of birds and beasts kept in cages1#agjb and of grown-up people playing with pets3 a youth and girl with a mouse or jerboa1#agjc or a man with a ,maltese dog4#agjd ,equal in importance in the eyes of the ,greeks was the other great division of their education1 2 the wider sense in which they used the word1 the culture of the mind as opposed to that of the body 771 admits of including under this heading school scenes as well as musical performances4 ,among the former is the well-known kylix of ,duris in ,berlin 7,plate ,,xxxix471#agje where a teacher is seen unrolling a manuscript on which appears an epic hexameter 7see ,chapter ,,xvii472 a pupil is about to write on tablets2 and others undergo instruction on the flute and lyre4 ,elsewhere we see a youth writing on a tablet1#agjf or on his way to school#agjg2 a man reading from a roll#agjh2 and a vivid representation of a schoolmaster giving a writing lesson4#agji ,lessons in music1#agaj singing1#agaa and dancing#agab are by no means infrequently represented1 especially on ,r4,f4 vases2 we have already seen the young ,herakles and ,iphikles receiving instruction of this kind1#agac and on the vases both boys and girls take part in the lessons4 ,dancing scenes include dances of maidens 7very common on early ,b4,f4 vases71 or single figures of dancers#agad2 a girl dancing to the flute or with castanets1#agae or a youth to the music of a girl#agaf2 a woman dancing the ,pyrrhic dance in the attire of a warrior1#agag and a sacred ,lydian dancer with her wicker head-dress4#agah ,the grotesque dancers on some early ,b4,f4 vases appear to be performing the kordax4#agai ,groups of musicians with no particular signification are often found1 generally playing the lyre and flute1#agbj or single figures1 such as a lyre-player in female costume1#agba or in the distinctive of the musician4#agbb ,other scenes relate to agonistic and musical competitions1 which often formed part of the great games2 thus we have on some ,panathenaic vases and elsewhere contests for victory with the lyre#agbc or flute4#agbd ,sometimes the victorious musician appears receiving the prize#agbe or a crown from ,nike#agbf2 he usually stands on a bema or raised platform4 ,on one vase a poet recites an epic to the sound of the flute2 the opening words appear proceeding from his mouth4#agbg ,on another a man is seen tuning his lyre4#agbh ,singing was a common recreation of banqueters or revellers1 especially as seen on ,r4,f4 vases4#agbi ,illustration3 ,from ,baumeister4 ,,fig4 #acf4 ,,agricultural ,,scenes 7,,cup ,,by ,,nikosthenes ,,in ,,berlin74 #e4 ,,trades ,,and ,,occupations ,the trades and occupations represented on vases are very varied1 ranging from mining to shoemaking4 ,the representations of miners in caves which appear on some of the early ,corinthian pinakes#agcj most probably refer to the digging out of the clay for the potteries rather than to mining for metals4 ,this seems the more probable when it is taken into consideration that potters' workshops and furnaces are so frequently depicted in the same series4#agca ,besides these we find later instances of potters turning vases on the wheel1#agcb painting them1 or finishing them off1#agcc as already described in a previous chapter3 one vase represents the interior of a potter's workshop with vases in various stages#agcd2 another1 a man painting the design with a sort of quill4#agce ,young men and girls are depicted negotiating the purchase of completed vases in the shop4#agcf ,another of the ,corinthian pinakes#agcg represents the exportation of vases in a ship4 ,metal-work is represented by a well-known ,r4,f4 kylix in ,berlin1#agch showing a bronze foundry1 with statues in various stages of completion2 there are also representations of a smithy1#agci in some of which writers have seen an allusion to ,hephaistos and the ,kyklopes 7see p4 #cg74 ,a man is depicted finishing off a bronze helmet1#agdj or carrying a completed terminal figure#agda2 and of similar import is the subject of ,athena modelling a horse4#agdb ,agriculture is represented by vases in ,berlin and the ,louvre with scenes of men ploughing with oxen 7,fig4 #acf7 or hoeing1 sowers1 and mules carrying sacks of grain#agdc2 and certain vase-paintings have been interpreted as referring to the digging of a well4#agdd ,a man is seen cutting down a tree1#agde and another birds'-nesting4#agdf ,shepherds with flocks of sheep and goats are seen on two early ,boeotian vases1#agdg and also fishermen1#agdh and men crushing grapes in a wine-press4#agdi ,the various stages of oil-making include the gathering of the olives from a tree1#agej the pressing in an oil-press1#agea and lastly the merchant measuring out and selling his oil4#ageb ,a butcher is represented cutting up meat1#agec and also the preparing and cutting up of a tunny-fish1#aged and the baking of bread#agee2 on a ,b4,f4 vase two men weigh goods in a balance#agef2 and the export of the silphium 787 on the ,arkesilas vase may also be mentioned here4#ageg ,lastly1 we have a shoemaker in his shop1#ageh a carpenter working with an adze1#agei and a boy going to market with two baskets carried on a pole4#agfj #f4 ,,daily ,,life ,,of ,,women ,scenes from the daily life of women form our next heading1 and we include therewith those relating to marriage or preparations for nuptials1 which play so important a part in woman's life4 ,the 8type0 of a marriage procession on ,b4,f4 vases is1 as we have seen 7p4 #af1 and ,vol4 ,i4 p4 #cgh71 liable to be confused with the subject of the marriage of ,zeus and ,hera2 the bride and bridegroom appear in a four-horse chariot1 accompanied by persons who1 if not deities1 at any rate bear similar attributes1 such as the caduceus of ,hermes or the torches of ,artemis 7as pronuba74#agfa ,in scenes of simpler character the wedding party walk in procession or drive in a cart4#agfb ,on later vases the bride is generally led by the hand by her husband1 accompanied as before in appropriate fashion4#agfc ,we also find scenes representing the bridal pair on their marital couch 7lectus genialis71#agfd and the return of the bride after the ceremonies4#agfe ,other scenes may possibly represent a betrothal1#agff a bridal toilet1#agfg or a nuptial sacrifice1#agfh and1 finally1 the arrival of the bridal pair at their house1 with a servant preparing the marriage-bed4#agfi ,more common1 especially on ,r4,f4 vases of the fine style1 are scenes taken from the life of the women's apartments 771#aggj such as women at their toilet1#agga spinning wool1#aggb or bleaching linen1#aggc or embroidering4#aggd ,under the heading of toilet scenes are included single figures of women arranging their hair1#agge painting their faces1#aggf fastening on their girdles#aggg or shoes1#aggh or putting clothes in a wardrobe4#aggi ,they also play with cats or dogs#aghj or pet birds1#agha and there is a subject identified as a 8consolation0 scene4#aghb ,again1 we see women bathing both in private and public baths1#aghc or even swimming#aghd2 but in some of these scenes the bath merely forms part of the toilet4 ,many of these toilet scenes may perhaps be idealised and regarded as groups of ,aphrodite1 the ,graces1 etc4#aghe ,a favourite subject1 but almost confined to the ,b4,f4 hydriae1 is that of maidens with pitchers on their heads fetching water from a fountain1 which is usually in the form of a building with columns and lion's-head spouts of water2 the maidens1 five or six in number1 carry the empty hydriae flat on their heads1 the full ones upright4#aghf ,women are sometimes seen in gardens or orchards1 gathering fruit#aghg or 7on late ,r4,f4 vases7 frankincense4#aghh ,other miscellaneous scenes which cannot be classified are3 a woman in bed1#aghi woman with foot-pan1#agij at a meal1#agia reading from a scroll1#agib burning incense1#agic spinning a top1#agid balancing a stick1#agie riding in a mule-car#agif2 two or more women wrapped in one large cloak#agig2 and an accouchement scene4#agih ,those in which children appear include a nurse and child#agii2 a child learning to walk#ahjj2 a mother1 and a child in a high chair#ahja2 and a woman beating a child with a slipper#ahjb2 subjects of children playing with toys1 etc41 have already been discussed 7p4 #afg74 ,finally1 there are the scenes in which women appear as jugglers#ahjc or performing dances in armour1#ahjd of which mention has been made2 these were probably amusements associated with banquets 7see p4 #ahb2 also ibid4 for banquets in which women1 i4e4 courtesans1 take part74 ,a very common decoration of vases1 especially the inferior ones of ,apulia1 is that of a woman's head1 either as the main subject or in some subsidiary part of the decoration2 these1 however1 are so common that they hardly call for detailed description4#ahje #g4 ,,military ,,and ,,naval ,,subjects ,subjects of a military character on vases are chiefly confined to three--the arming of warriors1#ahjf their setting out in chariots1 on horseback1 or on foot1#ahjg and combats of two or more figures4#ahjh ,in all these cases we are confronted with the often-recurring difficulty as to when such subjects have a mythological significance4 ,especially on ,b4,f4 vases1 familiar types--such as the departure of ,hector or the combat of ,achilles and ,memnon1 to be identified in other cases by inscriptions--occur again and again in the same form1 only diversified by the varying number of bystanders1 which is generally regulated by the space at the painter's disposal4 ,even when names are added they are often of a fanciful kind2 and thus1 for instance1 we find combats between ,homeric heroes which have no counterpart in literary record4#ahji ,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 greaves1#ahaj helmet1#ahaa or cuirass 7,fig4 #acg71ahab or lacing up his helmet4#ahac ,kindred subjects are that of a warrior taking his shield out of his case1#ahad or an archer drawing an arrow from his quiver1#ahae testing an arrow1#ahaf or stringing his bow4#ahag ,we may also note the rarer occurrence of such scenes as the harnessing of a chariot 7,frontispiece7#ahah or the equipping of a war-horse4#ahai ,in the departure scenes the usual type on ,b4,f4 vases is that of a four-horse chariot to the right1 which the warrior is mounting or has mounted2 a woman sometimes give him drink1 and an old man stands at the horses' heads4 ,this 8type0 is used for the departure of ,amphiaraos 7cf4 ,berlin #afee71 ,hector1 or other heroes4#ahbj ,it is sometimes varied by placing the quadriga to the front4#ahba ,or1 again1 the warrior is seen on horseback1 accompanied by his groom1#ahbb or a company on foot set out in marching array4#ahbc ,on later vases the more usual version is that of a warrior receiving a libation or 8stirrup-cup0 from a woman before his departure1 but the same scenes might be interpreted as referring to his successful return4#ahbd ,unmistakable instances of the return are those scenes where he receives a crown1#ahbe or is brought back as a corpse by his comrades4#ahbf ,there are scenes representing warriors taking oaths or omens at a tomb1 or omens by the inspection of the liver of a victim1 all before departure for battle#ahbg2 and single figures are countless1 especially inside ,r4,f4 kylikes4#ahbh ,illustration3 ,from ,hoppin4 ,,fig4 #acg4 ,,warrior ,,arming2 ,,scythian ,,archers 7,,amphora ,,by ,,euthymides ,,in ,,munich74 ,among the various scenes incident to warfare may be mentioned an ambuscade1#ahbi a wounded warrior dragged out of battle1#ahcj a warrior protecting himself from darts1#ahca the capture of a prisoner1#ahcb warriors carrying dead bodies1#ahcc or human heads as trophies of victory4#ahcd ,besides single figures of warriors1 heralds1#ahce trumpeters1#ahcf slingers1#ahcg and archers#ahch often appear2 or representations of the armour of a warrior#ahci2 or of the or parade of ,athenian knights4#ahdj ,of a somewhat burlesque character is a scene depicting warriors riding on ostriches and dolphins4#ahda 99 99 99 99 99 ,naval scenes are very rare1 but we find occasional early representations of sea-fights1#ahdb as on the ,dipylon vases1 the vessels on which appear to be biremes4#ahdc ,on the ,b4,f4 and ,r4,f4 vases we find war-galleys#ahdd or merchant-vessels1#ahde usually in places suitable for a row of ships--such as the outer edge of a kylix#ahdf or the broad rim of a deinos or large bowl4#ahdg ,these are specially common on vases of 8mixed0 technique4 ,the subject of 8keel-hauling10 the punishment administered to refractory sailors1 must also find a place here4#ahdh #h4 ,,orientals ,,and ,,barbarians ,oriental figures which can neither be classified as mythological1 historical1 or genre subjects sometimes appear on vases4 ,we have already made mention of such quasi-mythological subjects as combats of ,gryphons with ,arimaspi or other figures in ,oriental attire4#ahdi ,phrygian warriors1 too1 may be seen in some ,trojan scenes--such as the sack of ,troy or the flight of ,aeneas#ahej--;but their presence in scenes of departure or combat does not necessarily make the subject mythological4#ahea ,it is not always easy to identify the nationality of these barbarians1 and the names usually given to them--,persian1 ,phrygian1 or ,scythian--must in many cases be regarded as somewhat conventional1 except where details of costume are unmistakable4#aheb ,archers in ,oriental costumes1 wearing peaked caps with long lappets1 and close-fitting costume of jerkin and trousers 771 stippled over to indicate skin1 are seen shooting arrows1 on foot or on horseback1#ahec or accompanying the chariots of ,greek warriors1#ahed or taking part in general combats#ahee2 as also warriors blowing trumpets4#ahef ,persian warriors in combat with ,greeks appear on ,r4,f4 vases of the strong period1#aheg and may have some reference to the historical events of the time4 ,it is even suggested that one is copied from the famous painting by ,mikon of the battle of ,marathon4#aheh ,one vase represents a sort of triumphal procession1 perhaps of a ,persian king1 riding on a camel#ahei2 and others depict ,persians riding4#ahfj ,those of undoubted historical signification have already been mentioned4#ahfa ,scythians appear as mounted or unmounted archers1#ahfb a ,scythian horseman is attacked by a lion1#ahfc a ,scythian pursues two courtesans1#ahfd and there is a curious scene depicting the revels of the ,scythian ,agathyrsi4#ahfe ,thracians1 in the typical local costume of 7a thick cloak7 and 7a fox-skin cap71 appear by themselves or with ,orpheus and ,boreas#ahff2 ,thracian horsemen are represented setting out#ahfg2 and after the conquests of ,miltiades the local costume appears to have become fashionable among the ,athenian youth1 as they are depicted wearing it on some contemporary vases4#ahfh ,the ,thracian custom of tattooing is suggested in some of the ,orpheus scenes4#ahfi ,figures of negroes are not very common on vases1 though many of fifth-century date and later are modelled in the form of negroes' heads2 but there is a small class of ,b4,f4 alabastra on which they are represented in the traditional barbarian costume of trousers1 etc41 and are armed with the ,oriental battle-axe4#ahgj ,in one case a negro accompanies a camel4#ahga ,ethiopians are seen conveying the body of ,memnon or an ordinary warrior to his grave1#ahgb and one vase represents an ,ethiopian with a jug4#ahgc ,a pair of ,egyptian combatants can be identified on a fragmentary vase from ,daphnae 7,defenneh74#ahgd ,lastly1 many of the vases of ,southern ,italy1 especially those of ,campania1 represent combats or leave-takings of native ,osco-,samnite warriors1 in their typical costume of triangular cuirass1 gaily plumed helmet1 and scanty tunic4#ahge ,illustration3 ,,fig4 #ach4 ,,banqueters ,,playing ,,kottabos 7,,british ,,museum1 ,e #gj74 #i4 ,,banquets ,,and ,,revels ,a group of subjects which play an important part on vases of all periods1 especially the height of the ,r4,f4 style1 but which do not exactly fall under any of the headings so far enumerated1 is that of scenes connected with banquets and revels1 especially of ,athenian ephebi4 ,in the ordinary 8type0 of banquets at all periods 7as in other branches of art7 the participants recline on couches on their left elbows1 the right arm being free to use1 and that hand often holding a drinking-cup or other appropriate attribute4#ahgf ,in this fashion the gods--such as ,dionysos1 ,hermes1 or ,herakles after his apotheosis--indulge in the pleasures of the banquet and the wine-cup4#ahgg ,there are scenes which represent the preparations for a banquet1#ahgh or young men on their way thither#ahgi2 and in those depicting the feast itself a table is often placed before the couch1 on which viands of various kinds are seen#ahhj2 or the krater 7mixing-bowl7 stands by1 ready for the drinkers to replenish their cups4#ahha ,vases are also filled by means of a funnel4#ahhb ,the results of over-indulgence are sometimes realistically indicated on the ,r4,f4 cups4#ahhc ,after the drinking-bouts come amusements of various kinds1 notably the game of the kottabos4#ahhd ,no instances of this occur before the middle of the ,r4,f4 period1 and on the cups of that time it is usually only indicated by the manner in which the banqueters twirl their kylikes with a finger crooked in the handle1#ahhe preparatory to throwing the remaining drops of liquid at the little figure on the top of the kottabos-stand1 the hitting of which caused part of the apparatus to fall with a ringing noise4#ahhf ,on the latest ,athenian and many ,apulian vases the stand is often represented as well1#ahhg not only in position for the game1 but borne along by revellers4#ahhh ,it is also carried by ,seileni1 ,maenads1 or ,eros1 and used by ,dionysos at his banquets4#ahhi ,other amusements take the form of music and dancing4 ,the banqueters themselves play the lyre or flute1#ahij or listen to male and female performers on those instruments1#ahia or a young girl dances for their amusement4#ahib ,the women jugglers1 tumblers1 and acrobatic sword-dancers who often appear on late vases#ahic no doubt often contributed to the entertainment of the 8gilded youth0 of their day4 ,sometimes a banqueter is represented reclining on his couch and singing1 the words in one or two cases being inscribed as proceeding out of his mouth4#ahid ,not only men but women are represented banqueting1 as on the psykter by ,euphronios at ,petersburg1 which has a group of courtesans4#ahie ,this character also appears on the ,r4,f4 vases at the men's banquets4#ahif ,the or revel is equally popular with the banquet4 ,it usually takes the form of a procession of young and elderly men in various unrestrained attitudes1#ahig dancing1#ahih singing1#ahii playing the lyre1 flute1 or other instruments1#aijj carrying drinking-cups and other vessels1#aija or balancing them in sportive manner4#aijb ,frequently these scenes are of a ,dionysiac character1 the god himself1 ,seileni1 ,satyrs1 and ,maenads taking part1#aijc and sometimes human beings are mingled with them4 ,on a vase of the series connected with the comic stage 7,fig4 #acd1 p4 #afa7 a father is seen dragging a drunken youth home from a banquet2 but these scenes of rioting are not always necessarily conceived as taking place before or after social festivities4 ,on a red-figured cup at ,petersburg the subject of the return from the feast of the ,brauronian ,dionysos is depicted in most realistic fashion1 the revellers indulging in all sorts of buffoonery and fantastic actions1 which suggest an ,athenian counterpart of modern ,bank ,holiday amusements#aijd6 ,to turn to a subject of a quieter character1 what may be termed 8love scenes0 are not uncommon on vases1 especially of the later period4 ,on the ,apulian vases indeed such subjects are innumerable4 ,the usual type1 occasionally found on earlier vases1#aije is that of a youth and a seated girl exchanging presents1 such as mirrors1 wreaths1 baskets of fruit or jewel-boxes1 ,eros being frequently present4#aijf ,scenes of this kind were originally interpreted somewhat fantastically1 as having some reference to the ,eleusinian or other mysteries1#aijg an idea which no one would now seriously hold4 ,similar scenes which have no particular import1 such as groups of women1 often with ,eros1 occur on many ,r4,f4 vases of the later fine style1 especially the pyxides and lekythi4#aijh ,they are all clearly fanciful1 and belong to an age when tastes resembled those of the eighteenth century in their artificiality4 ,there are also some instances1 especially on the ,r4,f4 vases1 where the sentiment is more definitely expressed1 and couples are seen embracing or caressing one another in amorous fashion4#aiji ,it is not necessary to make more than passing allusion to the many vases on which this harmless sentiment is replaced by coarseness and open indecency of treatment1 some of which1 however1 belong to the very finest stage of red-figure painting4 ,finally1 we may mention here a few subjects of a genre character which seem to defy classification1 and yet are sufficiently definite to require separate mention4 ,such are the scenes so common on the interiors of ,r4,f4 kylikes1 which represent ephebi in all kinds of attitudes1 or carrying all sorts of objects1 the great aim of the artist being to find the most suitable design to fill in the circular space4#aiaj ,thus we have such subjects as a youth putting on a greave or sandals1#aiaa carrying a wine-amphora#aiab or a lyre1#aiac playing with castanets1#aiad or pursuing a hare#aiae2 reclining at a banquet#aiaf2 armed with a club or a large stone#aiag2 a man leading a leopard1#aiah and a man who seems from his gestures to be treading unawares on a snake#aiai2 and others of an athletic or military character1 of which mention has already been made4 ,there are also many subjects which appear to have a meaning1 yet are not mythological1 and cannot be satisfactorily explained2 such instances it would1 however1 hardly be profitable to describe in detail4 #aj4 ,,animals ,the last class of subjects with which this section has to deal is that of animals1 as considered apart from human beings1 or objects of what modern painters term 8still life40 ,in the historical chapters of this work it has been shown what a large part the animal world played in the decoration of vases down to the sixth century ,b4,c41 and also which were the animals most frequently selected for the friezes and other decorations of early vases4 ,most noteworthy in this respect are the ,mycenaean vases 7,vol4 ,i4 p4 #bgc71 with their representations of cuttle-fish 7,plate ,,xv471 the nautilus or argonaut1#aibj and other marine subjects4 ,but to these early vases in the present case no further allusion need be made2 as subjects they have not as a rule sufficient interest4 ,on the ,attic vases of the ,b4,f4 and ,r4,f4 periods animals rarely form a principal subject on vases1 though they still sometimes appear in small friezes on the less important parts of the vase2 it may1 therefore1 be of interest to note a few typical instances in which this feature retains its prominence4 ,sometimes we have subjects with action3 as1 for instance1 one in which a panther tears a stag1 and is attacked by an archer and an armed warrior#aiba2 or a lion attacks a panther1 a bull1 or a deer4#aibb ,again1 the interior of a ,b4,f4 kylix is sometimes filled with an animal subject1 such as a wounded stag1#aibc or a deer scratching itself or grazing1#aibd or other animals#aibe2 and in a similar position on one ,r4,f4 kylix we have an ass with its pack4#aibf ,other animal subjects worth mentioning are a sea-serpent1#aibg goats browsing on vines1#aibh a fox caught in a trap1#aibi cats and mice1#aicj the appearance of the swallow4#aica ,there is a class of ware made in ,southern ,italy which takes the form of flat plates or dishes1 decorated with representations of fish and molluscs1 such as the pike or mullet1 the cuttle-fish and various shell-fish2 these were clearly used for eating fish off1 and they have in the centre a hollow to receive the sauce4#aicb ,friezes of fish are not infrequently found on the vases of ,apulia4 ,animals1 especially birds1 sometimes appear in friezes on the early ,ionic vases1 such as geese1 quails1 or guinea-fowl#aicc2 cocks and hens confronted are more common1 especially in the ,b4,f4 period1#aicd and one late ,italian vase has an amusing group of a cock and goose greeting one another with the words1 8,ah1 the goose60 8,oh1 the cock60#aice ,lastly1 of subjects from still life1 distinct from their appearance in figure subjects1 we find the armour of a warrior1#aicf a washing-basin1#aicg a flute-case1#aich a lyre1#aici a table with bread upon it1#aidj and a collection of objects for the toilet4#aida ----- ,footnote #aaab3 ,athens #abei ,reinach1 i4 #ejf2 ,mon4 ,grecs1 #ahgf1 pls4 #a-b4 ,footnote #aaac3 ,b4 ,m4 ,f #fh4 ,footnote #aaad3 ,reinach1 ii4 #ahf4 ,footnote #aaae3 ,petersburg #bahh ,reinach1 i4 #h2 ,reinach1 i4 #bgi 7 ,baumeister1 i4 p4 #fce1 fig4 #gjf7 and #chj4 ,in ,ant4 ,denkm4 i4 #ei 7now at ,boston7 and in ,berlin #bdcj they do not appear in this connection4 ,footnote #aaaf3 ,b4,m4 ,b #agj2 ,helbig1 #gh ,reinach1 i4 #if ,wiener ,vorl4 #ahhh1 pl4 #f1 #a 7,exekias74 ,footnote #aaag3 ,millin-,reinach1 ii4 #dd 7doubtful2 perhaps ,zethos and ,amphion74 ,footnote #aaah3 ,petersburg #aibd and #aibi ,reinach1 i4 #i4 ,footnote #aaai3 ,reinach1 i4 #bdd4 ,footnote #aabj3 ,ibid4 i4 #cfc4 ,footnote #aaba3 ,b4,m4 ,e #fif4 ,footnote #aabb3 ,franois vase2 ,reinach1 i4 #bcj1 ii4 #aai4 ,footnote #aabc3 ,reinach1 i4 #cfa ,furtwaengler and ,reichhold1 pls4 #ch-ci4 ,footnote #aabd3 ,bibl4 ,nat4 #ddb ,reinach1 ii4 #gi ,wiener ,vorl4 #ahhi1 #ab1 #e4 ,footnote #aabe3 ,jatta #ajie ,reinach1 i4 #aai 7,phineus scene72 ,reinach1 i4 #bbf 7in ,louvre74 ,footnote #aabf3 ,reinach1 i4 #bca1 #ejg 7 ,athens #hec71 ii4 #a3 see generally ,roscher's ,lexikon1 s4v4 ,leukippiden4 ,footnote #aabg3 ,b4,m4 ,e #bbd ,furtwaengler and ,reichhold1 pls4 #h-i2 probably influenced by the painting by ,polygnotos of this subject 7see ,vol4 ,i4 p4 #ddc74 ,footnote #aabh3 ,reinach1 i4 #dhd3 cf4 ,bibl4 ,nat4 #chh4 ,footnote #aabi3 ,b4,m4 ,b #fcc ,wiener ,vorl4 iv4 #i1 #c4 ,footnote #aacj3 ,inghirami1 ,vasi ,fitt4 ii4 #ahg3 cf4 ,reinach1 i4 #cfa 7rev4 of vase74 ,footnote #aaca3 ,see p4 #ai4 ,footnote #aacb3 ,b4,m4 ,f #dgi2 ,reinach1 i4 #bbi2 ,gaz4 ,arch4 #ahge1 pl4 #ad 7in ,louvre74 ,footnote #aacc3 ,b4,m4 ,f #ajg4 ,footnote #aacd3 ,munich #faa and #bia ,reinach1 i4 #dai1 ii4 #dg4 ,footnote #aace3 ,munich #cga ,ber4 d4 schs4 ,gesellsch4 #ahec1 pl4 #aj1 #a1 p4 #ade4 ,he is represented as attacking ,linos1 who had found fault with his playing4 ,footnote #aacf3 ,reinach1 i4 #cbf 7,iphikles here with ,linos74 ,footnote #aacg3 ,see ,b4,m4 ,cat4 of ,vases1 ii4 p4 #ac4 ,footnote #aach3 ,reinach1 ii4 #gj4 ,footnote #aaci3 ,furtwaengler1 however1 thinks the subject is ,herakles sacrificing a bull 7,gr4 ,vasenmalerei1 p4 #af3 see below1 p4 #ajf74 ,footnote #aadj3 ,cf4 ,paus4 v4 #ai1 #a3 4 ,footnote #aada3 ,see p4 #ajf4 ,footnote #aadb3 ,isthm4 iii4 #ij4 ,footnote #aadc3 ,b4,f43 ,b4,m4 ,b #aif1 ,b #cbb2 ,munich #c ,reinach1 ii4 #fb2 an early ,athenian example in ,j4,h4,s4 xxii4 pl4 #b4 ,r4,f43 ,reinach1 i4 #bdb ,wiener ,vorl4 v4 #d ,louvre ,g #ajc 7,euphronios72 ,athens #aaff4 ,see also ,vienna #cbb ,reinach1 i4 #cci and ,munich #fje ,ber4 d4 schs4 ,gesellsch4 #ahec1 pl4 #h1 fig4 #a4 ,footnote #aadd3 ,b4,m4 ,b #cad2 ,berlin #bjeg2 ,louvre ,f #bjh ,reinach1 i4 #deb2 ,munich #aahj ,reinach1 i4 #bee1 #b1 and ,helbig1 #bbh ,ber4 d4 schs4 ,gesellsch4 #ahec1 pls4 #e1 fig4 #b1 and #h1 fig4 #b2 ,reinach1 i4 #bee1 #a ,baumeister1 i4 p4 #di1 fig4 #ef2 ,reinach1 i4 #dea4 ,the only ,r4,f4 examples published are ,munich #dja 7 ,furtwaengler and ,reichhold1 pl4 #cb7 and #fje 7 ,ber4 d4 schs4 ,gesellsch4 #ahec1 pl4 #g1 fig4 #a74 ,footnote #aade3 ,see above1 p4 #gb4 ,footnote #aadf3 ,bibl4 ,nat4 #cbb4 ,footnote #aadg3 ,cambridge #dc3 cf4 ,pind4 ,nem4 iv4 #df4 ,footnote #aadh3 ,j4,h4,s4 xiii4 pp4 #ga-b4 ,footnote #aadi3 ,b4,f43 ,b4,m4 ,b #aig1 ,b #cfd 7 ,wiener ,vorl4 #ahij-ia1 pl4 #f1 #a1 ,nikosthenes72 ,berlin #agcb ,reinach1 ii4 #ff ,wiener ,vorl4 #ahhi1 #a1 #b 7,kolchos74 ,r4,f43 ,b4,m4 ,e #gc2 ,reinach1 ii4 #dg1 #fh1 #a 7871 and i4 #bbc ,wiener ,vorl4 ,d4 pl4 #e 7,pamphaios74 ,footnote #aaej3 ,jatta #ajhh ,reinach1 i4 #dge ,wiener ,vorl4 iii4 #d3 see ,rm4 ,mitth4 #ahid1 p4 #bhe4 ,footnote #aaea3 ,arch4 ,anzeiger1 #ahih1 p4 #ea 7vase in ,boston74 ,footnote #aaeb3 ,b4,f43 ,b4,m4 ,b #bbh1 ,b #cac2 ,berlin #ahea-eb4 ,r4,f43 ,munich #bea ,reinach1 i4 #bei4 ,footnote #aaec3 ,b4,m4 ,e #dcg ,reinach1 ii4 #fb ,wiener ,vorl4 ,d4 #f1 #b4 ,footnote #aaed3 ,b4,f43 ,b4,m4 ,b #bbc1 ,b #caa2 ,berlin #aijf2 ,louvre ,f #ch ,wiener ,vorl4 #ahhi1 pl4 #e1 fig4 #c 7,timagoras72 ,reinach1 i4 #bbg4 ,no good ,r4,f4 examples 7see ,reinach1 i4 #cdf74 ,footnote #aaee3 ,b4,f43 ,b4,m4 ,b #bbe2 ,bibl4 ,nat4 #bee ,reinach1 ii4 #fa4 ,r4,f43 ,b4,m4 ,e #afb2 ,athens #abjb ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 pl4 #cb1 #d4 ,footnote #aaef3 ,reinach1 i4 #cci 7,r4,f474 ,footnote #aaeg3 ,b4,m4 ,b #bbf2 ,helbig1 #bg2 ,reinach1 ii4 #fd 7one ,bologna #aie74 ,r4,f43 ,reinach1 i4 #bba and i4 #da 7 ,petersburg #abgb1 curious74 ,footnote #aaeh3 ,b4,f43 ,amer4 ,journ4 of ,arch4 #aijj1 pl4 #f 7,proto-,corinthian72 ,j4,h4,s4 i4 pl4 #a2 ,berlin #ccf 7 ,reinach1 i4 #ddh71 #afgj 7 ibid4 ii4 #fd1 #a71 #agcg4 ,r4,f43 ,reinach1 i4 #bba4 ,late3 ,b4,m4 ,f #dc2 ,millin-,reinach1 i4 #fh4 ,footnote #aaei3 ,petersburg #aghg ,reinach1 i4 #dj4 ,footnote #aafj3 ,b4,f43 ,b4,m4 ,b #cj2 ,berlin #agjb2 ,helbig1 #e2 ,athens #feg ,ant4 ,denkm4 i4 #eg2 ,louvre ,e #heb ,reinach1 i4 #aef4 ,r4,f43 ,b4,m4 ,e #db1 ,e #agf2 ,boston ,mus4 ,report for #aijj1 p4 #di1 ,no4 #ag 7,aristophanes and ,erginos74 ,footnote #aafa3 ,mon4 ,antichi1 ix4 pl4 #c 7in ,b4,m472 ,naples #cjhi ibid4 p4 #aj ,millingen-,reinach1 #cc4 ,footnote #aafb3 ,berlin #agbb2 ,reinach1 i4 #chh4 ,footnote #aafc3 ,louvre ,f #fj4 ,footnote #aafd3 ,oxford #bdi2 ,berlin #gff-fg2 ,munich #ghc2 ,reinach1 ii4 #ei1 #aj4 ,late ,r4,f43 ,berlin #bcei4 ,parody3 ,schreiber-,anderson1 pl4 #e1 #b ,jahrbuch1 i4 p4 #bhj4 ,footnote #aafe3 ,bibl4 ,nat4 #cic ,reinach1 i4 #cig4 ,footnote #aaff3 ,b4,f43 ,vienna #bag ,reinach1 i4 #afi 7,caeretan hydria74 ,r4,f43 ,b4,m4 ,e #ch2 ,athens #aage ,dumont-,pottier1 i4 pl4 #ah2 ,berlin #becd4 ,see ,hartwig1 ,meistersch4 p4 #ec1 note #a4 ,footnote #aafg3 ,b4,m4 ,e #cfd2 ,reinach1 i4 #bbi1 #cch1 #cib4 ,footnote #aafh3 ,berlin #djbg ,reinach1 i4 #cch3 cf4 ,aelian1 ,var4 ,hist4 i4 #bd4 ,footnote #aafi3 ,reinach1 i4 #chd1 and see i4 #dge and ii4 p4 #dbc2 ,louvre ,e #fcc 7capture of heralds73 see for the myth1 ,paus4 ix4 #ag1 #b1 ix4 #be1 #d2 ,diod4 ,sic4 iv4 #aj2 ,apollod4 ii4 #d1 #aa4 ,footnote #aagj3 ,athens #igj4 ,footnote #aaga3 ,berlin #aibg 7872 ,b4,m4 ,e #bij4 ,footnote #aagb3 ,arch4 ,anzeiger1 #ahie1 p4 #cg 7,r4,f4 in ,berlin74 ,footnote #aagc3 ,bibl4 ,nat4 #agd4 ,footnote #aagd3 ,boston ,mus4 ,report for #ahih1 ,no4 #cc4 ,footnote #aage3 ,b4,f43 ,b4,m4 ,b #aie1 ,b #caf2 ,bibl4 ,nat4 #bea ,reinach1 ii4 #beb4 ,r4,f43 ,b4,m4 ,e #bee 7 ,hoppin1 ,euthymides1 pl4 #e72 ,e #cah1 ,e #deh2 ,berlin #baei ,wernicke-,graef1 ,ant4 ,denkm4 pl4 #bg1 fig4 #c2 ,munich #dja ,furtwaengler and ,reichhold1 pl4 #cb 7,phintias72 ,reinach1 i4 #bbd4 ,late3 ,naples #agfb ,millingen-,reinach1 #cj4 ,footnote #aagf3 ,stackelberg1 pl4 #ae4 ,footnote #aagg3 ,munich #abid ,reinach1 i4 #djc2 ibid4 ii4 #d ,wiener ,vorl4 ii4 #h4 ,footnote #aagh3 ,b4,m4 ,b #eg4 ,footnote #aagi3 ,cambridge #ajj2 and see ,j4,h4,s4 xix4 pl4 #i4 ,footnote #aahj3 ,helbig1 #bcb ,reinach1 ii4 #ei2 a ,b4,f4 example in ,rm4 ,mitth4 #aijb1 pl4 #e4 ,footnote #aaha3 ,b4,m4 ,e #fe ,reinach1 i4 #aic4 ,footnote #aahb3 ,b4,m4 ,f #did2 ,berlin #cbia2 heads of ,herakles and ,omphale1 ,bibl4 ,nat4 #hff4 ,footnote #aahc3 ,louvre ,e #fce ,reinach1 i4 #aea ,rayet and ,collignon1 pl4 #f2 ,mon4 ,grecs1 #ba-b 7#ahic-id71 pl4 #ad 7in ,louvre74 ,footnote #aahd3 ,b4,m4 ,b #afe2 ,athens #dgg ,reinach1 i4 #eai 7,melian vase73 see note #aahf below4 ,footnote #aahe3 ,j4,h4,s4 xii4 pl4 #ai2 ,jahreshefte1 #aijj1 p4 #fd4 ,the slaying of ,iphitos is represented on a white-ground cup in the ,louvre1 ,monuments ,piot1 ii4 p4 #ec4 ,footnote #aahf3 ,athens #dgg1 according to ,pottier in ,revue des tudes ,grecques1 #ahie1 p4 #chi4 ,footnote #aahg3 ,anzeiger1 #ahia1 p4 #aai 7in ,berlin72 a burlesque of the subject is given in ,fig4 #aje1 ,vol4 ,i4 p4 #dgd4 ,footnote #aahh3 ,millin-,reinach1 ii4 #ga4 ,footnote #aahi3 ,reinach1 ii4 #ge4 ,footnote #aaij3 ,fig4 #ajg1 ,vol4 ,i4 p4 #dhj4 ,footnote #aaia3 ,oxford #cbb2 ,reinach1 ii4 #fb ,roscher1 iii4 p4 #gfb4 ,footnote #aaib3 ,naples #ccei ,reinach1 i4 #djj2 and see note #aahf4 ,footnote #aaic3 ,b4,m4 ,f #fh4 ,footnote #aaid3 ,hartwig1 ,meistersch4 pl4 #ch1 p4 #dbb4 ,footnote #aaie3 ,bibl4 ,nat4 #hbb ,millin-,reinach1 ii4 #aj2 ,ber4 d4 schs4 ,gesellsch4 #ahee1 pls4 #a-b4 ,see above1 p4 #fg4 ,footnote #aaif3 ,reinach1 i4 #bbf4 ,footnote #aaig3 ,berlin #bafd3 cf4 ,athens #aaai ,ath4 ,mitth4 #aija1 pp4 #adf1 #adi4 ,footnote #aaih3 ,b4,m4 ,b #dgc2 ,berlin #ahef1 #aiai4 ,footnote #aaii3 ,berlin #cbef 7,argonautic874 ,footnote #abjj3 ,b4,m4 ,e #did 78 see p4 #ajf1 note #abaf72 ,reinach1 ii4 #ahj ,millingen-,reinach1 #ea4 ,on ,chryse see ,class4 ,review1 #ahhh1 p4 #abc2 the same figure occurs on the ,b4,m4 vase ,e #bbd in connection with the rape of the ,leukippidae4 ,footnote #abja3 ,b4,m4 ,e #eje3 cf4 for statue ,b4,m4 ,f #bcc4 ,footnote #abjb3 ,jatta #dbc ,reinach1 i4 #bje4 ,footnote #abjc3 ,millin-,reinach1 ii4 #be4 ,footnote #abjd3 ,reinach2 i4 #beg2 and cf4 ,b4,m4 ,f #baa1 ,f #bgh for ,h4 at ,olympia2 also ,stackelberg1 pl4 #db4 ,footnote #abje3 ,b4,m4 ,b #aih1 ,b #dih2 ,reinach1 ii4 #gd-e2 ,louvre ,f #aaf-aag ,reinach1 i4 #big 7,nikosthenes72 ,helbig1 #ic ,mus4 ,greg4 ii4 #ed1 #b4 ,footnote #abjf3 ,b4,m4 ,d #ad2 ,munich #cfi ,furtwaengler and ,reichhold1 pl4 #bd 7,duris72 ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 #db1 #d2 ,reinach1 ii4 #bih4 ,footnote #abjg3 ,b4,m4 ,b #cja1 ,b #dig1 ,e #ff2 ,berlin #aifa ,reinach1 ii4 #dc2 ,berlin #becd 7with ,seilenos72 ,munich #chh ,furtwaengler and ,reichhold1 pl4 #d 7,b4,f4 and ,r4,f4 8bilingual072 ,reinach4 ii4 #ci2 ,millin-,reinach1 i4 #cg2 ,athens #gfd ,heydemann1 ,gr4 ,vasenb4 pl4 #c1 #a4 ,footnote #abjh3 ,b4,m4 ,b #afg4 ,footnote #abji3 ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 pl4 #dd 7in ,petersburg74 ,footnote #abaj3 ,reinach1 ii4 #cah2 ,helbig1 ii4 p4 #cbg ,millingen-,reinach1 #ce2 ,philologus1 #ahfh1 pl4 #b4 ,footnote #abaa3 ,b4,m4 ,b #bbi3 cf4 ,berlin #djbg and ,b4,m4 ,e #had4 ,footnote #abab3 l4 ,cr4 iii4 #ad4 ,footnote #abac3 ,berlin #bbic1 #cihh2 ,petersburg #ebc ,reinach1 i4 #dfg2 l4 ,cr4 i4 #a2 ,mon4 ,grecs1 #ahge1 pl4 #a4 ,footnote #abad3 ,b4,m4 ,b #adg2 ,reinach1 ii4 #ba4 ,footnote #abae3 ,b4,m4 ,b #bbh2 ,berlin #aheg2 ,helbig1 #be2 ,reinach1 ii4 #dc3 cf4 ,athens #gia ,heydemann1 ,gr4 ,vasenb4 pl4 #c1 #b4 ,footnote #abaf3 ,see ,b4,m4 ,e #did2 ,j4,h4,s4 xviii4 p4 #bge2 ,roscher1 ,lexikon1 i4 p4 #bbce2 ,bacchylides1 ,od4 #af2 also p4 #if1 note #abaa4 ,footnote #abag3 ,b4,m4 ,e #cgj4 ,footnote #abah3 ,munich #chd ,reinach1 i4 #acj ,baumeister1 i4 p4 #cjg1 fig4 #cbb2 ,reinach1 i4 #dha4 ,footnote #abai3 ,b4,f43 ,b4,m4 ,b #aii-bja1 #baa 7,pl4 ,,xxix471 #bcj1 #cag-ba2 ,reinach1 ii4 #gb2 ,oxford #bab 7no deities74 ,r4,f43 ,helbig1 #bcj 7,a4 about to mount chariot74 ,footnote #abbj3 ,bibl4 ,nat4 #bec ,reinach1 i4 #cii and #bed4 ,footnote #abba3 ,berlin #ahbg ,reinach1 ii4 #gd2 ,reinach1 ii4 #afa4 ,footnote #abbb3 ,with ,athena3 ,b4,m4 ,f #bch2 ,millingen-,reinach1 #cf4 ,with ,nike3 ,b4,m4 ,f #fd1 ,f #ajb2 ,reinach1 i4 #cfh1 #dha1 and ii4 #bjd2 ,wiener ,vorl4 ,e4 pls4 #g1 #h1 fig4 #c ,mon4 ,grecs1 #ahgf1 pl4 #c 7in ,louvre2 parody2 chariot drawn by ,centaurs74 ,footnote #abbc3 ,b4,f43 ,b4,m4 ,b #aff1 ,b #cgi1 ,b #dbd2 ,berlin #afia1 #aheg2 ,reinach1 i4 #cei1 #a1 ii4 #gf 7in ,berlin74 ,r4,f43 ,b4,m4 ,e #bfb ,reinach1 ii4 #ge2 ,berlin #bbgh ,reinach1 i4 #gj ,ant4 ,denkm4 i4 #i 7,sosias72 ,furtwaengler and ,reichhold1 pl4 #bj2 ,reinach1 i4 #bbb1 #djh 7,fig4 #abg74 ,late3 ,naples #bdjh ,reinach1 i4 #cbc2 ,petersburg #agge ,reinach1 i4 #cjb 7parody74 ,footnote #abbd3 ,b4,f43 ,louvre ,f #cj ,rev4 ,arch4 xiii4 7#ahhi71 pl4 #d 7,amasis72 ,f #aaf-aag ,reinach1 i4 #big ,wiener ,vorl4 #ahij-ia1 pl4 #d1 figs4 #a-b 7,nikosthenes72 ,bibl4 ,nat4 #bed2 ,berlin #aifa ,reinach1 ii4 #dc4 ,r4,f43 ,berlin #bfbf2 ,reinach1 ii4 #gf1 #ahf4 ,footnote #abbe3 ,b4,m4 ,e #bfb2 ,bonn #gbj ,jahrbuch1 #ahib1 p4 #fi2 ,athens #acdf ,dumont-,pottier1 i4 pl4 #ae2 ,b4,m4 ,f #agh2 ,reinach1 i4 #bea 7all ,r4,f4 or late74 ,footnote #abbf3 ,b4,m4 ,e #bdd2 ,berlin #cbeg2 ,forman ,sale ,cat4 #cfd3 see p4 #gg4 ,footnote #abbg3 ,berlin #bech ,reinach1 ii4 #afb4 ,footnote #abbh3 ,b4,m4 ,e #bfd ,wiener ,vorl4 #ahij-ia1 #h1 #a2 a similar vase in ,rm4 ,mitth4 #ahid1 pl4 #h1 has been otherwise interpreted 7see below1 p4 #aaj1 note #abcc74 ,footnote #abbi3 ,petersburg #hcj ,reinach1 i4 #aej ,wiener ,vorl4 ,a4 #h 7,hieron74 ,footnote #abcj3 ,see on the subject generally ,museo ,ital4 iii4 p4 #bce4 ,footnote #abca3 ,gaz4 ,arch4 #ahhd1 pls4 #dd-f4 ,footnote #abcb3 ,wiener ,vorl4 ,e4 #ab1 #b4 ,footnote #abcc3 ,see ,j4,h4,s4 xviii4 pl4 #ad1 and pp4 #bgg-gi for three other instances2 the last1 however1 is susceptible of other interpretations4 ,footnote #abcd3 ,bologna #bgc ,baumeister1 iii4 p4 #aiii1 fig4 #badi4 ,the ,b4,m4 vase ,e #bfd 7see p4 #ajh1 note #abbh7 may have the same meaning1 in which case the woman holding the clue is a sort of 8short-hand0 allusion to the adventure awaiting him4 ,see also ,reinach1 ii4 #ha 7,theseus receiving libation from ,aithra74 ,footnote #abce3 ,b4,m4 ,e #da ,reinach1 i4 #ecb 7,chachrylion74 ,footnote #abcf3 ,berlin #bagi ,wiener ,vorl4 iii4 #f2 ,reinach1 i4 #bbb ,plate ,,xxxix4 7also interpreted as ,peleus and ,thetis1 see p4 #abj72 ,harrison and ,verrall1 p4 cxxxi 7in ,vienna73 see also ,boston ,mus4 ,report for #aijj1 p4 #fg1 ,no4 #be4 ,footnote #abcg3 ,reinach1 i4 #ia2 ii4 #bfd 7 ,bibl4 ,nat4 #dba74 ,footnote #abch3 ,munich #g2 ,b4,m4 ,e #da2 ,reinach1 i4 #hg4 ,footnote #abci3 ,b4,m4 ,e #aeg1 #bgb1 #dej2 ,reinach1 ii4 #afc 7now in ,b4,m42 a complete and magnificent example72 ,millin-,reinach1 i4 #aj2 ,naples #bdba1 #cbec1 and ,r4,c4 #bci ,reinach1 ii4 #bgh1 i4 #ccj1 i4 #dhb 7the first of these given by ,furtwaengler and ,reichhold1 pls4 #bf-h74 ,footnote #abdj3 ,b4,m4 ,f #bgb2 ,munich #cfh ,hartwig1 ,meistersch4 pls4 #ei1 #fj1 and #hje ,reinach1 i4 #cia2 ,reinach1 ii4 #aha-hb2 ,boston ,mus4 ,report for #aijj1 p4 #ej1 ,no4 #ag 7,erginos and ,aristophanes72 and see under ,centaurs1 p4 #ade4 ,footnote #abda3 ,munich #daj ,reinach1 ii4 #hf ,furtwaengler and ,reichhold1 pl4 #cc4 ,footnote #abdb3 ,berlin #agca ,roscher1 iii4 p4 #aghb1 has been interpreted as the rape of ,helene4 ,footnote #abdc3 ,see ,furtwaengler1 op4 cit4 p4 #agg2 and cf4 ,bibl4 ,nat4 #bef ,reinach1 ii4 #bed4 ,berlin #cadc ,reinach1 i4 #cgc1 may also represent a rape by ,theseus4 ,footnote #abdd3 ,jatta #ajid ,reinach1 i4 #cef3 see also ,reinach1 i4 #ajh1 #dee1 and above1 p4 #fh4 ,footnote #abde3 ,munich #hdi ,reinach1 i4 #beh4 ,footnote #abdf3 ,ant4 ,denkm4 i4 #ei 7in ,boston74 ,footnote #abdg3 ,see ,b4,m4 ,f #abc and ,f #bgb2 also a vase in ,berlin 7,arch4 ,anzeiger1 #ahij1 p4 #hi71 where ,eros shoots with his bow at ,phaidra2 ,hippolytos is present4 ,cf4 also ,naples #bijj ,millingen-,reinach1 #da4 ,footnote #abdh3 ,b4,m4 ,f #bgi4 ,footnote #abdi3 ,petersburg #aceg ,reinach1 i4 #bdd1 and #agbc ,baumeister1 i4 p4 #djf1 fig4 #ddh2 ,naples #cadj ,mus4 ,borb4 ii4 #cj1 #d2 ,monuments ,piot1 x4 pl4 #h 7in ,boston72 and cf4 ,berlin #bcjj ,reinach1 i4 #bgc4 ,footnote #abej3 ,b4,m4 ,b #aee1 ,f #dij 7874 ,footnote #abea3 ,b4,m4 ,f #hc4 ,footnote #abeb3 ,athens #aief ,ath4 ,mitth4 xi4 7#ahhf71 pl4 #aj4 ,footnote #abec3 ,b4,m4 ,b #dga ,fig4 #ig1 ,vol4 ,i4 p4 #chb2 ,berlin #cjbb ,reinach1 i4 #agb2 ,munich #aahg ,reinach1 ii4 #aji3 cf4 ,bibl4 ,nat4 #def4 ,footnote #abed3 ,b4,m4 ,b #bdh1 ,b #chj2 ,e #aha1 ,e #cii2 ,f #ejj2 ,berlin #afhb ,reinach1 i4 #dda2 ,bibl4 ,nat4 #bgg ,reinach1 i4 #bij2 ,munich #fai ,reinach1 ii4 #dh4 ,footnote #abee3 ,b4,m4 ,e #dic2 ,mon4 ,grecs1 #ahgh1 pl4 #b 7a fine example in the ,louvre74 ,footnote #abef3 ,munich #fai1 #iaj ,reinach1 ii4 #dh-i2 ,ant4 ,denkm4 i4 #eg4 ,for ,chrysaor see ,reinach1 i4 #agb 7,louvre ,e #heg71 ii4 #di1 and ,stackelberg1 #ci4 ,footnote #abeg3 ,millin-,reinach1 ii4 #d4 ,footnote #abeh3 ,b4,m4 ,e #afi ,j4,h4,s4 xxiv4 pl4 #e1 and ,f #ahe2 ,engelmann1 ,arch4 ,studien1 p4 #f2 and cf4 ,naples #cbbe2 ,millin-,reinach1 ii4 #c2 ,jahrbuch1 xi4 7#ahif71 pl4 #b 7in ,berlin74 ,for the correct explanation of the first-named vase see ,petersen in op4 cit4 p4 #ajd ff4 ,footnote #abei3 ,berlin #afeb ,reinach1 i4 #bag2 ,roscher1 iii4 p4 #bjec 7in ,berlin2 a fine instance72 ,naples #cbbe1 ,s4,a4 #bd1 ,s4,a4 #gjh ,reinach1 i4 #ahh4 ,footnote #abfj3 ,reinach1 i4 #cdd2 ,jahrbuch1 vii4 7#ahib71 p4 #ch3 cf4 ,philologus1 #ahfh1 pl4 #a1 fig4 #a1 and pl4 #c4 ,footnote #abfa3 ,millingen-,reinach1 #c3 see ,philologus1 #ahfh1 pl4 #a1 figs4 #b-c1 p4 #af4 ,footnote #abfb3 ,berlin #bcgg ,reinach1 i4 #bhi4 ,footnote #abfc3 ,jahrbuch1 #ahib1 p4 #cc4 ,footnote #abfd3 ,naples #bbjb ,dubois-,maisonneuve1 ,introd4 pl4 #df2 ,reinach1 i4 #bhd4 ,footnote #abfe3 ,b4,m4 ,e #faj1 ,e #gae 7,plate ,,xlvi41 fig4 #d74 ,footnote #abff3 ,b4,m4 ,b #b3 cf4 ,bibl4 ,nat4 #igg for a similar figure inaccurately 787 inscribed ,oinomaos4 ,footnote #abfg3 ,b4,m4 ,f #cca2 ,naples #aihb ,reinach1 i4 #bib 7very doubtful2 ,oinomaos absent3 see p4 #abc1 note #acfa74 ,footnote #abfh3 ,b4,m4 ,f #bga1 #bgh2 ,naples #bbjj ,reinach1 i4 #cgi2 ,athens #ifh ,jahrbuch1 #ahia1 p4 #cd 7,b4,f472 ,reinach1 i4 #bij ,wiener ,vorl4 i4 pl4 #aj1 #b2 ,naples #bheh ibid4 pl4 #aj1 #a 7subject doubtful74 ,footnote #abfi3 ,naples #cbee ,reinach1 i4 #bce2 ,reinach1 i4 #afc ,baumeister1 ii4 p4 #abjc1 fig4 #acie2 ,naples ,s4,a4 #fig4 ,footnote #abgj3 ,berlin #cjgb ,reinach1 i4 #bjd4 ,footnote #abga3 ,naples #bbjj ,reinach1 i4 #cgi4 ,footnote #abgb3 ,naples #cbbb ,reinach1 i4 #afg4 ,footnote #abgc3 ,jatta #adii ,reinach1 i4 #abg ,wiener ,vorl4 viii4 #h2 ,boston ,mus4 ,report1 #aijj1 p4 #fh1 ,no4 #be4 ,footnote #abgd3 ,naples #bdah ,dubois-,maisonneuve1 ,introd4 pl4 #fi2 ,wiener ,vorl4 viii4 #i1 #a ,roscher1 ii4 #bhb2 ,reinach1 i4 #bhg1 ii4 #cah4 ,footnote #abge3 ,amer4 ,journ4 of ,arch4 #aijj1 pl4 #d2 ,louvre ,a #dgh2 ,reinach1 i4 #ajh 7,karlsruhe #chh71 #eag 7,athens #aehi71 #cca 7four late examples71 and ii4 #bgi2 and see ,b4,m4 ,b #aje1 ,b #afb2 ,naples #cbec ,reinach1 i4 #aie2 ,berlin #cbeh4 ,footnote #abgf3 ,petersburg #dbg ,inghirami1 ,vasi ,fitt4 #c 7see ,vol4 ,i4 p4 #dgh and ,ann4 dell' ,inst4 #ahgd1 p4 #ce74 ,footnote #abgg3 ,baumeister1 i4 p4 #cjc1 fig4 #cai2 and see ,reinach1 i4 #cca1 and ,munich #hje ibid4 i4 #bgg 7the latter so interpreted by ,flasch1 ,angebl4 ,argonautenbilder1 p4 #cj ff474 ,footnote #abgh3 ,b4,f43 ,franois vase2 ,munich #ccc ,reinach1 ii4 #aai ,wiener ,vorl4 #ahhi1 #b1 #b2 ,berlin #agje2 ,helbig1 #cd ,mus4 ,greg4 ii4 #ij2 ,reinach1 i4 #bcj4 ,r4,f43 ,reinach1 ii4 #afb1 #baj4 ,footnote #abgi3 ,roscher1 iii4 p4 #ahaa4 ,footnote #abhj3 ,e4g4 ,b4,m4 ,b #cg 7,plate ,,xxi471 ,f #aed2 ,vienna #bag ,reinach1 i4 #agj4 ,see also p4 #aff4 ,footnote #abha3 ,naples ,s4,a4 #aa ,reinach1 i4 #dja4 ,footnote #abhb3 ,naples #cdab ,reinach1 i4 #dih ,wiener ,vorl4 ,b4 #b1 #a 7,assteas2 ,phrixos also on ram72 ,reinach1 ii4 #cji4 ,for ,phrixos on ram see ,berlin #ccde1 and ,festschr4 fr ,overbeck1 p4 #ag4 ,footnote #abhc3 ,tyszkiewicz ,coll4 pl4 #ab 7the antiquity of this vase is very questionable74 ,footnote #abhd3 ,naples ,s4,a4 #bgj ,reinach1 i4 #cai4 ,footnote #abhe3 ,reinach1 i4 #bbf1 #a-c3 see ,festschrift fr ,o4 ,benndorf1 p4 #fg and p4 #acc1 note #e4 ,footnote #abhf3 ,see p4 #ha4 ,footnote #abhg3 ,ionic cup in ,wrzburg1 ,reinach1 i4 #bja ,furtwaengler and ,reichhold1 pl4 #da2 ,b4,m4 ,e #cjb2 ,jatta #ajie ,reinach1 i4 #aai2 ,stackelberg1 pl4 #ch ,millingen1 ,anc4 ,uned4 ,mon4 i4 #ae2 and see ,berlin #afhb4 ,footnote #abhh3 ,bibl4 ,nat4 #ddb ,reinach1 ii4 #gi ,wiener ,vorl4 #ahhi1 #ab1 #e4 ,footnote #abhi3 ,j4,h4,s4 x4 p4 #aah ,reinach1 i4 #bbf4 ,footnote #abij3 ,millingen-,reinach1 #ea ,reinach1 ii4 #ahj3 see above1 p4 #aje4 ,footnote #abia3 ,munich #hje ,reinach1 i4 #bgg ,wiener ,vorl4 iv4 #c2 but see ,flasch1 ,angebl4 ,argonautenb4 p4 #cj ff41 and p4 #acg 7,laertes and ,antikleia74 ,footnote #abib3 ,petersburg #dbb ,reinach1 i4 #aci2 ,baumeister1 i4 p4 #abc1 fig4 #abh2 ,millingen-,reinach1 #f4 ,footnote #abic3 ,helbig1 ii4 p4 #cbh ,reinach1 i4 #ajb ,baumeister1 i4 p4 #abd1 fig4 #abi2 ,reinach1 i4 #acg2 but see ,flasch1 ,angebl4 ,argonautenb4 p4 #bd ff4 ,footnote #abid3 ,naples #bdac ,roscher1 ii4 #ha1 and #cbeb ,reinach1 i4 #ddi4 ,footnote #abie3 ,naples #cbdh ,roscher1 ii4 #hc4 ,footnote #abif3 ,millingen-,reinach1 #g ,wiener ,vorl4 ii4 #h4 ,footnote #abig3 ,jatta #aeja ,reinach1 i4 #cfa ,furtwaengler and ,reichhold1 pls4 #ch-ci4 ,footnote #abih3 ,helbig1 #agi ,reinach1 i4 #cei 7ram led to caldron74 ,b4,m4 ,b #bba1 ,b #cbh2 ,berlin #bahh2 ,reinach1 ii4 #ha 7ram placed in caldron2 daughters of ,pelias usually present74 ,footnote #abii3 ,reinach1 i4 #ccf2 ibid4 #cei ,helbig #agi 7,p4 led to slaughter by daughters2 ,m4 waiting with knife74 ,footnote #acjj3 ,b4,m4 ,e #afc 7,j4 as old man2 ram in caldron74 ,footnote #acja3 ,naples ,s4,a4 #ebf4 ,footnote #acjb3 ,munich #haj ,reinach1 i4 #cfc ,baumeister1 ii4 p4 #ijc1 fig4 #ihj2 ,reinach1 i4 #djb4 ,footnote #acjc3 ,naples #cbba ,reinach1 i4 #djb4 ,footnote #acjd3 ,bologna #bgc ,baumeister1 iii4 #aiii1 fig4 #badi4 ,footnote #acje3 ,b4,m4 ,e #bbd4 ,footnote #acjf3 ,cf4 the poem by ,stesichoros1 thla p ,pela ,footnote #acjg3 ,berlin #afee ,reinach1 i4 #aii3 see ,vol4 ,i4 p4 #cai4 ,footnote #acjh3 ,bull4 de ,corr4 ,hell4 xxiii4 p4 #aeh2 but see ,burlington ,fine ,arts ,club ,cat4 7#aijc71 p4 #ib1 for another explanation2 also p4 #dg4 ,footnote #acji3 ,the only literary source for these stories 7before ,roman times7 is in the tragic poets4 ,but subjects from the ,septem of ,aeschylus are not found on vases2 and it is not until the ,hellenistic period that any real references to the ,sophoclean and ,euripidean plays occur4 ,on some of the ,megarian bowls 7,vol4 ,i4 p4 #ejj7 the subjects adhere very closely to the text4 ,footnote #acaj3 ,b4,m4 ,e #ha2 ,petersburg #bahi ,reinach1 i4 #e4 ,footnote #acaa3 ,b4,m4 ,b #eje-f4 ,footnote #acab3 ,louvre ,e #ffi ,reinach1 i4 #dce1 #a2 ,berlin #bfcd ,wiener ,vorl4 i4 #g ,roscher1 ii4 #hcg2 ,naples #cbbf ,millingen1 ,anc4 ,uned4 ,mon4 i4 pl4 #bg 7,assteas72 ,millin-,reinach1 ii4 #g 7in ,louvre72 ,rm4 ,mitth4 v4 7#ahij71 p4 #cdc4 ,footnote #acac3 ,athens #aheh ,reinach1 i4 #cif3 see p4 #aee1 note #aedh1 for another interpretation2 also ,arch4 ,zeit4 #ahfe1 p4 #fh1 and ,frazer1 ,pausanias1 v4 p4 #di4 ,footnote #acad3 ,wiener ,vorl4 ,c4 #g1 #c ,roscher1 ii4 #hdb4 ,footnote #acae3 ,berlin #cbif ,reinach1 i4 #dba ,baumeister1 i4 p4 #def1 fig4 #ejb4 ,the vase given in ,millin-,reinach1 ii4 #dd1 may represent ,zethos and ,amphion with ,antiope4 ,footnote #acaf3 ,reinach1 i4 #cgi4 ,footnote #acag3 ,berlin #cbci2 ,naples #agfi2 ,wiener ,vorl4 vi4 #aa ,roscher1 i4 p4 #ijc4 ,footnote #acah3 ,bibl4 ,nat4 #cgb ,reinach1 i4 #ib ,baumeister1 ii4 p4 #ajdi1 fig4 #abff4 ,footnote #acai3 ,b4,m4 ,e #fif ,j4,h4,s4 viii4 pl4 #ha4 ,footnote #acbj3 ,b4,f43 ,b4,m4 ,b #eci2 ,stackelberg1 pl4 #af4 ,r4,f43 ,b4,m4 ,e #aef2 ,vienna #ccf ,reinach1 i4 #agg2 ,j4,h4,s4 xxiv4 p4 #cad 7,oxford72 ,helbig1 #ahf ,hartwig1 ,meistersch4 pl4 #gc4 ,see also parodies in ,philologus1 #ahig1 pl4 #a 7in ,boston71 and ,arch4 ,anzeiger1 #ahia1 p4 #aai 7,berlin74 ,footnote #acba3 ,see p4 #adg2 q4v4 also for ,sphinx seizing ,theban youth4 ,footnote #acbb3 ,wiener ,vorl4 #ahhi1 #i1 #f4 ,footnote #acbc3 ,ibid4 pl4 #h1 #h ,reinach1 i4 #cgf3 see ,roscher1 iii4 p4 #gcf4 ,footnote #acbd3 ,naples #bhfh ,wiener ,vorl4 #ahhi1 #i1 #aj4 ,see also ,chapter ,,xvii4 ,footnote #acbe3 ,b4,f43 ,berlin #afee ,reinach1 i4 #aii ,wiener ,vorl4 #ahhi1 #aj2 ,kopenhagen #aab ,millingen-,reinach1 #bj2 ,j4,h4,s4 xviii4 pl4 #af 7872 ,roscher1 i4 p4 #bie4 ,r4,f43 ,munich #aea ,overbeck1 op4 cit4 iii4 #e2 ,petersburg #afej ,reinach1 i4 #abj1 and #djf ibid4 i4 #dhj4 ,footnote #acbf3 ,b4,m4 ,b #bdg2 ,berlin #agab4 ,footnote #acbg3 ,millingen-,reinach1 #bj4 ,footnote #acbh3 ,ath4 ,mitth4 #ahii1 p4 #cfa4 ,footnote #acbi3 ,berlin #bcie ,reinach1 i4 #dfa3 see ,arch4 ,zeit4 #ahha1 p4 #beh4 ,footnote #accj3 ,athens #ifj ,wiener ,vorl4 #ahhi1 #aa1 #h4 ,footnote #acca3 ,jahrbuch1 viii4 7#ahic71 pl4 #a3 see ,thiersch1 ,tyrrhen4 ,amphoren1 p4 #ef4 ,footnote #accb3 ,b4,m4 ,d #g2 ,petersburg #ebc ,reinach1 i4 #dff ,wiener ,vorl4 #ahhi1 #aa1 #a4 ,footnote #accc3 ,naples #cbee ,reinach1 i4 #bce ,baumeister1 i4 p4 #aad1 fig4 #abj2 perhaps also ,millin-,reinach1 ii4 #cg 7,lasimos in ,louvre74 ,footnote #accd3 ,munich #add3 cf4 ,naples #agff ,overbeck1 ,her4 ,bildw4 pl4 #d1 #d2 and see ,reinach1 ii4 #bhd1 ,roscher1 i4 p4 #bif1 and ,stat4 ,theb4 v4 #fii ff4 ,footnote #acce3 ,kopenhagen #fd ,reinach1 i4 #bei ,baumeister1 i4 p4 #ag1 fig4 #ai4 ,footnote #accf3 ,louvre ,e #fdj ,reinach1 i4 #adg ,wiener ,vorl4 #ahhi1 #aa1 #d2 ,millingen-,reinach1 #bb 7874 ,footnote #accg3 ,petersburg #deb ,reinach1 i4 #afa ,wiener ,vorl4 iii4 #c4 ,footnote #acch3 ,j4,h4,s4 xviii4 pl4 #ag1 #a 7874 ,footnote #acci3 ,jatta #dbc and ,berlin #cbdj ,reinach1 i4 #bje1 #dji ,wiener ,vorl4 #ahhi1 pl4 #i1 figs4 #ad1 #ab2 ,b4,m4 ,f #age 7873 see also ,jatta #dad ,reinach1 i4 #dfg ,wiener ,vorl4 ,b4 #d1 #b4 ,footnote #acdj3 ,reinach1 i4 #bgc4 ,footnote #acda3 ,petersburg #bahh ,reinach1 i4 #h2 ,berlin #bdcj ibid4 i4 #bhg 7,helen coming forth72 ,reinach1 i4 #bgi 7 ,baumeister1 i4 p4 #fce1 fig4 #gjf7 and #chj2 ,micali1 ,mon4 ,ined4 #ch2 ,ant4 ,denkm4 i4 #ei 7in ,boston74 ,for the various versions of the myth see ,roscher1 s4v4 ,helena4 ,footnote #acdb3 ,boston ,mus4 ,report for #aijj1 p4 #gj1 ,no4 #bg2 and cf4 ,reinach1 i4 #agc4 ,footnote #acdc3 ,for a collected list of all vase-paintings connected with this story see ,jahrbuch1 i4 7#ahhf71 p4 #bja ff4 ,footnote #acdd3 ,b4,m4 ,e #fdg2 ,munich #hjg ,millingen-,reinach1 #d2 ,louvre ,e #fci ,jahrbuch1 #ahhf1 pl4 #aj1 #a2 ,reinach1 ii4 #ia2 and see ibid4 i4 #bbb ,plate ,,xxxix4 7otherwise interpreted1 p4 #aaa74 ,footnote #acde3 ,b4,f43 ,b4,m4 ,b #bae 7,fig4 #abh72 ,munich #chj ,reinach1 ii4 #aae ,baumeister1 iii4 p4 #agii1 fig4 #ahhb4 ,r4,f43 ,b4,m4 ,e #dbd2 ,berlin #bbgi ,baumeister1 iii4 p4 #agig1 fig4 #ahha 7,peithinos72 ,athens #abjb ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 #cb1 #d2 ,athens #aehh #ab #ahig1 pl4 #i2 ,munich #cfi ,furtwaengler and ,reichhold1 pl4 #bd 7,duris72 ,overbeck1 ,her4 ,bildw4 pl4 #g1 fig4 #h 7in ,vatican74 ,footnote #acdf3 ,b4,m4 ,e #i1 ,e #gc2 and see above1 pp4 #be1 #bf4 ,footnote #acdg3 ,palermo #aejc ,overbeck1 ,her4 ,bildw4 pl4 #h1 fig4 #f3 see also for ,cheiron p4 #adf4 ,footnote #acdh3 ,furtwaengler and ,reichhold1 pl4 #a4 ,footnote #acdi3 ,b4,m4 ,b #fbj2 ,berlin #dbbj2 ,de ,witte1 ,coll4 l',htel ,lambert1 pl4 #a2 ,athens #iff 7with ,athena and ,hermes72 ,louvre ,g #c 7,pamphaios72 ,micali1 ,storia1 pl4 #hg2 ,b4,m4 ,b #gg ,fig4 #ih 7parody74 ,footnote #acej3 ,bibl4 ,nat4 #ech ,reinach1 i4 #ij 7doubtful72 ,jahn4 ,arch4 ,beitr4 pl4 #aa 7871 and see p4 #ceb ff4 ,footnote #acea3 ,reinach1 ii4 #dc4 ,footnote #aceb3 ,bibl4 ,nat4 #ajdg ,reinach1 i4 #hg4 ,footnote #acec3 ,reinach1 i4 #abf ,bibl4 ,nat4 #dbb4 ,footnote #aced3 ,see ,j4,h4,s4 vii4 p4 #aif ff41 whence this classification is taken4 ,footnote #acee3 ,b4,m4 ,b #bcf-ch2 early ,ionic vase in ,munich1 #abc ,furtwaengler and ,reichhold1 pl4 #ba2 ,overbeck1 ,her4 ,bildw4 pl4 #i1 fig4 #b 7,xenokles72 ,j4,h4,s4 vii4 pl4 #gj1 p4 #aih4 ,footnote #acef3 ,b4,f43 ,b4,m4 ,b #cab4 ,r4,f43 ,b4,m4 ,e #dde2 ,berlin #becf ,roscher1 iii4 p4 #afae4 ,footnote #aceg3 ,b4,f43 ,b4,m4 ,b #aga2 ,munich #abfi ,overbeck1 op4 cit4 #i1 #f4 ,r4,f43 ,berlin #bbia ,fig4 #abi 7,hieron72 ,reinach1 i4 #bdf ,roscher1 iii4 p4 #afaj 7,brygos1 in ,louvre72 ,roscher1 iii4 p4 #afag 7fine pyxis in ,kopenhagen2 the goddesses in chariots74 ,footnote #aceh3 ,berlin #bfcc2 ,petersburg #ahjg ,reinach1 i4 #g2 ,b4,m4 ,f #aji1 ,f #afg2 ,berlin #cbdj2 ,karlsruhe #bei ,furtwaengler and ,reichhold1 pl4 #cj2 ,ath4 ,mitth4 xxiv4 7#ahii71 p4 #fg 7,r4,f4 kotyle in ,berlin1 ,hermes omitted74 ,footnote #acei3 ,wiener ,vorl4 ,e4 #aa ,jahrbuch1 ix4 7#ahid71 p4 #beb4 ,footnote #acfj3 ,boston ,mus4 ,report for #ahii1 ,no4 #cj1 and #aija1 p4 #ce 7both from the ,kabeirion1 ,thebes74 ,footnote #acfa3 ,b4,m4 ,f #age2 ,athens #aidb ,reinach1 i4 #djb2 ,petersburg #aibd ,reinach1 i4 #i ,wiener ,vorl4 ,c4 #a1 #c2 ,naples #aihb ,reinach1 i4 #bib 78 ,see p4 #aac1 note #abfg72 ,reinach1 i4 #cge4 ,footnote #acfb3 ,b4,m4 ,e #bbf2 ,jatta #afai l4 ,cr4 iv4 #gb ,roscher1 i4 #aifa4 ,footnote #acfc3 ,b4,m4 ,e #fi ,wiener ,vorl4 vi4 #b2 ,berlin #bbia ,reinach1 i4 #dcg1 #a ,baumeister1 i4 p4 #fcg1 fig4 #gji 7,hieron72 ,petersburg #aibi ,reinach1 i4 #i2 ,reinach1 i4 #dcg1 #b 7,hieron and ,makron73 see also ,rev4 ,arch4 xxxiii4 7#ahih71 p4 #cii4 ,footnote #acfd3 ,b4,m4 ,f #age 7874 ,footnote #acfe3 ,millingen1 ,a4,u4,m4 i4 #ba 7fine ,r4,f4 vase in ,louvre72 ,rm4 ,mitth4 ii4 7#ahhg71 pls4 #aa-ab1 #d2 ,berlin #agcg ,wiener ,vorl4 ,b4 #i1 #d4 ,footnote #acff3 ,naples #cceb ,reinach1 i4 #dhe2 and see ,bibl4 ,nat4 #dah ,reinach1 i4 #hc2 also ,roscher1 s4v4 ,nereus4 ,footnote #acfg3 ,reinach1 i4 #bhf ,bibl4 ,nat4 #hea ,wiener ,vorl4 ,b4 #i1 #b 7,epigenes74 ,footnote #acfh3 ,berlin #bbfd 7,oltos and ,euxitheos7 ,wiener ,vorl4 ,d4 #b1 #a2 ,bibl4 ,nat4 #hea ,reinach1 i4 #bhg ,roscher1 iii4 #bie3 see also ,roscher1 iii4 #afig-ii 7setting out of ,patroklos74 ,as ,nestor himself went to the war1 it is possible that this scene is to be regarded as taking place during and not before it4 ,footnote #acfi3 ,bologna #bgc ,wiener ,vorl4 i4 #d4 ,footnote #acgj3 ,b4,m4 ,e #af2 ,baumeister1 i4 p4 #fhc1 fig4 #gdc2 and see ,overbeck1 ,her4 ,bildw4 pl4 #ac1 #g1 p4 #bgf4 ,footnote #acga3 ,jahrbuch1 #aijb1 pl4 #b 7in ,boston74 ,footnote #acgb3 ,iph4 in ,aul4 #aib ff4 ,footnote #acgc3 ,b4,m4 ,b #aic 7,plate ,,xxxi471 ,b #baa1 ,e #aj2 ,helbig1 #gh ,reinach1 i4 #if ,wiener ,vorl4 #ahhh1 #f1 #a 7,exekias74 ,a 8bilingual0 example in ,boston 7by ,andokides8 ,b4,f4 and ,r4,f473 see ,amer4 ,journ4 of ,arch4 #ahif1 pp4 #dj-da1 figs4 #ae-af4 ,the latest example seems to be ,arch4 ,anzeiger1 #ahib1 p4 #ajb4 ,footnote #acgd3 ,b4,m4 ,b #eda1 ,e #afj3 see below1 p4 #acc1 and ,b4,m4 ,cat4 iii4 p #cf4 ,footnote #acge3 ,b4,m4 ,f #aei ,wiener ,vorl4 v4 #i1 #c4 ,footnote #acgf3 ,reinach1 i4 #ceh ,millingen-,reinach1 #ej2 ibid4 i4 #ade ,baumeister1 iii4 p4 #acbf1 fig4 #adgi2 ,milani1 ,mito di ,filottete1 frontispiece4 ,footnote #acgg3 ,bibl4 ,nat4 #bef ,reinach1 ii4 #bed3 see p4 #aaa1 note #abdc4 ,footnote #acgh3 ,petersburg #agic ,reinach1 i4 #c3 for a more probable interpretation 7birth of ,dionysos7 see p4 #ai4 ,footnote #acgi3 ,dubois-,maisonneuve1 ,introd4 pl4 #fc2 ,engelmann1 ,arch4 ,stud4 zu den ,trag4 p4 #ag2 and see ,urlichs1 ,beitrge1 pl4 #d4 ,footnote #achj3 ,petersburg #abge ,reinach1 i4 #aeb3 cf4 ,millingen1 ,anc4 ,uned4 ,mon4 i4 pl4 #bb 7,overbeck1 ,her4 ,bildw4 p4 #bif74 ,footnote #acha3 ,overbeck1 ,her4 ,bildw4 #ac1 #i4 ,footnote #achb3 ,b4,m4 ,e #chb2 ,naples #bbic and ,r4,c4 #ada ,baumeister1 iii4 p4 #agbe1 fig4 #ahjg4 ,footnote #achc3 ,boston ,mus4 ,report for #ahih1 ,no4 #dj 7signed by ,hieron74 ,footnote #achd3 ,b4,m4 ,b #aec4 ,footnote #ache3 ,b4,m4 ,b #cbd1 #edb2 ,forman ,sale ,cat4 #bhb 7 ,reinach1 i4 #bhe1 #a7 and #cjh 7both in ,b4,m472 ,athens #fbj ,reinach1 i4 #cid ,wiener ,vorl4 #ahhh1 #a1 #a 7,timonidas72 ,b4,m4 ,f #dic 7caricature74 ,footnote #achf3 ,louvre ,e #gjc ,reinach1 ii4 #ib 7early ,ionic72 ,b4,m4 ,b #cjg2 ,franois vase2 ,berlin #afhe2 ,helbig1 #acj ,mus4 ,greg4 ii4 #bb1 #a2 ,b4,m4 ,e #aj1 ,e #ac1 and ,forman ,sale ,cat4 #cci4 ,footnote #achg3 ,reinach1 ii4 #aad-ae ,baumeister1 iii4 p4 #aija1 fig4 #bjjj 7,euphronios72 ,reinach1 i4 #bhe1 #c2 ,louvre ,g #ah ,reinach1 i4 #bjc1 #c2 ,louvre ,e #gjc ,reinach1 ii4 #ib2 ,b4,m4 ,b #cbf4 ,footnote #achh3 ,munich #abd ,reinach1 ii4 #aac4 ,footnote #achi3 ,berlin #bbgh ,ant4 ,denkm4 i4 #aj2 and see ,overbeck1 ,her4 ,bildw4 p4 #big4 ,footnote #acij3 ,reinach1 ii4 #aih4 ,footnote #acia3 ,ibid4 i4 #cjf ,wiener ,vorl4 iii4 #a 7the names may be fanciful72 ibid4 i4 #gg 7cf4 ,overbeck1 ,her4 ,bildw4 p4 #ccc74 ,footnote #acib3 ,louvre ,e #fji ,reinach1 i4 #cie ,wiener ,vorl4 #ahhh1 #a1 #c 7,chares pyxis74 ,footnote #acic3 ,like others of the ,homeric scenes on ,b4,f4 vases1 this type is sometimes used for an ordinary warrior taking leave of his family1 and unless names are given it is difficult to distinguish4 ,footnote #acid3 ,robert1 in ,hermes1 #aija1 p4 #cia1 connects this scene with ,book xix4 #cbj ff4 ,footnote #acie3 ,the text is not exactly followed here4 ,menelaos kills ,euphorbos in the ,iliad1 but does not fight over his body with ,hector as he does on the vase4 ,possibly there is a confusion with the ,patroklos episode below4 ,footnote #acif3 ,the 8,psychostasia0 is also referred to the combat of ,achilles and ,memnon 7p4 #acb74 ,footnote #acig3 ,see1 for a revised drawing of this vase1 ,hill1 ,illustrations of ,school ,classics1 p4 #aje4 ,footnote #acih3 ,b4,m4 ,b #bji-aj 7 ,wiener ,vorl4 #ahhh1 pl4 #f1 #b1 #ahhi1 pl4 #c1 #c ,reinach1 ii4 #aje71 ,b #cbc 7871 ,e #bhj2 ,munich #dgh ,reinach1 ii4 #aje1 and #cgj ,furtwaengler-,reichhold1 #f4 ,footnote #acii3 ,see below1 p4 #add4 ,footnote #adjj3 ,boston ,mus4 ,report1 #aijc1 ,no4 #gj3 cf4 ,quint4 ,smyrn4 i4 #gda ff4 ,footnote #adja3 ,overbeck1 ,her4 ,bildw4 #ba1 #af ,roscher1 ii4 #bfgd2 and see ,b4,m4 ,b #bji ,reinach1 ii4 #aje4 ,footnote #adjb3 ,millingen1 ,a4,u4,m4 i4 #d ,engelmann-,anderson1 ,atlas to ,od4 iii4 #ae 78 see above1 under ,il4 xxii4 #cjf ff472 ,reinach1 ii4 #aje1 #b4 ,footnote #adjc3 ,b4,f43 ,berlin #aadg2 ,helbig1 #h1 #ca ,mus4 ,greg4 ii4 #bh1 #a1 and #ch1 #a2 ,bibl4 ,nat4 #bjg ,reinach1 ii4 #bed4 ,r4,f43 ,b4,m4 ,e #dfh2 ,millingen-,reinach1 #di ,reinach1 i4 #ceh2 ,tyszkiewicz ,coll4 pl4 #ag 7now in ,boston74 ,in the last-named the subject is slightly varied4 ,footnote #adjd3 ,b4,m4 ,e #ab ,wiener ,vorl4 ,d4 #c1 #a2 ,reinach1 i4 #adi2 ,louvre ,f #chh 7873 see p4 #ga4 ,footnote #adje3 ,millingen1 ,a4,u4,m4 i4 #e2 ,wiener ,vorl4 vi4 #g ,roscher1 i4 p4 #abfe 7in ,louvre72 ,reinach1 i4 #cdg ,bourguignon ,cat4 #ai3 cf4 also ,athens #ajic ,roscher1 ii4 #bfgh 7,eos1 together with ,thanatos and ,hypnos1 two ,keres74 ,footnote #adjf3 ,helbig1 #dc ,mus4 ,greg4 ii4 #di1 #b4 ,footnote #adjg3 ,reinach1 ii4 #ajf4 ,footnote #adjh3 ,b4,m4 ,e #hjh 7874 ,footnote #adji3 ,reinach1 i4 #hb4 ,footnote #adaj3 ,b4,m4 ,b #agb2 ,munich #chj ,reinach1 ii4 #aae2 ,helbig1 #gg ibid4 ii4 #ajg 7see below1 p4 #agg72 ,bibl4 ,nat4 #ecg ,reinach1 i4 #ij2 ,boston ,mus4 ,report for #ahii1 ,no4 #bh ,arch4 ,anzeiger1 #ahih1 p4 #ea4 7,thetis present7 ,footnote #adaa3 ,louvre ,e #fdc ,reinach1 i4 #caa2 ibid4 ii4 #ajg 7874 ,footnote #adab3 ,b4,m4 ,b #bdj ,reinach1 ii4 #ii4 ,footnote #adac3 ,reinach1 i4 #cjd 7and i4 #bbf1 #a-c 7871 see p4 #aae72 ,engelmann1 ,arch4 ,stud4 zu d4 ,trag4 p4 #cg3 cf4 ,sale ,cat4 ,htel ,drouot1 #aa ,may1 #aijc1 ,no4 #ajj4 ,footnote #adad3 ,athens #dge ,baumeister1 iii4 p4 #aiee1 fig4 #bjhf 7,melian vase72 ,b4,m4 ,b #cbg1 ,b #cig1 ,e #ac2 ,forman ,sale ,cat4 #bih2 ,berlin #bjjj ,robert1 ,bild u4 ,lied1 p4 #bag2 ,baumeister1 i4 p4 #bi1 fig4 #cj2 ,wiener ,vorl4 #ahhi1 #e1 #b 7in ,louvre72 ,naples #cceh ,reinach1 i4 #cac ,wiener ,vorl4 ,c4 #h1 #b4 ,the type is derived from that of ,herakles and ,kyknos 7p4 #aja74 ,footnote #adae3 ,b4,m4 ,e #fi ,wiener ,vorl4 vi4 #b2 ,millin-,reinach1 i4 #ff4 ,footnote #adaf3 ,b4,m4 ,b #eda1 ,e #afj3 see above1 p4 #abd4 ,footnote #adag3 ,vienna #cbe ,reinach1 i4 #agd ,wiener ,vorl4 vi4 #a4 ,footnote #adah3 ,two ,corinthian vases1 ,arch4 ,anzeiger1 #ahia1 p4 #aaf1 and ,boston ,mus4 ,report1 #ahii1 ,no4 #ab2 ,louvre ,e #fce ,reinach1 i4 #aea ,rayet and ,collignon1 p4 #fi2 ,b4,m4 ,f #dhj ,plate ,,lviii42 ,reinach1 i4 #bgh4 ,footnote #adai3 ,petersburg #hcj ,reinach1 i4 #aej ,wiener ,vorl4 ,a4 #h2 ,naples #cbca1 #cbce ,reinach1 i4 #bii1 #ajb2 parody1 ,b4,m4 ,f #cff4 ,footnote #adbj3 ,bibl4 ,nat4 #ahf ,jahrbuch1 vii4 7#ahib71 pl4 #b2 ,munich #djj ,reinach1 ii4 #aaf2 ,roscher1 i4 #abgi4 ,footnote #adba3 ,mon4 ,antichi1 ix4 pl4 #ae3 see ,jahrbuch1 #ahia1 pl4 #d1 p4 #aij4 ,footnote #adbb3 ,see for the various types ,j4,h4,s1 xiv4 p4 #aga4 ,footnote #adbc3 ,berlin #bcja ,reinach1 i4 #cha2 ,petersburg #hab ,reinach1 i4 #cha ,millin-,reinach1 i4 #eh 7doubtful74 ,footnote #adbd3 ,reinach1 ii4 #af2 ,naples #bheh ,overbeck1 ,her4 ,bildw4 pl4 #bh1 #e2 ibid4 #agee ,baumeister1 iii4 p4 #ahdh1 fig4 #aici2 ibid4 #agfa ,millingen-,reinach1 #af4 ,footnote #adbe3 ,b4,m4 ,d #cc1 ,f #eg4 ,footnote #adbf3 ,reinach1 ii4 #age3 cf4 ,boston ,mus4 ,report for #ahii1 ,no4 #ch4 ,footnote #adbg3 ,vienna #ccc ,reinach1 i4 #afi2 ,berlin #bahd ,reinach1 i4 #bif ,baumeister1 ii4 p4 #aaac1 fig4 #acaj2 ,reinach1 i4 #adc2 ,roscher1 iii4 #ifi 7in ,berlin74 ,footnote #adbh3 ,vienna #ccc ,reinach1 i4 #afi ,roscher1 iii4 #iga2 ,reinach i4 #cha2 ,millin-,reinach1 ii4 #bd4 ,footnote #adbi3 ,b4,m4 ,e #ddf4 ,footnote #adcj3 ,petersburg #cdi ,reinach1 i4 #ai2 ibid4 ii4 #i1 #caf2 ,naples #aihd ,baumeister1 ii4 p4 #aaaf1 fig4 #acac4 ,footnote #adca3 ,b4,m4 ,f #aff2 ,reinach1 i4 #acb 7in ,louvre72 ,millin-,reinach1 ii4 #fh2 ,naples #aihd2 ,helbig1 #aag ,reinach1 i4 #cij2 ,arch4 ,anzeiger1 #ahij1 p4 #ij 7,berlin72 and cf4 ,b4,m4 ,b #fda 7possibly ,orestes and ,pylades at ,omphalos874 ,footnote #adcb3 ,petersburg #bahi 7according to ,roscher1 iii4 p4 #iic72 but see ,reinach1 i4 #e1 and above under ,kadmos4 ,footnote #adcc3 ,reinach1 i4 #aje ,naples #cbbc2 ibid4 #acc ,baumeister1 i4 p4 #geg1 fig4 #hjh2 ibid4 i4 #aeh ,petersburg #dbj2 ,naples ,s4,a4 #bd2 and see ,b4,m4 ,f #aee1 and ,reinach1 i4 #bgi4 ,footnote #adcd3 ,reinach1 i4 #cba ,baumeister1 ii4 p4 #ajji1 fig4 #abae 7,jatta ,coll474 ,footnote #adce3 ,see generally on ,athenian cults1 as illustrated by vase-paintings1 ,harrison1 ,mythol4 and ,mon4 of ,athens1 ,introd4 p4 xxi ff4 ,footnote #adcf3 ,on one of these vases the scene 7in the interior of a cup7 is watched by a group of ,athenians at the foot of a hill1 round the outside of the cup 7,reinach1 i4 #ajg ,hartwig1 ,meistersch4 pls4 #ci-dj74 ,footnote #adcg3 ,see ,harrison1 op4 cit4 p4 lxxxiv ff4 ,footnote #adch3 ,cf4 ,strabo1 ix4 #cib1 and see for ,lykos in another connection p4 #abd above4 ,in the vase here given they witness the exploits of their kinsman ,theseus 7on the obverse74 ,footnote #adci3 ,cf4 #ab #ahic1 pl4 #i1 p4 #acj ff41 and ,frazer's ,pausanias1 ii4 p4 #bjc4 ,footnote #addj3 ,e #bbd ,plate ,,xli4 ,furtwaengler and ,reichhold1 pls4 #h-i4 ,footnote #adda3 ,furtwaengler 7#ejtes ,winckelmannsfestprogr4 p4 #afc7 refers the ,orpheus scenes to the ,aeschylean tetralogy of the ,lykourgeia4 ,footnote #addb3 ,b4,m4 ,e #cij2 ,naples #aigh1 #bhhi1 #cadc 7see ,reinach1 i4 #agf72 ,reinach1 i4 #djc ,roscher1 iii4 p4 #aaha2 ,roscher1 iii4 p4 #aagi 7in ,berlin74 ,footnote #addc3 ,munich #chc2 ,reinach1 i4 #fc2 ii4 #hj4 ,footnote #addd3 ,b4,m4 ,e #cja2 ,naples #caad2 ,reinach1 i4 #ahf1 #cbg 7 ,roscher1 iii4 p4 #aahe-hf72 ,roscher1 iii4 p4 #aahd3 see also ,j4,h4,s4 ix4 p4 #adc4 ,footnote #adde3 ,reinach1 i4 #dic ,roscher1 iii4 p4 #aagh4 ,footnote #addf3 ,she occurs on ,b4,m4 ,f #bgj1 ,petersburg #dih1 and ,karlsruhe #bef4 ,footnote #addg3 ,reinach1 i4 #if ,helbig1 #ii2 ,rm4 ,mitth4 #ahhh1 pl4 #i2 and see ,naples #cadc ,reinach1 i4 #agf4 ,footnote #addh3 ,jatta #aech ,reinach1 i4 #ebf4 ,footnote #addi3 ,athens #acdd ,dumont-,pottier1 i4 pl4 #ad4 ,footnote #adej3 ,schreiber-,anderson1 ,atlas1 pl4 #e1 #aj ,reinach1 ii4 #ccc1 #e 7burlesque scene with actor as ,taras on dolphin3 see p4 #afj74 ,footnote #adea3 ,b4,m4 ,e #ddg2 ,louvre ,f #aff2 ,helbig1 #ahi ,reinach1 i4 #bfh2 ,reinach1 i4 #abb2 ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 #ec1 #b2 ,naples #ahea ,jahrbuch1 #ahhg1 p4 #aac2 ,ath4 ,mitth4 xxii4 7#ahig71 pl4 #ac3 see for the myth1 ,hdt4 viii4 #ach and ,roscher1 s4v4 ,footnote #adeb3 ,reinach1 i4 #adg1 #eji2 ii4 #ha1 #bga4 ,footnote #adec3 ,munich #hdi ,reinach1 i4 #beh4 ,footnote #aded3 ,see pp4 #ii1 #aaa1 #acb4 ,footnote #adee3 ,wiener ,vorl4 ,a4 #aj1 #c4 ,footnote #adef3 ,ibid4 iii4 #d3 see ,rm4 ,mitth4 #ahid1 p4 #bhe4 ,footnote #adeg3 ,b4,m4 ,f #f1 #he1 #bcj2 ,reinach1 i4 #dib1 ii4 #bie4 ,footnote #adeh3 ,b4,m4 ,f #aeh1 #bgh2 ,naples ,r4,c4 #bci 7 ,reinach1 i4 #dhb71 #cbec 7 ,reinach1 i4 #ccj ,wiener ,vorl4 vii4 #f;b1 #a71 and #bdba 7 ,reinach1 ii4 #bgh ,furtwaengler and ,reichhold1 pls4 #bf-h72 ,millin-,reinach1 i4 #ef 7 ,bibl4 ,nat4 #dbg7 and #fa2 ,millingen-,reinach1 #cg4 ,footnote #adei3 ,b4,m4 ,e #ab2 ,naples #bfac2 ,louvre ,f #bjc2 ,munich #d ,reinach1 ii4 #eg2 ,reinach1 ii4 #ef4 ,footnote #adfj3 ,wiener ,vorl4 #ahhi1 #f1 #b2 ,b4,m4 ,b #aeh1 #eff2 ,micali1 ,storia1 #ia4 ,footnote #adfa3 ,inghirami1 ,vasi ,fitt4 iv4 #cjd ,thiersch1 ,tyrrhen4 ,amph4 p4 #fd4 ,footnote #adfb3 ,b4,m4 ,e #dj2 ,hartwig1 ,meistersch4 pl4 #b1 fig4 #b 7,louvre ,g #ce72 ibid4 pl4 #bb1 #b2 ,reinach1 i4 #aff4 ,footnote #adfc3 ,engelmann-,anderson1 ,iliad1 v4 #bd1 vi4 #be4 ,footnote #adfd3 ,b4,m4 ,e #ai2 ,vienna #bca ,wiener ,vorl4 #ahij-ia1 #a1 #f4 ,footnote #adfe3 ,b4,m4 ,b #eia2 ,berlin #bbfd ,reinach1 i4 #ejh1 #d4 ,footnote #adff3 ,boston ,mus4 ,report for #ahii1 ,no4 #bb3 see ,hartwig1 ,meistersch4 p4 #aai1 note #a4 ,footnote #adfg3 ,louvre ,a #bef ,jahrbuch1 #ahhg1 pl4 #aa4 ,footnote #adfh3 ,b4,m4 ,e #bec1 ,e #bie4 ,footnote #adfi3 ,b4,m4 ,e #egc4 ,footnote #adgj3 ,see above1 p4 #ajb4 ,footnote #adga3 ,see above1 p4 #aaa4 ,footnote #adgb3 ,franois vase2 ,b4,m4 ,b #agf1 ,f #afb1 ,f #bgg2 ,reinach1 i4 #aed 7 ,naples #bdaa71 #cji 7,louvre ,e #gjj71 #cia 7,munich #hje72 ,furtwaengler and ,reichhold1 pl4 #ae 7a fine ,r4,f4 example74 ,footnote #adgc3 ,franois vase2 ,b4,m4 ,e #dgc2 ,j4,h4,s4 xvii4 pl4 #f2 ,munich #hdf ,millingen-,reinach1 #h2 ,mon4 ,antichi1 ix4 pl4 #b2 ,reinach1 i4 #bb1 #dgd1 ii4 #bgb4 ,footnote #adgd3 ,for ,herakles and ,pholos see p4 #ajb4 ,footnote #adge3 ,b4,m4 ,b #fbj 7,achilles72 ,munich #faa ,reinach1 i4 #dai 7,herakles72 ,reinach1 ii4 #ia 7,achilles72 ,b4,m4 ,b #gg ,fig4 #ih 7parody74 ,footnote #adgf3 ,see ,jahrbuch1 #ahhf1 pp4 #bjb-d1 ,nos4 #ea-i1 #id4 ,footnote #adgg3 ,reinach1 ii4 #bji1 #bhi2 ,athens #abdf3 cf4 ,b4,m4 ,b #bbf4 ,footnote #adgh3 ,reinach1 i4 #eh1 #deb2 ,helbig1 #bcg ,mus4 ,greg4 ii4 #hb1 #b;b2 ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 #h1 #b4 ,footnote #adgi3 ,arch4 ,anzeiger1 #ahij1 p4 #b4 ,footnote #adhj3 ,b4,m4 ,f #eej2 ,wiener ,vorl4 ,e4 pls4 #g-h1 fig4 #c 7cf4 p4 #hh74 ,footnote #adha3 ,b4,m4 ,f #cgj4 ,footnote #adhb3 ,see above1 p4 #aab4 ,footnote #adhc3 ,franois vase2 ,athens #fdd2 ,reinach1 i4 #ccb1 #dbi4 ,footnote #adhd3 ,reinach1 i4 #bei4 ,footnote #adhe3 ,e4g4 ,b4,m4 ,b #dbg1 #dbh1 #dcj1 #dcf1 #fgi1 #fhj3 cf4 ,e #ahj4 ,footnote #adhf3 ,cf4 ,virgil1 ,aen4 iii4 #baf 7virgineae vultus7 and #bda 7obscenae volucres74 ,footnote #adhg3 ,see1 ,j4,h4,s4 xiii4 p4 #ajc ff4 ,footnote #adhh3 ,b4,m4 ,b #d1 ,b #af 7873 see ,vol4 ,i4 p4 #cdd4 ,footnote #adhi3 ,see p4 #aae2 ,b4,m4 ,e #cjb2 ,reinach1 i4 #aai1 #bja2 and for two ,harpies1 with name inscribed1 in connection with this story1 ,berlin #afhb ,reinach1 i4 #dda4 ,footnote #adij3 ,louvre ,a #dgh4 ,footnote #adia3 ,b4,m4 ,e #ddj2 ,j4,h4,s4 xiii4 pl4 #a2 ,strena ,helbigiana1 p4 #ca4 ,footnote #adib3 ,on ,sirens generally1 and especially as death-deities1 see ,weicker1 ,der ,seelenvogel 7#aijb74 ,footnote #adic3 ,berlin #baeg ,jahrbuch1 #ahhf1 p4 #baa2 on ,b4,m4 ,e #dgg a ,siren of the ordinary decorative type appears with allusion to the death of ,prokris1 perhaps as indicating her departing soul4 ,footnote #adid3 ,b4,m4 ,b #fea4 ,footnote #adie3 ,louvre ,e #ffg ,bull4 de ,corr4 ,hell4 #ahic1 p4 #bch4 ,footnote #adif3 ,b4,m4 ,b #eaj3 cf4 ,weicker1 p4 #dh4 ,footnote #adig3 ,weicker1 p4 #abj1 fig4 #df4 ,footnote #adih3 ,e4g4 ,b4,m4 ,a #aace2 ,cat4 of ,terracottas1 ,b #bia1 #bib1 #dgi4 ,footnote #adii3 ,louvre ,e #ffg1 #gbc2 ,vienna #cah2 ,munich #ajgg4 ,footnote #aejj3 ,munich #ajej4 ,footnote #aeja3 ,b4,m4 ,b #bae2 ,louvre ,a #dda1 ,e #heh2 ,berlin #agbg3 cf4 ,athens #eca and ,wilisch1 ,altkor4 ,thonindustrie1 pl4 #c1 fig4 #ch4 ,footnote #aejb3 ,b4,m4 ,b #dbi4 ,footnote #aejc3 ,see above1 p4 #aag2 and cf4 ,bibl4 ,nat4 #bgh and ,athens #adhj ,wiener ,vorl4 #ahhi1 #i1 #h4 ,footnote #aejd3 ,b4,m4 ,b #abe1 ,b #eci1 etc4 ,footnote #aeje3 ,b4,m4 ,b #fej2 ,reinach1 i4 #cai2 ,j4,h4,s4 xix4 p4 #bce4 ,footnote #aejf3 ,reinach1 i4 #dga4 ,footnote #aejg3 ,naples #bhdf ,festsehr4 fr ,overbeck1 p4 #ajc4 ,footnote #aejh3 ,b4,m4 ,b #cb and ,athens #eib 7with ,hermes72 ,naples #cbed ,reinach1 i4 #cbg ,wiener ,vorl4 #ahhi1 #i1 #g4 ,footnote #aeji3 ,reinach1 i4 #ed1 #beh1 #dhj1 ii4 #bcf4 ,footnote #aeaj3 ,b4,m4 ,e #dcd2 ,reinach1 i4 #bc1 #ec4 ,footnote #aeaa3 ,see above1 p4 #add4 ,footnote #aeab3 ,ath4 ,mitth4 #ahhg1 pl4 #aa4 ,footnote #aeac3 ,reinach1 ii4 #cai4 ,footnote #aead3 ,boston ,mus4 ,report1 #ahii1 p4 #fd1 ,no4 #ba 7,b4,f474 ,footnote #aeae3 ,reinach1 i4 #bbj2 and see ii4 #cad4 ,footnote #aeaf3 ,bourguignon ,cat4 #eg4 ,footnote #aeag3 ,see p4 #bi above4 ,footnote #aeah3 ,b4,m4 ,b #de1 ,b #fe1 ,e #aa1 ,e #ce1 ,bibl4 ,nat4 #agg1 ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 #h1 #a 7,pegasos72 ,b4,m4 ,b #aje1 ,b #dag1 and ,louvre ,a #cjg 7,chimaera74 ,footnote #aeai3 ,b4,m4 ,e #agj2 ,reinach1 ii4 #cji4 ,footnote #aebj3 ,bibl4 ,nat4 #ddi ,reinach1 i4 #abi4 ,footnote #aeba3 ,amer4 ,journ4 of ,arch4 #aijj1 pl4 #e 7cf4 pl4 #d74 ,footnote #aebb3 ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 #ab1 #b2 ,b4,m4 ,b #cjh 7three ,minotaurs74 ,footnote #aebc3 ,bibl4 ,nat4 #ajff ,gaz4 ,arch4 #ahgi1 pl4 #c3 see1 ,j4,h4,s4 xi4 p4 #cdi4 ,footnote #aebd3 ,reinach1 i4 #ahh4 ,footnote #aebe3 ,ibid4 i4 #dih4 ,footnote #aebf3 ,b4,m4 ,f #bah4 ,footnote #aebg3 ,athens #ifa ,ath4 ,mitth4 xvi4 pl4 #i 7probably taken from a ,satyric drama74 ,footnote #aebh3 ,reinach1 i4 #dei4 ,footnote #aebi3 ,see above1 p4 #ab4 ,footnote #aecj3 ,munich #dfh ,j4,h4,s4 xix4 p4 #bag ,philologus1 #ahih1 pl4 #a4 ,footnote #aeca3 ,b4,m4 ,b #dcc2 ,berlin #aggj2 ,athens #gac ,heydemann1 ,gr4 ,vasenb4 pl4 #h1 #d2 ,louvre ,f #ajj1 #ajd 7between ,sirens73 cf4 ,ar4 ,av4 #hjj4 ,footnote #aecb3 ,franois vase2 ,reinach1 i4 #bg1 #ed1 #fa1 #dgj1 ii4 #bie2 ,b4,m4 ,b #gg2 ,millin-,reinach1 i4 #fc2 ,wiener ,vorl4 ii4 #e1 #b2 and cf4 ,b4,m4 ,g #agh and ,jahn1 ,arch4 ,beitr4 pl4 #ab1 #a4 ,footnote #aecc3 ,cf4 ,naples #bfji 7,hipparchos72 ,b4,m4 ,e #df1 ,athens #aafb1 and ,louvre ,g #ajc 7,leagros72 ,athens #ajbj ,jahrbuch1 ii4 p4 #afc 7,glaukon72 ,b4,m4 ,e #cjj and ,oxford #cji 7,kleinias72 ,reinach1 i4 #eac1 #f 7,megakles74 ,footnote #aecd3 ,b4,m4 ,b #hj2 ,berlin #afhf ,rayet and ,collignon1 pl4 #g1 and #ahhb ,reinach1 ii4 #abb4 ,footnote #aece3 ,see p4 #fj4 ,footnote #aecf3 ,see p4 #ec2 also ,reinach1 i4 #dgb and ii4 #aih1 #d 7both ,dionysiac74 ,footnote #aecg3 ,oxford #bib 7,persephone72 ,reinach1 ii4 #cba1 #d2 ibid4 #abb1 #b 7 ,berlin #babi73 see ,hartwig1 ,meistersch4 p4 #dh1 note2 also l4 ,cr4 ii4 #ajh1 and ,reinach1 ii4 #bhf4 ,footnote #aech3 ,anzeiger1 #ahie1 p4 #cf 7in ,berlin74 ,footnote #aeci3 ,b4,m4 ,b #fcc4 ,footnote #aedj3 ,b4,m4 ,e #bhd ,mon4 ,antichi1 ix4 pl4 #a4 ,footnote #aeda3 ,b4,m4 ,b #hj1 ,b #ehe1 ,b #fdh4 ,footnote #aedb3 ,naples #bheh2 ,mus4 ,greg4 ii4 #ga1 #a a4 ,footnote #aedc3 ,b4,m4 ,b #gi2 ,louvre ,f #aj2 ,reinach1 i4 #dbh2 ,mus4 ,greg4 ii4 #ga1 #a a2 ,munich #chf ,furtwaengler and ,reichhold1 pl4 #ai2 and see under ,nike1 p4 #hg4 ,footnote #aedd3 ,bologna #bge2 ,b4,m4 ,b #cfb4 ,footnote #aede3 ,berlin #agbg ,reinach1 i4 #dbi2 ,athens #adbh ,heydemann1 ,gr4 ,vasenb4 pl4 #aa1 #c 7sacrifice to ,hekate872 ,hartwig1 ,meistersch4 pl4 #c1 fig4 #b4 ,footnote #aedf3 ,b4,m4 ,e #dee1 #def1 #did2 l4 ,cr4 ii4 #aje1 #ajh2 ,millin-,reinach1 i4 #h2 ,micali1 ,storia1 pl4 #ig1 fig4 #b2 ,bull4 de ,corr4 ,hell4 #ahie1 p4 #ajj 7,louvre74 ,footnote #aedg3 ,b4,m4 ,b #c4 ,footnote #aedh3 ,b4,m4 ,e #dee2 ,athens #aheh ,baumeister1 i4 p4 #baa1 fig4 #afe ,reinach1 i4 #cif4 ,footnote #aedi3 ,b4,m4 ,e #bhd2 ,bologna #bhf2 ,reinach1 i4 #djc ,schreiber-,anderson1 #be1 #h 7referred to the ,thargelia by ,reisch1 ,gr4 ,weihgeschenke1 p4 #hj74 ,footnote #aeej3 ,berlin #agbg1 #bjaj4 ,footnote #aeea3 ,b4,m4 ,e #aad1 ,e #bia2 ,bibl4 ,nat4 #id2 ,reinach1 ii4 #ace4 ,footnote #aeeb3 ,b4,m4 ,e #hh2 ,mus4 ,greg4 ii4 #gh1 #b b2 and see ,stackelberg1 pl4 #ce4 ,footnote #aeec3 ,reinach1 ii4 #bhf2 ,wiener ,vorl4 #ahij-ia1 pl4 #g1 #b ,rm4 ,mitth4 v4 7#ahij71 p4 #cbd2 ,mus4 ,greg4 #ga1 #a b4 ,footnote #aeed3 ,naples #cceh ,reinach1 i4 #cac ,schreiber-,anderson1 #bj1 #c3 see ,miss ,harrison's ,prolegomena to ,gk4 ,religion1 p4 #aeg4 ,footnote #aeee3 ,de ,witte1 ,coll4 l',htel ,lambert1 pl4 #bi4 ,footnote #aeef3 ,de ,witte1 op4 cit4 pl4 #bb4 ,footnote #aeeg3 ,j4,h4,s4 xix4 p4 #bbh 7in ,naples74 ,footnote #aeeh3 ,naples #bdeh ,j4,h4,s4 xix4 p4 #bbg3 cf4 ,b4,m4 ,b #fda4 ,footnote #aeei3 ,athens #fie4 ,footnote #aefj3 ,j4,h4,s4 xx4 p4 #aja4 ,footnote #aefa3 ,karlsruhe #bgh ,reinach1 i4 #bga4 ,footnote #aefb3 ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 pl4 #ca1 #a4 ,footnote #aefc3 ,fig4 #ag1 ,vol4 ,i4 p4 #adj ,munich #ea4 ,footnote #aefd3 ,b4,m4 ,e #did1 ,e #ehe2 ,bull4 de ,corr4 ,hell4 #ahie1 p4 #ajc2 ,berlin #bbac2 ,naples #agfj 7 ,millingen-,reinach1 #eb71 and ,s4,a4 #fdg 7 l4 ,cr4 iv4 #ai72 ,gerhard1 ,akad4 ,abhandl4 pl4 #fc1 figs4 #a1 #d1 #e2 l4 ,cr4 iii4 pls4 #gi1 #hj4 ,they appear to be especially associated with terminal figures4 ,footnote #aefe3 ,miss ,harrison's comprehensive ,prolegomena to ,greek ,religion 7,cambridge ,press1 #aijc7 appeared too recently for the writer to be able to make detailed use of it in this section4 ,it must1 of course1 be borne in mind that many of the interpretations in that work are only conjectural4 ,footnote #aeff3 ,athens #aii1 #bjj ,jahrbuch1 #ahii1 p4 #bja2 ibid4 #bad ,reinach1 i4 #aij ,baumeister1 iii4 p4 #aidc1 fig4 #bjga4 ,footnote #aefg3 ,athens #fhh ,reinach1 i4 #afe4 ,footnote #aefh3 ,b4,m4 ,b #fc ,plate ,,lviii42 ,forman ,sale ,cat4 #bgi 7now in ,b4,m472 ,baumeister1 i4 p4 #bch1 fig4 #bag ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 pl4 #a2 ,athens #fhh ,reinach1 i4 #afd4 ,footnote #aefi3 ,b4,m4 ,d #fb ,plate ,,lv4 fig4 #a2 ,athens #afea ,dumont-,pottier1 i4 pl4 #cb2 ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 pl4 #cc4 ,a fine ,r4,f4 example in ,monuments ,piot1 i4 pls4 #e-f 7in ,louvre74 ,footnote #aegj3 ,bibl4 ,nat4 #cec2 ,micali1 ,storia1 pl4 #if1 figs4 #a-b4 ,footnote #aega3 ,athens #fhh ,baumeister1 i4 p4 #cjf1 fig4 #cba ,reinach1 i4 #afd2 ,anzeiger1 #ahic1 p4 #hf 7,berlin74 ,cf4 ,fig4 #abc1 p4 #ga4 ,footnote #aegb3 ,jahrbuch1 #ahia1 pl4 #d2 ,j4,h4,s4 xix4 p4 #bbh2 ,athens #fhh4 ,footnote #aegc3 ,b4,m4 ,b #edc1 ,d #e ,plate ,,xl4 ,footnote #aegd3 ,b4,m4 ,d #fe ff4 and ,athens #afgb-ahcf passim3 cf4 ,b4,m4 ,f #ic4 ,plate ,,lv4 fig4 #b ,b4,m4 ,d #gj4 ,footnote #aege3 ,b4,m4 ,f #ic 7,fig4 #bj1 ,vol4 ,i4 p4 #add71 #bab4 ,footnote #aegf3 ,b4,m4 ,f #bgf1 #bgi-he1 #ceb 7,fig4 #ajf1 ,vol4 ,i4 p4 #dgg74 ,footnote #aegg3 ,b4,m4 ,f #cec4 ,footnote #aegh3 ,millin-,reinach1 ii4 #bi4 ,footnote #aegi3 ,b4,m4 ,d #ci1 #da1 #dc-de1 #ef1 #gj1 ,f #ic-if2 ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 pl4 #cd4 ,see ,plate ,,lv4 fig4 #b and ,fig4 #ai1 ,vol4 ,i4 p4 #adc4 ,footnote #aehj3 ,b4,m4 ,d #ed1 #fe1 #fg-hf2 ,f #bab-ac1 #ccf2 ,athens #afib ,j4,h4,s4 xix4 pl4 #b1 and #afid ,benndorf1 op4 cit4 pl4 #ah1 #a2 ibid4 pl4 #ai1 #b4 ,footnote #aeha3 ,a unique instance of a sculptured stele copied on a white lekythos is ,burlington ,f4,a4,c4 ,cat4 7#aijc71 p4 #ajd1 ,no4 #be4 ,footnote #aehb3 ,b4,m4 ,d #ea4 ,footnote #aehc3 ,b4,m4 ,f #ceb ,fig4 #ajf4 ,footnote #aehd3 ,b4,m4 7uncatalogued74 ,footnote #aehe3 ,b4,m4 ,d #ba4 ,footnote #aehf3 ,b4,m4 ,d #fj4 ,footnote #aehg3 ,b4,m4 ,d #eh4 ,footnote #aehh3 ,b4,m4 ,d #ce2 ,engelmann-,anderson1 ,odyssey1 iii4 #aj4 ,footnote #aehi3 ,b4,m4 ,d #ef ,fig4 #ai4 ,footnote #aeij3 ,b4,m4 ,d #e ,plate ,,xl4 ,footnote #aeia3 ,athens #afhi ,reinach1 i4 #eab4 ,footnote #aeib3 ,see above1 p4 #fi4 ,footnote #aeic3 ,see p4 #eb2 also ,b4,m4 7uncatalogued74 ,footnote #aeid3 ,b4,m4 ,d #eh-i2 ,athens #ajic 7 ,roscher1 ii4 #bfgh71 #afec-ed 7 ,dumont-,pottier1 i4 pls4 #bg-i72 ,jahrbuch1 #ahie1 pl4 #b4 ,cf4 ,fig4 #abc1 p4 #ga4 ,footnote #aeie3 ,b4,m4 ,d #ed2 ,benndorf1 ,gr4 u4 ,sic4 ,v4 pls4 #ad and #cc4 ,see above1 p4 #gb4 ,footnote #aeif3 ,b4,m4 ,f #bgi1 #bhj1 #bhb4 ,footnote #aeig3 ,b4,m4 ,f #bgf1 #bhd2 ,millin-,reinach1 ii4 #cb-cc4 ,footnote #aeih3 ,b4,m4 ,f #bha4 ,footnote #aeii3 ,b4,m4 ,f #bgf1 #bgi-hd1 #ceb 7,fig4 #ajf72 ,millin-,reinach1 ii4 #ch4 ,footnote #afjj3 ,see p4 #fh4 ,footnote #afja3 ,louvre ,e #ffg ,bull4 de ,corr4 ,hell4 #ahic1 p4 #bch4 ,footnote #afjb3 ,anzeiger1 #ahij1 p4 #hi 7,berlin72 but see p4 #gf1 under ,asklepios4 ,footnote #afjc3 ,b4,m4 ,b #hj3 see for other parodies of processions or sacrifices ,athens #aacb1 #aacf1 #aach4 ,footnote #afjd3 ,b4,m4 ,b #eji2 ,berlin #ahcj ,j4,h4,s4 ii4 pl4 #ad1 and #afig 7as horses74 ,footnote #afje3 ,j4,h4,s4 xiii4 pl4 #d1 and p4 #ha2 ,b4,m4 ,b #gg ,fig4 #ih3 see generally ,j4,h4,s4 xiii4 p4 #gg ff4 and ,vol4 ,i4 p4 #cia4 ,footnote #afjf3 ,vienna #cba 7cf4 ,ar4 ,ach4 #gbi ff471 ,hermes with dog got up as a pig4 ,footnote #afjg3 ,b4,m4 ,f #ii2 ,berlin #cjdf ,baumeister1 ii4 p4 #hba1 fig4 #ijd 7see ,jahrbuch1 i4 p4 #bhc74 ,footnote #afjh3 ,jahrbuch1 i4 7#ahhf71 p4 #bfj ff4 ,footnote #afji3 ,see for instance pp4 #ajg1 #aah1 #abc4 ,footnote #afaj3 ,b4,m4 ,f #bcc3 cf4 ,reinach1 i4 #aad4 ,footnote #afaa3 ,schreiber-,anderson1 #e1 #aj ,heydemann1 p4 #cjg ,reinach1 ii4 #ccb1 #e4 ,footnote #afab3 ,b4,m4 ,f #edc4 ,footnote #afac3 ,b4,m4 ,f #ahi ,fig4 #acd4 ,footnote #afad3 ,naples #cbdj ,reinach1 i4 #aad ,baumeister1 i4 pl4 #e1 fig4 #dbb4 ,footnote #afae3 ,b4,m4 ,e #fe4 ,footnote #afaf3 ,see ,philologus1 #ahfh1 pls4 #a-d1 p4 #a ff4 ,footnote #afag3 ,jatta #aebh ,jahrbuch1 #ahhf1 p4 #bgc2 ,b4,m4 ,e #gij2 ,naples #bhdf ,festschr4 fr ,overbeck1 p4 #ajc4 ,footnote #afah3 ,b4,m4 ,e #dfg 7,satyric chorus72 ,reinach1 ii4 #cbd1 #e2 ii4 #bhh4 ,footnote #afai3 ,boston ,mus4 ,report1 #ahih1 ,no4 #ej4 ,footnote #afbj3 ,jatta #adjb ,reinach1 i4 #dac4 ,footnote #afba3 ,b4,m4 ,f #bcc1 ,f #bhi4 ,footnote #afbb3 ,wiener ,vorl4 ,b4 #c1 #e c2 ,millin-,reinach1 i4 #bj4 ,footnote #afbc3 ,vol4 ,i4 p4 #dgb3 see also ,b4,m4 ,cat4 of ,vases1 iv4 p4 #aj2 ,vogel1 ,scenen ,eurip4 ,tragdien 7where an exhaustive list is given71 and ,huddilston1 ,gk4 ,tragedy in the ,light of ,vase-paintings1 where the subject is also treated in detail4 ,footnote #afbd3 ,see ,vol4 ,i4 p4 #chi1 and ,plates ,,xxxiii4-,,iv42 for a complete series of illustrations1 ,mon4 dell' ,inst4 x4 pls4 #dg-h ,reinach1 i4 #baj-ae4 ,footnote #afbe3 ,b4,f43 ,b4,m4 ,b #dh1 ,b #fd2 ,berlin #afee1 #ahje2 ,bibl4 ,nat4 #beb1 #ced2 ,reinach1 ii4 #abi4 ,r4,f43 ,reinach1 i4 #bbc 7 ,wiener ,vorl4 ,d4 #e71 #dbd 7,berlin #bahj71 #ded1 ii4 #acd 7,berlin #bbfb71 #acg 7men with dogs72 ,hartwig1 ,meistersch4 pls4 #ae-f ,bibl4 ,nat4 #ebc4 ,footnote #afbf3 ,b4,m4 ,b #bga1 ,b #bie1 ,b #fjg2 ,e #ci1 #fc 7parade of boxers before judges72 ,athens #aafi ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 #ca1 #b a2 ,reinach1 ii4 #bib4 ,footnote #afbg3 ,b4,m4 ,b #aia1 ,b #bie1 ,b #fjc2 ,e #id1 #ie2 ,bibl4 ,nat4 #ebb ,hartwig1 ,meistersch4 pl4 #ae1 #b2 ,mus4 ,greg4 ii4 #af1 #b a2 ,vienna #ccb ,wiener ,vorl4 #ahij-ia1 #a1 #d4 ,footnote #afbh3 ,b4,m4 ,e #gh 7very realistic71 ,b #fjd1 ,b #faj2 ,louvre ,f #bgf1 #bgh1 #cad2 ,hartwig1 ,meistersch4 pl4 #fd4 ,footnote #afbi3 ,arch4-epigr4 ,mitth4 aus ,oesterr4 #ahha1 pl4 #d4 ,footnote #afcj3 ,b4,m4 ,b #dh1 ,b #acd 7 ,fig4 #ace71 ,b #cbf2 ,munich #gie ,reinach1 i4 #dbb ,baumeister1 i4 p4 #fac1 fig4 #fgb2 ,reinach1 i4 #dcc1 #a ,baumeister1 i4 p4 #egc1 fig4 #faa2 ,reinach1 i4 #bgb1 ii4 #abh4 ,see on the subject generally ,j4,h4,s4 xxiii4 p4 #ed ff4 ,footnote #afca3 ,b4,m4 ,b #acf1 ,e #afd2 ,louvre ,f #abf2 ,athens #aahh ,reinach1 i4 #eaa2 ,hartwig1 ,meistersch4 pl4 #ba 7,duris1 in ,boston72 ,de ,witte1 ,coll4 l',htel ,lambert1 pl4 #bc2 ,mus4 ,greg4 ii4 #dc1 #b b4 ,footnote #afcb3 ,b4,m4 ,b #chj2 ,louvre ,f #abf1 ,g #cg2 ,mus4 ,greg4 ii4 #fi1 #d c1 #gj1 #b a2 ,de ,witte1 op4 cit4 pl4 #bd4 ,footnote #afcc3 ,b4,m4 ,b #dh2 ,reinach1 ii4 #ade1 #age1 #ccj2 ,mus4 ,greg4 ii4 #gj1 #a a1 #b b2 #gc1 #a b4 ,athlete exercising with halteres3 ,louvre ,g #ae2 ,forman ,sale ,cat4 #ccb4 ,footnote #afcd3 ,b4,m4 ,b #cfa4 ,see ,j4,h4,s4 xxiv4 p4 #gj4 ,footnote #afce3 ,b4,m4 ,e #afd4 ,footnote #afcf3 ,b4,m4 ,e #fc1 #aac1 #afd2 ,forman ,sale ,cat4 #ceh2 and see ,bull4 de ,corr4 ,hell4 xxiii4 p4 #afd4 ,footnote #afcg3 ,athens #adgh2 ,millin-,reinach1 i4 #de2 ,panathenaic amphora in ,b4,m4 ,footnote #afch3 ,b4,m4 ,b #acg1 ,b #fji2 ,munich #dih ,reinach1 i4 #bae2 ,mus4 ,greg4 ii4 #db1 #b b2 #dc1 #a a4 ,starter in foot-race3 ,b4,m4 ,e #f1 ,e #aja2 ,reinach1 i4 #dcc1 #b2 ,hartwig1 ,meistersch4 p4 #de1 fig4 #f2 ,jahrbuch1 #ahie1 pp4 #ahe-hh2 ,j4,h4,s4 xxiii4 p4 #bfh ff4 ,footnote #afci3 ,b4,m4 ,b #acc1 ,b #add2 ,berlin #afee1 #agbb1 #bbhb2 ,munich #hje2 ,athens #aedf2 ,reinach1 i4 #ab1 #ajj1 #aii1 ii4 #fa1 #bec2 and see ,hartwig1 ,meistersch4 p4 #dia1 note #b4 ,footnote #afdj3 ,b4,m4 ,b #acj-cb1 ,b #fgg2 ,berlin #afee2 ,louvre ,f #baf1 ,f #bhc2 ,reinach1 ii4 #fh1 #gj1 #abe1 #acc2 ,franois vase4 ,footnote #afda3 ,b4,m4 ,e #chi1 ,f #ei2 ,tyszkiewicz ,coll4 pl4 #ce2 ,reinach1 ii4 #bih1 #cbj2 ,baumeister1 i4 p4 #ebb4 ,footnote #afdb3 ,b4,m4 ,b #adc2 ,e #f1 ,e #bb2 ,b #fjh2 ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 #dc1 #d b2 ,reinach1 ii4 #abh1 #abi 7 ,berlin #bcjg72 ,munich #dgf ibid4 ii4 #abg1 and #hjc ,jahrbuch1 #ahie1 p4 #aif2 ,hartwig1 op4 cit4 pl4 #fb1 #a4 ,runner with trainer3 ,bourguignon ,sale ,cat4 #ca4 ,see on the subject generally ,j4,h4,s4 xxiii4 p4 #bfh ff41 and ,jahrbuch1 #ahie1 p4 #ahb ff4 ,footnote #afdc3 ,hartwig1 op4 cit4 pl4 #a and pl4 #af 7 ,bibl4 ,nat4 #ebc72 ,b4,m4 ,e #bb2 ,burlington ,fine ,arts ,club ,cat4 7#aijc71 p4 #ajj1 ,no4 #ag4 ,footnote #afdd3 ,berlin #bcjg 7one fig472 ,reinach1 i4 #did 7,louvre72 ,jahrbuch1 #ahhg1 p4 #ii3 cf4 ,b4,m4 ,b #fbh4 ,footnote #afde3 ,bourguignon ,sale ,cat4 #di2 ,berlin #bcjg ,reinach1 ii4 #abi2 ,hartwig1 op4 cit4 pl4 #af 7,bibl4 ,nat4 #ebc72 ,jahrbuch1 #ahie1 p4 #aij2 ,j4,h4,s4 xxiii4 p4 #bgh4 ,footnote #afdf3 ,see ,j4,h4,s4 xxiii4 p4 #bhe 7runners with helmet in hand74 ,footnote #afdg3 ,mus4 ,greg4 ii4 #ga1 #d b2 ,jahrbuch1 #ahie1 p4 #aia2 ,munich #hjc and #abdj2 ,hartwig1 op4 cit4 pl4 #ab4 ,see ,j4,h4,s4 loc4 cit4 ,footnote #afdh3 ,b4,m4 ,b #add2 ,reinach1 ii4 #bfb1 #bia1 #bih1 #cbj 7horsemen73 cf4 ,b4,m4 ,b #fbh4 ,footnote #afdi3 ,reinach1 i4 #cdf ,bourguignon ,cat4 #ag2 ,louvre ,g #ag1 ,g #cf4 ,footnote #afej3 ,see under ,nike1 p4 #hh1 note #ajgj4 ,footnote #afea3 ,berlin #bahj ,reinach1 i4 #dbd1 and #bcad2 ,karlsruhe #bdb 7,psiax and ,hilinos74 ,footnote #afeb3 ,berlin #bagh2 ,louvre ,g #ch ,hartwig1 ,meistersch4 p4 #be2 ,arch4-epigr4 ,mitth4 #ahha1 pl4 #d2 ,reinach1 i4 #cbd4 ,footnote #afec3 ,petersburg #afaa ,baumeister1 i4 p4 #bdg1 fig4 #bbf4 ,footnote #afed3 ,munich #hie ,reinach1 ii4 #ajf4 ,footnote #afee3 ,millin-,reinach1 i4 #dg3 cf4 the athlete extracting a thorn on ,berlin #bahj ,reinach1 i4 #dbd4 ,footnote #afef3 ,bibl4 ,nat4 #bhc 7unexplained subject74 ,footnote #afeg3 ,salzmann1 ,ncropole de ,camiros1 pl4 #eg1 #b ,schreiber-,anderson1 #bd1 #b4 ,footnote #afeh3 ,b4,m4 ,f #bcb2 ,naples #bhed2 ,reinach1 i4 #dgc2 ,baumeister1 i4 p4 #ehe4 ,footnote #afei3 ,oxford #bhh2 ,b4,m4 ,b #fjg2 ,louvre ,f #aji 7with judges73 and see p4 #hh4 ,footnote #affj3 ,b4,m4 ,e #hc2 ,louvre ,g #cf2 ,athens #aaef ,reinach1 i4 #ead2 ibid4 ii4 #bib ,baumeister1 i4 p4 #bdb1 fig4 #bai 7basin inscribed 72 ,schreiber-,anderson1 #ba1 #i ,reinach1 ii4 #bge2 ,hartwig1 ,meistersch4 pl4 #fg1 #a1 p4 #bjf 7using sponge72 ,reinach1 ii4 #acd1 #bge4 ,youth with bath utensils3 ,berlin #bcad4 ,footnote #affa3 ,b4,m4 ,b #bga2 ,e #gh1 #id1 #afd2 ,hartwig1 op4 cit4 pp4 #daf-ag2 ,wiener ,vorl4 vi4 #i2 ,b4,c4,h4 xxiii4 p4 #aeh 7trainer marking goal74 ,footnote #affb3 ,see ,b4,m4 ,cat4 of ,vases1 iv4 passim4 ,footnote #affc3 ,three types3--7#a7 ,hare seized by birds3 ,louvre ,e #gja ,reinach1 i4 #aec2 ,naples #bdeh2 ,athens #fah4 7#b7 ,hare pursued by dogs3 ,b4,m4 ,b #aai2 ,berlin #cdj1 #agec1 #agii2 ,karlsruhe #agj2 ,petersburg #caj1 #chf2 ,reinach1 i4 #cd2 ,bull4 de ,corr4 ,hell4 #ahic1 p4 #bbg4 7#c7 ,dogs accompanied by hunters3 ,b4,m4 ,b #fgh1 ,d #fj2 ,berlin #cjf1 and #agbg ,reinach1 i4 #dca2 ,oxford #ahi 7,oikopheles72 ,bibl4 ,nat4 #ahg2 ,naples ,s4,a4 #bjj2 ,b4,m4 ,a #ajej ,plate ,,xix4 fig4 #c2 ,reinach1 ii4 #ccc2 ,ant4 ,denkm4 ii4 #dd-e4 ,footnote #affd3 ,b4,m4 ,b #adg 7cover72 ,helbig1 #g2 ,munich #daa 7,amasis72 ,reinach1 ii4 #bge2 ,millingen1 ,anc4 ,uned4 ,mon4 i4 #bc2 ,anzeiger1 #ahie1 p4 #dj4 ,footnote #affe3 ,b4,m4 ,b #g2 ,schreiber-,anderson1 pl4 #hj1 #c4 ,footnote #afff3 ,ant4 ,denkm4 ii4 #dd-e4 ,footnote #affg3 ,b4,m4 ,b #cg 7 ,plate ,,xxi471 ,f #aed2 ,louvre ,e #fif ,reinach1 i4 #afb2 ,vienna #bag ,reinach1 i4 #agj2 ,munich #baa ,fig4 #ij1 ,vol4 ,i4 p4 #caf3 cf4 ,burlington ,fine ,arts ,club ,cat4 #aijc1 p4 #aae1 ,no4 #fb1 for ,b4,f4 jug with man hiding in tree and attacked by boar and lion4 ,footnote #affh3 ,reinach1 ii4 #add1 #bbc4 ,footnote #affi3 ,b4,m4 ,b #eb ,rev4 ,arch4 xviii4 7#ahia71 p4 #cfg2 ,louvre ,f #bf ibid4 p4 #cfi2 ,millin-,reinach1 i4 #ah4 ,footnote #afgj3 ,millin-,reinach1 ii4 #aa4 ,footnote #afga3 ,berlin #aijj2 ,reinach1 ii4 #bic4 ,footnote #afgb3 ,louvre ,f #bbc4 ,footnote #afgc3 ,munich #ehc ,jahrbuch1 #ahij1 p4 #adf 7see p4 #abi72 ,forman ,sale ,cat4 #bhe4 ,footnote #afgd3 ,mlanges ,perrot1 p4 #beb 7in ,b4,m474 ,footnote #afge3 ,boston ,mus4 ,report1 #ahii1 ,no4 #bb2 ,mon4 ,grecs1 #ad-af 7#ahhe-hh71 p4 #aj4 ,footnote #afgf3 ,hartwig1 ,meistersch4 pl4 #ec2 ,bibl4 ,nat4 #bgg ,reinach1 i4 #bij4 ,footnote #afgg3 ,b4,m4 ,e #dhe2 ,berlin #bceg ,reinach1 i4 #dbc2 ibid4 ii4 #agi4 ,footnote #afgh3 ,b4,m4 ,e #c 7,hischylos71 ,e #fj2 ,munich #aaa2 ,forman ,sale ,cat4 #ccf2 ,reinach1 i4 #ded1 #d 7,pamphaios73 see p4 #agg4 ,footnote #afgi3 ,munich #ccg ,reinach1 i4 #bch ,furtwaengler and ,reichhold1 pl4 #bb 7,euphronios72 ,hartwig1 ,meistersch4 pls4 #ec-d2 ,jahrbuch1 #ahhh1 pl4 #d 7,onesimos72 ,mon4 ,grecs1 #ad-af 7#ahhe-hh71 pl4 #e1 and see p4 #a ff42 ,monuments ,piot1 i4 pls4 #e-f 7in ,louvre74 ,cf4 also ,louvre ,g #bf4 ,footnote #afhj3 ,see under ,warriors1 p4 #agf4 ,footnote #afha3 ,b4,m4 ,f #gj1 ,f #cjf2 ,berlin #baed3 cf4 ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 pl4 #cb1 #e4 ,footnote #afhb3 ,b4,m4 ,b #abg2 ,reinach1 ii4 #abe4 ,footnote #afhc3 ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 pl4 #cb1 fig4 #e4 ,footnote #afhd3 ,b4,m4 ,b #ag2 ,munich #ijc3 see ,j4,h4,s4 xxiii4 pp4 #aci1 #adb4 ,footnote #afhe3 ,b4,m4 ,b #ahb2 ,berlin #bdag ,reinach1 i4 #dbe ,baumeister1 ii4 p4 #gha1 fig4 #hcf2 ,reinach1 ii4 #aia2 ,oxford #bej4 ,footnote #afhf3 ,reinach1 i4 #ha4 ,footnote #afhg3 ,b4,m4 ,e #dfg 7,satyrs72 ,e #cci1 ,f #aig1 ,f #bde2 ,berlin #bgaj ,reinach1 i4 #dbe 7,eros72 ,naples #bhgb ,millingen1 ,anc4 ,uned4 ,mon4 pl4 #ab ,reinach1 ii4 #afi 7,eros72 ,louvre ,g #cf 7ephebos74 ,footnote #afhh3 ,louvre ,f #ij and ,f #cfh ,rev4 ,arch4 xxi4 7#ahic71 pl4 #e2 ,helbig1 p4 #cbg ,baumeister1 i4 p4 #fbb1 fig4 #fie2 ,reinach1 i4 #caj1 #dbc 7,berlin #bjcj74 ,footnote #afhi3 ,naples #ibb ,schreiber-,anderson1 #hj1 #g4 ,footnote #afij3 ,b4,m4 ,e #gj1 #dec-ed1 #die1 ,f #cg1 #bgc1 #bge2 ,berlin #bdaf and ,jatta #abia ,reinach1 i4 #ccg1 #agh2 ,baumeister1 ii4 p4 #gic1 fig4 #heg2 ,archaeologia1 li4 pl4 #ad2 ,louvre ,g #cj4 ,see also below1 p4 #aha4 ,footnote #afia3 ,branteghem ,sale ,cat4 #afg 7here a woman72 ,hartwig1 ,meistersch4 pls4 #bg1 #gb1 #b4 ,footnote #afib3 ,louvre ,g #ha2 ,reinach1 i4 #dbj2 ,hartwig1 op4 cit4 pl4 #bg1 #b4 ,footnote #afic3 ,berlin #bagg2 ,j4,h4,s4 xviii4 p4 #acj4 ,footnote #afid3 ,b4,m4 ,e #bje 7874 ,footnote #afie3 ,b4,m4 ,f #abc2 ,louvre ,f #fj2 ,berlin #behi 7 ,harrison1 ,mythol4 and ,monum4 of ,athens1 p4 xliv7 and #bcid2 ,millingen1 ,anc4 ,uned4 ,mon4 pl4 #cj2 ,boston ,mus4 ,report1 #ahih1 ,no4 #bg4 ,footnote #afif3 ,b4,m4 ,e #chg 7,seileni72 ,baumeister1 iii4 p4 #aegc1 fig4 #afcc 7,eros72 ,gerhard1 ,ant4 ,bildw4 pl4 #ec4 ,footnote #afig3 ,naples #caea ,reinach1 i4 #djj4 ,footnote #afih3 ,anzeiger1 #ahij1 p4 #hi 7in ,berlin74 ,footnote #afii3 ,see ,b4,m4 ,cat4 of ,vases1 iv4 p4 #aaj 7,f #bbc1 etc471 and ,jahn in ,ber4 d4 schs4 ,gesellsch4 #ahed1 p4 #bef4 ,footnote #agjj3 ,b4,m4 ,e #ebg1 #ecd-cg1 #edh-ec 7see ,plate ,,xlii472 ,baumeister1 ii4 p4 #ggi2 l4 ,cr4 ii4 #hi2 ,gaz4 ,arch4 #ahgh1 pl4 #g2 ,stackelberg1 pl4 #ag2 ,reinach1 i4 #dbe3 see generally ,jahn in ,ber4 d4 schs ,gesellsch4 #ahed1 p4 #bdc ff41 pl4 #ab4 ,footnote #agja3 ,b4,m4 ,f #aja ,fig4 #ae1 ,vol4 ,i4 p4 #acg2 ,reinach1 i4 #bid4 ,footnote #agjb3 ,bibl4 ,nat4 #cfa ,reinach1 ii4 #bfb2 ,bourguignon ,cat4 #eb 7in ,b4,m472 ,reinach1 i4 #bjg 7hare74 ,footnote #agjc3 ,inghirami1 ,vasi ,fitt4 iv4 #chg4 ,footnote #agjd3 ,reinach1 i4 #bid3 cf4 ii4 #acg ,baumeister1 i4 p4 #gje1 fig4 #gfe1 and for women with pets see below1 p4 #agc4 ,footnote #agje3 ,berlin #bbhe ,reinach1 i4 #aif3 cf4 ,b4,m4 ,e #ebe and ,brit4 ,school ,annual1 #ahih-ii1 p4 #fe 7,fig4 #agg74 ,footnote #agjf3 ,naples #bjjd ,reinach1 i4 #cbc4 ,footnote #agjg3 ,ibid4 ii4 #ccc4 ,footnote #agjh3 ,berlin #bcbb ,micali1 ,storia1 #ajc1 #a4 ,footnote #agji3 ,hartwig1 ,meistersch4 pl4 #df4 ,footnote #agaj3 ,b4,m4 ,e #aga-gb2 ,oxford #bff2 ,baumeister1 i4 p4 #eed1 fig4 #eia 7flute73 cf4 ibid4 iii4 p4 #aiic1 fig4 #bach 7,iphikles taught the lyre by ,linos7 and the ,duris kylix 7,plate ,,xxxix474 ,footnote #agaa3 ,reinach1 i4 #bdh4 ,footnote #agab3 ,b4,m4 ,e #ahe2 ,gerhard1 ,ant4 ,bildw4 pl4 #ff4 ,footnote #agac3 ,see p4 #ie4 ,footnote #agad3 ,athens #dfg ,ath4 ,mitth4 #ahib1 pl4 #aj2 ,b4,m4 ,e #dfg1 ,e #hjd2 ,furtwaengler and ,reichhold1 pls4 #ag-h4 ,single figure3 ,b4,m4 ,f #cdc4 ,footnote #agae3 ,b4,m4 ,e #fa2 ,louvre ,g #ah 7castanets74 ,footnote #agaf3 ,forman ,sale ,cat4 #cfa 7in ,boston74 ,footnote #agag3 ,stackelberg1 pl4 #bb2 ,reinach1 i4 #fa1 #cgb1 #dfi 7,naples #cjaj72 ,rev4 ,arch4 xxvi4 7#ahie71 p4 #bba4 ,footnote #agah3 ,anzeiger1 #ahie1 p4 #dj3 cf4 ,b4,m4 ,cat4 of ,terracottas1 p4 #dab4 ,footnote #agai3 ,b4,m4 ,b #db1 #dd2 ,berlin #affb2 and see ,j4,h4,s4 xviii4 p4 #bhg4 ,footnote #agbj3 ,b4,m4 ,e #bga2 ,berlin #afhf2 ,bologna #bga ,reinach1 ii4 #aej2 l4 ,cr4 ii4 #af2 ,athens #ajai ,ath4 ,mitth4 #ahia1 pl4 #aj1 #b2 ,anzeiger1 #ahib1 p4 #agb4 ,girls playing lyre3 ,monuments ,piot1 ii4 pls4 #e-f 7in ,louvre74 ,footnote #agba3 ,b4,m4 ,e #cjh2 and see ,reinach1 ii4 #ahg1 #c4 ,footnote #agbb3 ,b4,m4 ,e #bgj1 ,e #dfi2 ,hartwig1 ,meistersch4 pls4 #fe-f4 ,footnote #agbc3 ,b4,m4 ,b #aci1 ,b #ada2 ,louvre ,g #a ,amer4 ,journ4 of ,arch4 #ahif1 p4 #i2 ,petersburg #afjc ,schreiber-,anderson1 #g1 #ad2 ,vienna #bcd4 ,footnote #agbd3 ,b4,m4 ,b #ahh1 ,e #ced2 ,reinach1 ii4 #bgd2 ,louvre ,g #ajc ,atlas1 pl4 #aja 7,euphronios74 ,footnote #agbe3 ,b4,m4 ,e #dfj2 ,bologna #bhf2 ,athens #abfj ,dumont-,pottier1 i4 #af2 ,helbig1 #ij ,mus4 ,greg4 ii4 #fj1 #c2 ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 #dc1 #d a4 ,footnote #agbf3 ,mus4 ,greg4 ii4 #bb1 #b a4 ,footnote #agbg3 ,b4,m4 ,e #bgj4 ,footnote #agbh3 ,b4,m4 ,e #acb4 ,footnote #agbi3 ,b4,m4 ,b #aib1 ,b #bii1 ,e #cg2 ,athens #aaeh ,baumeister1 iii4 p4 #aihd1 fig4 #babg2 l4 ,cr4 ii4 #af3 see also ,hartwig1 ,meistersch4 p4 #bee1 note #b4 ,footnote #agcj3 ,berlin #fci1 #hga1 #hhe ,ant4 ,denkm4 i4 pl4 #h1 ,nos4 #g1 #ad1 #bc4 ,footnote #agca3 ,berlin #fjh ff42 #hjj #ic3 cf4 op4 cit4 pl4 #h1 ,nos4 #ad b1 #ag1 #ah 7 #hhe1 #hfi1 #hfh72 also ,nos4 #a1 #d1 #ab1 #ai b1 #bb1 #bf 7 ,berlin #fjh1 #hjb1 #faf1 #hic1 #hbg1 #faa74 ,see also ,chapter ,v41 ,figs4 #fe1 #fi4 ,footnote #agcb3 ,b4,m4 ,b #dcb2 ,munich #gca ,fig4 #fg1 ,vol4 ,i4 p4 #bac2 ,gaz4 ,arch4 #ahhj1 p4 #ajf4 ,footnote #agcc3 ,figs4 #fg1 #ga1 ,vol4 ,i4 pp4 #bac1 #bbc4 ,footnote #agcd3 ,fig4 #gj1 ,vol4 ,i4 p4 #bah4 ,footnote #agce3 ,fig4 #gd1 ,vol4 ,i4 p4 #bbh4 ,footnote #agcf3 ,hartwig1 ,meistersch4 pl4 #ag1 #a1 and see ibid4 p4 #agd2 ,kopenhagen #abe2 ,millingen1 ,anc4 ,uned4 ,mon4 pl4 #cg4 ,footnote #agcg3 ,berlin #hca ,ant4 ,denkm4 i4 pl4 #h1 fig4 #c a4 ,see on the subject ,rev4 ,arch4 iii4 7#aijd71 p4 #de ff4 ,footnote #agch3 ,berlin #bbid ,baumeister1 i4 p4 #ejf1 fig4 #edg4 ,footnote #agci3 ,b4 ,m4 ,b #ejg2 ,reinach1 i4 #bbd ,baumeister1 iii4 p4 #aehb1 fig4 #afci 7in ,boston74 ,footnote #agdj3 ,j4,h4,s4 xxiv4 p4 #cje2 ,branteghem ,cat4 #dd4 ,see also l4 ,cr4 i4 #hc4 ,footnote #agda3 ,kopenhagen #aai ,schreiber-,anderson1 #gc1 #g4 ,footnote #agdb3 ,see p4 #dj3 cf4 also for a sculptor1 p4 #af1 note #ec4 ,footnote #agdc3 ,berlin #ahjf ,fig4 #acf 7,nikosthenes72 ,louvre ,f #gg ibid4 fig4 #ac2 ,froehner1 ,muses de ,france1 pl4 #ac1 #a 7sowing74 ,footnote #agdd3 ,b4,m4 ,f #adg3 see p4 #gc1 and ,robert1 ,arch4 ,mrchen1 pl4 #e1 p4 #aih ff4 ,footnote #agde3 ,berlin #bbgd l4 ,cr4 ii4 #gd4 ,footnote #agdf3 ,louvre ,f #fh4 ,footnote #agdg3 ,louvre ,f #fi ,wiener ,vorl4 #ahhh1 pl4 #a1 figs4 #i-aj2 ibid4 pl4 #a1 figs4 #b1 #g4 ,footnote #agdh3 ,vienna #cce ,schreiber-,anderson1 pl4 #fd1 figs4 #a1 #c2 ibid4 pl4 #fd1 fig4 #f 7in ,naples72 ,hartwig1 ,meistersch4 pl4 #e2 and see under ,hermes and ,seilenos4 ,footnote #agdi3 ,reinach1 ii4 #ij4 ,footnote #agej3 ,b4,m4 ,b #bbf2 ,berlin #ahee ,baumeister1 ii4 p4 #ajdg1 fig4 #abei4 ,footnote #agea3 ,forman ,sale ,cat4 #cbc 7now in ,boston73 cf4 ,b4,m4 ,cat4 of ,terracotta1 ,d #eej4 ,footnote #ageb3 ,helbig1 #gj ,reinach1 i4 #ajf ,baumeister1 ii4 p4 #ajdg1 figs4 #abfj-abfa2 ,boston ,mus4 ,report1 #ahii1 p4 #fi1 ,no4 #bd4 ,footnote #agec3 ,louvre ,e #fce ,reinach1 i4 #aea2 ,boston ,mus4 ,report1 #ahii1 p4 #gj1 ,no4 #be4 ,footnote #aged3 ,berlin #aiae ,reinach1 ii4 #aee4 ,footnote #agee3 ,froehner1 ,muses de ,france1 pl4 #ac1 #b2 ,eranos ,vindobonensis1 p4 #cha 7woman kneading dough74 ,footnote #agef3 ,millin-,reinach1 ii4 #fa4 ,footnote #ageg3 ,vol4 ,i4 p4 #cdb3 see also p4 #adi4 ,footnote #ageh3 ,b4,m4 ,e #hf2 ,reinach1 i4 #bbd ,baumeister1 iii4 p4 #aehg1 fig4 #afdi 7in ,boston74 ,footnote #agei3 ,b4,m4 ,e #bc4 ,footnote #agfj3 ,micali1 ,storia1 pl4 #ig1 fig4 #c4 ,footnote #agfa3 ,b4,m4 ,b #cci2 ,louvre ,f #aj1 ,f #ef4 ,footnote #agfb3 ,b4,m4 ,b #afj1 ,b #agd1 ,b #beg2 ,b #dhe2 ,j4,h4,s4 xxiii4 pp4 #acc1 #acg1 #adb4 ,footnote #agfc3 ,b4,m4 ,e #haj1 ,d #aa 7,plate ,,xliii472 ,berlin #bcgb 7 ,coll4 ,sabouroff1 i4 pl4 #eh71 #bcgc 7 ,reinach1 i4 #ddj72 ,athens #abbd and #abbe ,heydemann1 ,gr4 ,vasenb4 pl4 #aj1 #a1 and ,reinach1 i4 #bjf2 ,athens #aehh #ab #ahig1 pl4 #aj1 #b 7preparations for marriage1 with fancy names73 see generally ,wiener ,vorl4 #ahhh1 pl4 #h4 ,footnote #agfd3 ,baumeister1 i4 p4 #cac1 fig4 #cbh4 ,footnote #agfe3 ,millingen-,reinach1 #dd 7in ,louvre72 ,inghirami1 ,vasi ,fitt4 iv4 #cad4 ,footnote #agff3 ,berlin #bcgd ,reinach1 i4 #abh4 ,footnote #agfg3 ,reinach1 i4 #agc2 ,j4,h4,s4 xxiii4 p4 #acc4 ,footnote #agfh3 ,athens #fic4 ,footnote #agfi3 ,petersburg #aea ,thiersch1 ,tyrrhen4 ,amph4 pl4 #e4 ,footnote #aggj3 ,berlin #ahda ,reinach1 ii4 #dd 7,b4,f472 ,athens #aeeb ,heydemann1 ,gr4 ,vasenb4 pl4 #h1 #e2 ,berlin #bbfa ,reinach1 i4 #ddj1 and #bgbj ,coll4 ,sabouroff1 i4 pl4 #fd2 ,reinach1 i4 #b 7,petersburg #agia71 #dgb 7 ,jatta #aebf71 #dgg 7 ,naples ,s4,a4 #caf1 with fancy names74 ,footnote #agga3 ,b4,m4 ,e #bbe1 #ggc-gd1 ,f #cjh1 #caj2 ,schreiber-,anderson1 #hc1 #d4 ,footnote #aggb3 ,b4,m4 ,b #eih1 ,e #hg1 ,e #aic1 ,e #bae1 ,d #ac2 ,athens #aeej1 #aeeb1 and #aehi ,reinach1 i4 #eag 7note the use of the 72 ,louvre ,f #bbd l4 ,cr4 iii4 #cf ,b2 ,stackelberg1 #cd2 ,reinach1 i4 #dbj1 ii4 #g1 #d3 see ,hartwig1 ,meistersch4 p4 #cdj4 ,footnote #aggc3 ,dumont-,pottier1 i4 pl4 #h ,schreiber-,anderson1 #hb1 #d4 ,footnote #aggd3 ,baumeister1 iii4 p4 #agaa1 fig4 #agif4 ,footnote #agge3 ,boston ,mus4 ,report1 #aijj1 p4 #da1 ,no4 #aj4 ,footnote #aggf3 ,baumeister1 iii4 p4 #aehc1 fig4 #afda4 ,footnote #aggg3 ,ibid4 i4 p4 #fji1 fig4 #ffh4 ,footnote #aggh3 ,b4,m4 ,e #ah2 ,louvre ,g #b2 ,berlin #bbgb ,hartwig1 ,meistersch4 p4 #hi2 ,reinach1 ii4 #adf1 #g4 ,footnote #aggi3 ,baumeister1 iii4 p4 #aiai1 fig4 #bjcd ,reinach1 ii4 #adh4 ,footnote #aghj3 ,louvre ,f #aad ,plate ,,xxx42 ,b4,m4 ,f #aja1 #bjg4 ,footnote #agha3 ,schreiber-,anderson1 #hb1 #ab2 ,b4,m4 ,f #aci1 #bjg1 #cdb4 ,footnote #aghb3 ,schreiber-,anderson1 #hc1 #ad4 ,footnote #aghc3 ,berlin #ahdc 7 ,baumeister1 i4 p4 #bdc1 fig4 #bba71 and #bgjg 7 ,coll4 ,sabouroff1 i4 #fb1 #b72 ,jatta #fed ,gaz4 ,arch4 #ahhj1 pl4 #ai2 ,millin-,reinach1 ii4 #i 7frontispiece72 ,reinach1 ii4 #adf1 #cbh1 #a2 ,baumeister1 i4 p4 #bdb1 fig4 #bbj2 ,b4,m4 ,d #bi1 ,e #ij1 #bja-b2 and see generally ,hartwig1 op4 cit4 p4 #eii4 ,footnote #aghd3 ,louvre ,f #aig and ,f #bjc ,amer4 ,journ4 of ,arch4 #ahif1 p4 #c ,schreiber-,anderson1 #eg1 #e4 ,footnote #aghe3 ,b4,m4 ,f #caa2 and see l4 ,cr4 iv4 #aj-bb4 ,footnote #aghf3 ,b4,m4 ,b #cbi-ch2 ,louvre ,f #bif2 ,reinach1 ii4 #aea3 cf4 ,b4,m4 ,e #aei and ,athens #adbi ,heydemann1 ,gr4 ,vasenb4 pl4 #i1 #b4 ,footnote #aghg3 ,b4,m4 ,d #f2 ,munich #adb3 cf4 ,berlin #ahda ,reinach1 ii4 #dd4 ,footnote #aghh3 ,b4,m4 ,e #bda1 ,e #gba2 ,branteghem ,sale ,cat4 #ih-i4 ,footnote #aghi3 ,athens #aeej ,heydemann1 op4 cit4 pl4 #i1 #e4 ,footnote #agij3 ,b4,m4 ,e #cd4 ,footnote #agia3 ,b4,m4 ,e #gfi4 ,footnote #agib3 ,b4,m4 ,e #aij4 ,footnote #agic3 ,b4,m4 ,e #hh4 ,footnote #agid3 ,branteghem ,cat4 #afg4 ,footnote #agie3 ,naples ,r4,c4 #aag ,reinach1 i4 #dij1 #bb4 ,footnote #agif3 ,munich #ijc ,reinach1 ii4 #aaj4 ,footnote #agig3 ,b4,m4 ,b #ec1 ,b #afc1 ,b #dji2 ,berlin #ciic ,coll4 ,sabouroff1 i4 pl4 #ea4 ,footnote #agih3 ,bibl4 ,nat4 #id2 ,athens #dff ,plate ,,xlvii4 ,footnote #agii3 ,oxford #cbj4 ,footnote #ahjj3 ,b4,m4 ,e #cif4 ,footnote #ahja3 ,branteghem ,cat4 #afc4 ,footnote #ahjb3 ,petersburg #hge ,reinach1 i4 #ci3 cf4 ,hartwig1 ,meistersch4 pl4 #bg4 ,footnote #ahjc3 ,b4,m4 ,f #bcb2 ,athens #ajca ,heydemann1 ,gr4 ,vasenb4 pl4 #i1 #c2 ,reinach1 i4 #dgc2 ,mus4 ,borb4 vii4 #eh2 ,mon4 ,barone1 pls4 #c1 #i2 and see pp4 #afe1 #ahb4 ,footnote #ahjd3 ,see p4 #afi4 ,footnote #ahje3 ,see on the subject ,winter in ,arch4 ,zeit4 #ahhe1 p4 #ahg ff42 and ,mon4 ,grecs1 #ahhe-hh1 p4 #be ff4 ,footnote #ahjf3 ,b4,f43 ,b4,m4 ,b #afe1 ,b #feg2 ,j4,h4,s4 xviii4 p4 #bic2 ,bibl4 ,nat4 #agb and #bjc ,reinach1 ii4 #ie4 ,r4,f43 ,louvre ,g #dg-h2 ,bologna #bgd2 ,helbig1 #afg and #agd 7 ,reinach1 ii4 #acc72 ,reinach1 ii4 #aad2 ,vienna #cbd ,wiener ,vorl4 vii4 #a 7,duris74 ,footnote #ahjg3 ,b4,f43 ,b4,m4 ,b #adg1 ,b #cji1 ,b #cfj2 ,louvre ,f #ab1 ,f #ci1 ,f #ec1 ,f #aej2 ,reinach1 ii4 #abd1 #aca4 ,r4,f43 ,b4,m4 ,e #bed1 ,e #bgf1 ,e #ddh2 ,louvre ,g #dd2 ,baumeister1 iii4 p4 #bjcd1 fig4 #bbjg 7,duris74 ,late3 ,b4,m4 ,f #aeh1 ,f #agd2 ,munich #chb ,furtwaengler and ,reichhold1 pl4 #ce4 ,footnote #ahjh3 ,b4,f43 ,ant4 ,denkm4 ii4 #dd-e 7,proto-,cor472 ,b4,m4 ,b #ge1 ,b #aii1 ,b #bab1 ,b #djj2 ,athens #fbc2 ,bourguignon ,cat4 #ad4 ,r4,f43 ,b4,m4 ,e #g1 ,e #cc1 ,e #dc1 ,e #hjh2 ,rm4 ,mitth4 #ahij1 p4 #ccb4 ,late3 ,b4,m4 ,f #age1 ,f #bae4 ,horseman and foot-soldier3 two uncatalogued in ,b4,m4 ,footnote #ahji3 ,see pp4 #c1 #g1 #abf4 ,footnote #ahaj3 ,b4,m4 ,b #bbd1 ,b #bdc2 ,athens #aafa ,hartwig1 ,meistersch4 p4 #hg2 ,reinach1 ii4 #abi1 #aca1 #d1 #acc4 ,footnote #ahaa3 ,j4,h4,s4 xviii4 p4 #bic2 ,bibl4 ,nat4 #bjc ,reinach1 ii4 #ie4 ,footnote #ahab3 ,munich #cgd ,fig4 #acg2 ,millin-,reinach1 i4 #ci2 and see under ,hector1 p4 #abg4 ,footnote #ahac3 ,b4,m4 ,e #dje4 ,footnote #ahad3 ,anzeiger1 #ahib1 p4 #afe3 cf4 ,reinach1 ii4 #acc and ,ar4 ,ach4 #egd4 ,footnote #ahae3 ,louvre ,g #e3 see ,hartwig1 ,meistersch4 p4 #abb1 note4 ,footnote #ahaf3 ,b4,m4 ,e #cc2 ,munich #abbi2 ,forman ,sale ,cat4 #ccg 7in ,boston72 ,hartwig1 op4 cit4 pl4 #ad1 #a3 cf4 ,berlin #bbif ,reinach1 i4 #dbh1 and ,b4,m4 ,e #eih4 ,footnote #ahag3 ,see note #ahae2 also ,festschrift fr ,o4 ,benndorf1 p4 #ff4 ,footnote #ahah3 ,b4,m4 ,b #cjc-je2 ,berlin #ahig ,reinach1 ii4 #abd2 ,jahrbuch1 iv4 7#ahhi71 pl4 #aj2 ,louvre ,f #bhe1 ,f #cde4 ,footnote #ahai3 ,reinach1 ii4 #aih4 ,footnote #ahbj3 ,see pp4 #aah1 #abg4 ,footnote #ahba3 ,b4,m4 ,b #ae1 ,b #bjf1 ,b #ebc2 ,louvre ,f #i2 ,reinach1 i4 #dfb1 #a2 ii4 #bee ,bibl4 ,nat4 #bbg2 ,burlington ,fine ,arts ,club ,cat4 #ahhh1 ,no4 #ajh #aijc1 ,no4 #ba1 p4 #ajb 7,andokides74 ,footnote #ahbb3 ,athens #fah ,baumeister1 iii4 p4 #aifc1 fig4 #bjih4 ,footnote #ahbc3 ,reinach1 ii4 #abh2 ,b4,m4 ,b #bd2 ,louvre ,e #fji ,reinach1 i4 #cie 7,chares72 and ,fig4 #hh1 ,vol4 ,i4 p4 #big4 ,footnote #ahbd3 ,b4,m4 ,e #dgf3 ,louvre ,g #ed ,reinach1 ii4 #g2 ,petersburg #afib1 #agaa ,reinach1 i4 #dc-d3 see ,b4,m4 ,e #fe1 ,louvre ,f #ai1 ,f #gj1 and ,vienna #cbd ,wiener ,vorl4 vii4 #a 7,duris74 ,footnote #ahbe3 ,b4,m4 ,b #ea3 see under ,nike1 p4 #hh4 ,footnote #ahbf3 ,berlin #agah ,reinach1 i4 #cic2 ,helbig1 ii4 p4 #cja1 ,no4 #gg ,reinach1 ii4 #ajg 7may be ,ajax with body of ,achilles74 ,footnote #ahbg3 ,j4,h4,s4 xix4 pp4 #bbg-bh2 and cf4 ,b4,m4 ,b #aga 7inspection of liver71 ,b #fda2 ,bibl4 ,nat4 #djj2 ,reinach1 ii4 #aca1 #a 7hoplite taking oath72 ,louvre ,g #df4 ,footnote #ahbh3 ,reinach1 i4 #bjc ,wiener ,vorl4 ,d4 #b1 #b-c2 ,b4,m4 ,b #chj2 ,louvre ,f #abg1 ,g #e3 bust of warrior1 ,louvre ,f #acg4 ,footnote #ahbi3 ,b4,m4 ,b #dgj1 ,b #fah2 ,louvre ,f #bib1 ,g #be2 ,engelmann-,anderson1 ,od4 xiii4 #ga3 see ,hartwig1 ,meistersch4 pl4 #i1 p4 #ajf1 note4 ,footnote #ahcj3 ,berlin #ahgi4 ,footnote #ahca3 ,berlin #bcjd4 ,footnote #ahcb3 ,reinach1 i4 #cgb4 ,footnote #ahcc3 ,see ,jahrbuch1 #aija1 pl4 #c4 ,footnote #ahcd3 ,b4,m4 ,b #feh4 ,footnote #ahce3 ,b4,m4 ,b #adi1 ,b #cfj4 ,footnote #ahcf3 ,b4,m4 ,b #eij-ia2 ,louvre ,g #gj2 ,helbig1 #bib2 ,munich #d ,reinach1 ii4 #eg2 ,jahrbuch1 iv4 7#ahhi71 pl4 #d4 ,as shield-device3 ,vienna #ccb 7a negro72 ,reinach1 i4 #gg2 ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 pl4 #df1 #a4 ,footnote #ahcg3 ,b4,m4 ,e #bhe2 ,hartwig1 ,meistersch4 pl4 #ah1 #a1 and see p4 #ahe4 ,footnote #ahch3 ,see p4 #agi1 note #ahec2 also ,plate ,,xxxvii4 fig4 #b1 and ,jahrbuch1 #ahhi1 pl4 #d4 ,footnote #ahci3 ,anzeiger1 #ahhi1 p4 #ic2 ,b4,m4 ,e #gei2 ,hartwig1 p4 #cfh1 note3 cf4 p4 #ahf4 ,footnote #ahdj3 ,b4,m4 ,b #dbf2 ,berlin #bbif ,reinach1 i4 #dbh2 ,helbig1 #ed2 ,mon4 ,grecs1 #ahhe-hh1 p4 #aa3 see also ,helbig1 ,eine ,heerschau des ,peisistratos1 and ,les ,athniens1 p4 #ga ff4 ,footnote #ahda3 ,reinach1 i4 #dhf ,boston ,cat4 p4 #acg4 ,footnote #ahdb3 ,b4,m4 ,b #fj2 ,louvre ,a #ebf2 ,plate ,,xvi4 7,aristonos krater72 ,reinach1 i4 #aij1 #d1 #cbh1 #f1 and #dei 7,dipylon74 ,footnote #ahdc3 ,j4,h4,s4 xix4 pl4 #h2 ,louvre ,a #ebe-ecb2 ,mon4 ,grecs1 ii4 7#ahhb-hd71 pl4 #d1 pp4 #dd-eg2 and see ,chapter ,,vii4 ,footnote #ahdd3 ,b4,m4 ,b #dcf2 ,berlin #hcf2 ,louvre ,e #gce and ,f #abc 7 ,j4,h4,s4 #ahhe1 pl4 #di72 ,forman ,sale ,cat4 #cbb2 ,reinach1 ii4 #ai ,baumeister1 iii4 p4 #aeii1 fig4 #affb4 ,footnote #ahde3 ,b4,m4 ,b #dcf2 ,berlin #fdf ff41 #hca2 ,louvre ,f #ade 7874 ,footnote #ahdf3 ,b4,m4 ,b #fgi1 ,e #b 7,plate ,,xxxvii472 ,bibl4 ,nat4 #cbb2 ,bourguignon ,sale ,cat4 #ad2 ,louvre ,f #abc1 ,f #ade4 ,footnote #ahdg3 ,louvre ,f #fb2 ,vienna #bce2 ,naples ,r4,c4 #bdf2 ,munich #gha ,reinach1 ii4 #abf2 ,petersburg #aj and #hf2 ,wrzburg #ccg ,reinach1 ii4 #ada2 ,rev4 ,arch4 xxxvi4 7#aijj71 p4 #cbc2 ,wiener ,vorl4 #ahhh1 pl4 #e1 #c4 ,footnote #ahdh3 ,athens #ifi ,reinach1 i4 #dae4 ,footnote #ahdi3 ,see above1 p4 #adh4 ,footnote #ahej3 ,b4,m4 ,b #agc1 ,b #bhj1 ,b #cbc2 ,f #bgh4 ,footnote #ahea3 ,cf4 ,b4,m4 ,b #ahd1 #bjg1 #bdc1 #bdf1 etc4 ,footnote #aheb3 ,see generally ,zahn1 ,die ,barbaren1 and ,hartwig1 ,meistersch4 passim4 ,footnote #ahec3 ,b4,m4 ,e #f2 ,louvre ,f #abf1 ,f #chh1 ,g #de2 ,jahrbuch1 #ahhi1 pl4 #d2 and see above1 p4 #agg4 ,footnote #ahed3 ,b4,m4 ,b #ahd1 ,b #bjg1 ,b #dbf2 ,reinach1 i4 #cgf 7874 ,footnote #ahee3 ,wiener ,vorl4 vi4 #e2 ,bourguignon ,cat4 #ad4 ,footnote #ahef3 ,b4,m4 ,b #eij-ia4 ,footnote #aheg3 ,b4,m4 ,e #bcc2 ,berlin #bbie2 ,reinach1 ii4 #hd2 ,hartwig1 ,meistersch4 pls4 #ee-ef4 ,footnote #aheh3 ,ath4 ,mitth4 #ahih1 pl4 #e4 ,footnote #ahei3 ,b4,m4 ,e #fie4 ,footnote #ahfj3 ,ath4 ,mitth4 #ahib1 pl4 #a2 ,oxford #caj ,klein1 ,lieblingsinschr4#b p4 #hg4 ,footnote #ahfa3 ,see p4 #aea4 ,footnote #ahfb3 ,rm4 ,mitth4 ii4 7#ahhg71 pl4 #i1 p4 #agb2 ,munich #cgd ,fig4 #acg2 ,plate ,,xxxvii4 fig4 #b4 ,footnote #ahfc3 ,bibl4 ,nat4 #dgc ,reinach1 i4 #aca4 ,footnote #ahfd3 ,boston ,mus4 ,report1 #aijj1 p4 #gb4 ,footnote #ahfe3 ,hartwig1 ,meistersch4 pls4 #ch-i2 and see ibid4 p4 #dbb4 ,footnote #ahff3 ,b4,m4 ,e #dha-hb2 and see pp4 #hj1 #adc4 ,footnote #ahfg3 ,louvre ,g #bf3 cf4 ,mon4 ,grecs1 #ahhe-hh1 pl4 #f1 p4 #aa4 ,footnote #ahfh3 ,munich #ccg ,klein1 ,euphronios1 p4 #hb2 ,mon4 ,grecs1 #ahhe-hh1 pl4 #e2 and see pp4 #aff1 #agg4 ,footnote #ahfi3 ,b4,m4 ,e #cja2 ,j4,h4,s4 ix4 pl4 #f2 ,reinach1 i4 #fc4 ,footnote #ahgj3 ,b4,m4 ,b #fgc-gd2 ,athens #ajhh2 ,ath4 ,mitth4 #ahhi1 p4 #de3 cf4 ,louvre ,g #ic2 another unarmed1 ,g #ajj4 ,on ,vienna #ccb a negro trumpeter occurs as a shield-device4 ,footnote #ahga3 ,petersburg #afjc4 ,footnote #ahgb3 ,benndorf1 ,gr4 u4 ,sic4 ,vasenb4 pl4 #db4 ,footnote #ahgc3 ,louvre ,g #ajj4 ,footnote #ahgd3 ,b4,m4 ,b #ajfa4 ,footnote #ahge3 ,b4,m4 ,f #aig1 #bda-db 7see ,plate ,,xliv471 #big1 #cja1 #ebe2 ,reinach1 i4 #bib-ic4 ,footnote #ahgf3 ,b4,f43 ,b4,m4 ,b #df1 ,b #chb1 ,b #fgi2 ,louvre ,f #b1 ,f #baf1 ,f #cad2 ,gaz4 ,arch4 #ahhg1 pl4 #ad1 #a4 ,r4,f43 ,b4,m4 ,e #ch1 #di1 #fh1 #gj2 ,munich #bgb ,hartwig1 ,meistersch4 pl4 #ae1 #a2 ,helbig1 #bbe and #bbg2 ,reinach1 ii4 #d4 ,late3 ,b4,m4 ,e #die1 ,f #cjc2 ,naples #bbjb ,dubois-,maisonneuve1 ,introd4 pl4 #de1 and ,r4,c4 #add ,schreiber-,anderson1 #gf1 #b2 ibid4 pl4 #gf1 #d ,millingen-,reinach1 pl4 #h2 ,millin-,reinach1 ii4 #eh4 ,footnote #ahgg3 ,see pp4 #eg1 #aje4 ,footnote #ahgh3 ,bibl4 ,nat4 #id4 ,footnote #ahgi3 ,b4,m4 ,e #cea1 ,e #dgd4 ,footnote #ahhj3 ,b4,m4 ,b #df1 #cja-b1 #chb1 #fgi1 ,e #ff1 ,e #ded4 ,footnote #ahha3 ,louvre ,g #ih2 ,athens #fia ,ath4 ,mitth4 #ahhi1 pls4 #ac-d 7,xenokles and ,kleisophos72 ,cab4 ,pourtals1 #cd2 ,mus4 ,greg4 ii4 #ha1 #a a4 ,footnote #ahhb3 ,reinach1 ii4 #bdg3 see ,jahrbuch1 #ahic1 p4 #ahj4 ,footnote #ahhc3 ,louvre ,g #be2 ,mus4 ,greg4 ii4 #ha1 #a b2 ,hartwig1 ,meistersch4 pls4 #ad1 #b1 #dh1 and p4 #ccb2 ,wiener ,vorl4 viii4 #e4 ,footnote #ahhd3 ,see ,klein1 ,euphronios1#b p4 #aae1 for a collected list of examples2 also the following notes4 ,footnote #ahhe3 ,louvre ,g #cj2 ,b4,m4 ,e #gj ,fig4 #ach1 ,e #afa1 ,e #ded1 ,e #gie2 ,berlin #dbba2 ,naples #hbb1 #ife1 #igb1 #bdae1 ,s4,a4 #bha4 ,footnote #ahhf3 ,it is worth noting that on the best ,r4,f4 vases mortals play the game2 on the later ones gods and ,satyrs4 ,it must have disappeared from social life about the end of the fifth century4 ,footnote #ahhg3 ,b4,m4 ,f #cg2 ,naples #ijc1 ,s4,a4 #cjb1 ,r4,c4 #add1 #ade1 #bcjh2 ,berlin #bdaf ,reinach1 i4 #ccg2 ,archaeologia1 li4 pl4 #ad2 and see ,vol4 ,i4 p4 #deb for a curious variant4 ,footnote #ahhh3 ,b4,m4 ,f #ej1 #age-gg2 ,inghirami1 ,vasi ,fitt4 ii4 #aig4 ,footnote #ahhi3 ,b4,m4 ,f #afa1 ,f #bgc1 ,f #bge1 ,f #cjd1 ,f #dbe2 ,f #egi ,fig4 #aah 7,eros74 ,footnote #ahij3 ,louvre ,g #cj2 ,mus4 ,greg4 ii4 #hc1 #a;b1 and #he1 #b;b4 ,footnote #ahia3 ,louvre ,f #baf2 ,reinach1 ii4 #cbi1 #e3 see also ibid4 ii4 #f1 #cjd1 #e2 ,mus4 ,greg4 ii4 #ha1 #a;a2 ,inghirami1 ,vasi ,fitt4 pls4 #bgc1 #cef4 ,footnote #ahib3 ,b4,m4 ,e #ad1 #ch1 #fa1 #fh2 ,reinach1 ii4 #d4 ,footnote #ahic3 ,see pp4 #afe1 #agd4 ,footnote #ahid3 ,athens #aaeh2 and see p4 #afi4 ,footnote #ahie3 ,petersburg #afgj ,reinach1 i4 #cb ,wiener ,vorl4 v4 #b2 ,reinach1 ii4 #bij1 #b 7 of women74 ,footnote #ahif3 ,b4,m4 ,e #fa 7,hieron74 ,footnote #ahig3 ,b4,m4 ,e #ga1 #dgd1 #dhd1 #dhi1 #ejf1 #gfg2 ,reinach1 ii4 #id1 #g2 ,mus4 ,greg4 ii4 #hd1 #b a2 ,hartwig1 ,meistersch4 pl4 #aa and p4 #da2 ,wiener ,vorl4 viii4 #e 7,brygos in ,wrzburg74 ,footnote #ahih3 ,b4,m4 ,e #cc1 #df1 #ec1 #ejh2 ,forman ,sale ,cat4 #cag2 ,reinach1 ii4 #abj4 ,footnote #ahii3 ,b4,m4 ,b #bii2 and see above1 p4 #afi4 ,footnote #aijj3 ,b4,m4 ,e #acg1 ,e #dhh2 ,reinach1 ii4 #fh1 #bij1 #cja1 #cac2 ,mus4 ,greg4 ii4 #ed1 #a a1 #b a2 #gh1 #b a2 ,hartwig1 op4 cit4 pl4 #cf1 pp4 #ccc1 #cce2 ,inghirami1 ,vasi4 ,fitt4 #aih4 ,footnote #aija3 ,b4,m4 ,e #ed2 ,hartwig1 op4 cit4 pls4 #aa1 #bj4 ,footnote #aijb3 ,b4,m4 ,e #cg2 ,louvre ,f #abi1 ,g #gc2 ,hartwig1 op4 cit4 pls4 #h1 #aa2 and see ,berlin #bbfe1 and ,jahrbuch1 #ahia1 pl4 #e1 fig4 #b4 ,footnote #aijc3 ,see above1 p4 #eg ff4 ,footnote #aijd3 ,hartwig1 op4 cit4 pl4 #di4 ,footnote #aije3 ,b4,m4 ,b #da2 ,berlin #baga2 ,froehner1 ,muses de ,france1 pl4 #dj1 #b4 ,footnote #aijf3 ,b4,m4 ,cat4 of ,vases1 iv4 passim2 ,bibl4 ,nat4 #ije is a good typical example4 ,footnote #aijg3 ,see ,vol4 ,i4 p4 #ba3 cf4 ,christie1 ,disquisitions1 passim4 ,footnote #aijh3 ,b4,m4 ,e #fdh1 #gje-i1 #ggh-hc 7see ,plate ,,xlii472 ,athens #aida ,jahn1 ,vasen mit ,goldschmuck1 pl4 #a4 ,footnote #aiji3 ,b4,m4 ,e #fa2 ,munich #hai ,millingen-,reinach1 #bf2 ,berlin #bbgi ,hartwig1 ,meistersch4 pl4 #be 7very fine72 ,reinach1 i4 #bjg2 ,helbig1 #bah ibid4 ii4 #adf2 and see ,hartwig1 p4 #bch4 ,footnote #aiaj3 ,see ,klein1 ,euphronios1 p4 #bf1 and ,hartwig1 ,meisterschalen1 passim2 also ,vol4 ,i4 p4 #dbf4 ,footnote #aiaa3 ,athens #aafa ,hartwig1 op4 cit4 p4 #hg2 ,hartwig1 pl4 #bg 7from exterior of kylix74 ,footnote #aiab3 ,b4,m4 ,e #b3 cf4 ,e #af1 ,e #bg2 ,louvre ,f #abi 7youth balancing amphora74 ,footnote #aiac3 ,athens #aafb ,hartwig1 op4 cit4 p4 #hg2 ,hartwig1 pl4 #ai1 #b 7in ,louvre71 and p4 #agh2 ,louvre ,g #ag ,wiener ,vorl4 #ahij1 pl4 #aj4 ,footnote #aiad3 ,cambridge #ga ,hartwig1 pl4 #b1 fig4 #c4 ,footnote #aiae3 ,b4,m4 ,e #df2 ,hartwig1 p4 #hf2 and see ,wiener ,vorl4 vi4 #h4 ,footnote #aiaf3 ,louvre ,g #dj4 ,footnote #aiag3 ,louvre ,g #gj1 #if4 ,footnote #aiah3 ,b4,m4 ,e #eg4 ,footnote #aiai3 ,hartwig1 pl4 #gj1 #a3 cf4 ,il4 iii4 #cc4 ,footnote #aibj3 ,j4,h4,s4 xvii4 p4 #ge ,fig4 #hb2 ,amer4 ,journ4 of ,arch4 #ahij1 pl4 #bb1 p4 #dcg ff42 ,arch4 ,anzeiger1 #ahic1 p4 #i 7vase in ,marseilles74 ,footnote #aiba3 ,berlin #bcbd ,wiener ,vorl4 #ahij-ia1 pl4 #g1 #a4 ,footnote #aibb3 ,b4,m4 ,e #a2 ,bibl4 ,nat4 #abh2 ,boston ,mus4 ,report1 #ahii1 ,no4 #ba2 ,mus4 ,greg4 ii4 #ca1 #b2 ,reinach1 ii4 #bbe 7lion and panther fighting74 ,footnote #aibc3 ,gsell1 ,fouilles de ,vulci1 pl4 #i 7in ,boston74 ,footnote #aibd3 ,b4,m4 ,b #chb1 ,e #d2 ,louvre ,f #hd and ,f #ed ,fig4 #if1 ,vol4 ,i4 p4 #cha4 ,footnote #aibe3 ,louvre ,f #abe 7ram72 ,berlin #djdb 7bull7 and #bbff 7horse72 ,munich #aaga and ,mus4 ,greg4 ii4 #fd1 #c a 7cock74 ,also on exterior of ,b4,f4 kylikes3 cocks and hens1 ,b4,m4 ,b #cia-ib2 ,louvre ,f #ib1 ,f #chj2 ,bibl4 ,nat4 #cag2 ,reinach1 ii4 #aga4 ,lion and bull1 ,louvre ,f #cac4 ,apes1 ,sale ,cat4 ,htel ,drouot1 ,may #aijc1 ,no4 #ga4 ,see generally ,hartwig1 ,meistersch4 p4 #efe4 ,footnote #aibf3 ,hartwig1 op4 cit4 pl4 #fc1 #a4 ,footnote #aibg3 ,bibl4 ,nat4 #age-gf4 ,footnote #aibh3 ,munich #dfh ,philologus1 #ahih1 pl4 #a4 ,footnote #aibi3 ,schreiber-,anderson1 pl4 #hj1 #c4 ,footnote #aicj3 ,berlin #beag ,coll4 ,sabouroff1 i4 pl4 #fe4 ,footnote #aica3 ,reinach1 i4 #if ,baumeister1 iii4 p4 #aihe1 fig4 #babh4 ,for the inscription on this vase1 see ,chapter ,,xvii4 ,footnote #aicb3 ,see ,schreiber-,anderson1 pl4 #fc1 #f2 ,b4,m4 ,cat4 of ,vases1 iv4 p4 #ai1 ,f #bed-fh1 and references there given2 also ,vol4 ,i4 pp4 #aid1 #dhg1 ,plate ,,xliv4 ,footnote #aicc3 ,b4,m4 ,b #eg1 ,b #eh2 ,louvre ,e #gjc ,reinach1 ii4 #ib2 ,bibl4 ,nat4 #agb4 ,footnote #aicd3 ,b4,m4 ,b #bh1 ,b #ca2 and see p4 #ahe1 note #aibe4 ,footnote #aice3 ,rayet and ,collignon1 p4 #ccj ,reinach1 i4 #ejc3 see p4 #bgc4 ,footnote #aicf3 ,r4,f4 kalpis in ,louvre2 ,anzeiger1 #ahhi1 p4 #ic2 ,b4,m4 ,e #gei3 see for this and the following subjects ,hartwig1 ,meistersch41 p4 #cfh1 note2 also p4 #agg above4 ,footnote #aicg3 ,louvre ,f #abg 7,pamphaios74 ,footnote #aich3 ,munich #aagj4 ,footnote #aici3 ,munich #abbc4 ,footnote #aidj3 ,b4,m4 ,e #gga4 ,footnote #aida3 ,in ,south ,kensington ,museum4 ,,chapter ,,xvi ,,details ,,of ,,types1 ,,arrangement1 ,,and ,,ornamentation ,distinctions of types--,costume and attributes of individual deities--,personifications--,heroes--,mo nsters--,personages in every-day life--,armour and shield-devices--,dress and ornaments--,physiognomical expression on vases--,landscape and architecture--,arrangement of subjects--,ornamental patterns--,maeander1 circles1 and other geometrical patterns--,floral patterns--,lotos and palmettes--,treatment of ornamentation in different fabrics4 ,it may be profitable to supplement the foregoing account with a few general considerations1 such as the attributes1 emblems1 and costume by which the different figures may be distinguished1 the general treatment of the subjects at different periods1 and the use of ornamental motives in the various stages of ,greek vase-painting4 #a4 ,,distinctions ,,of ,,types ,in the earlier vase-paintings deities are often not only indistinguishable from one another1 but even from kings and other mortal personages1 attributes and subtle distinctions of costume being ignored2 and in the period of decline a similar tendency may be noted1 due in this case not so much to confusion of ideas as to a general carelessness of execution and indifference to the meaning of the subject4 ,in the former vases it was1 doubtless1 largely the result of conventionality and limitation in the free expression of forms2 but it is a peculiarity not confined to painting1 and may be observed not only in the minor arts1 in terracotta and bronze figurines1 but even in sculpture of a more exalted kind--as1 for instance1 in the female statues from the ,athenian ,acropolis4 ,thus1 all the deities are draped1 and their costume differs in no respect from that worn by mortals2 all alike wear the chiton1 himation1 or chlamys1 and ornamentation of the drapery with embroidered patterns is no mark of distinction4 ,it is only as the art advances in the ,b4,f4 period that the necessity for differentiation makes itself felt1 and each deity becomes individualised by some peculiarity of costume or special attribute which makes it possible to recognise them without difficulty4 ,to give a brief survey of these characteristic marks will be the object of the following pages4#aidb ,among the ,olympian deities1 ,zeus is generally bearded1 and fully draped in long chiton and mantle2 on ,r4,f4 vases he wears a laurel-wreath4 ,he fights the giants from his chariot1 but otherwise is standing1 or seated on a throne1 which is often carved and ornamented with figures4#aidc ,he usually holds a thunderbolt1 or a sceptre1 surmounted by an eagle or otherwise ornamented2 in one or two cases the termination is in the form of a lotos-bud1 curiously conventionalised4#aidd ,hera is distinguished by the stephane or broad diadem1 often ornamented1 and covered with the bridal veil1 the edge of which she draws forward with one hand in the attitude considered typical of brides4 ,her sceptre is sometimes surmounted by her emblem--the cuckoo4 ,poseidon1 on the ,corinthian and ,attic ,b4,f4 vases--on which he is but a rare figure--is often hardly to be distinguished from ,zeus1 the approximation of the types extending even to their emblems4 ,where he holds in addition a dolphin or tunny-fish1 there is1 of course1 no doubt as to his presence2 nor1 again1 in the ,gigantomachia1 where he wields a rock 7see p4 #ac1 and ,fig4 #aab72 but his trident1 which subsequently becomes the unmistakable evidence of his identity1 often assumes 7as on the ,corinthian pinakes7 the form of a sceptre ending in a lotos-bud1#aide which is typical of ,zeus1 and1 indeed1 of ,olympian deities generally4 ,the other sea-deities are1 however1 of a more clearly defined type4 ,the essential feature of ,triton is the fish-tail in which his body terminates4 ,nereus1 on the other hand1 is represented as an old man1 bald and grey-bearded4 ,in this form he contends with ,herakles 7see p4 #aja71 and it may be that the differentiation was necessary to avoid confusion with the ,triton type4 ,as attributes he often holds a dolphin or tunny-fish1 and a trident or sceptre4 ,the winged deity with a long sinuous fish-tail seen on early ,corinthian vases is probably ,palaemon 7see p4 #bf72 but in one case this deity is feminine4#aidf ,amphitrite1 as the feminine consort of ,poseidon1 holds a sceptre or tunny-fish1 and ,thetis and the ,nereids appear in ordinary female form4 ,the former1 however1 in her struggles with ,peleus1 is accompanied by lions1 serpents1 and other animals1 which indicate the transformations she was supposed to assume4 ,skylla appears as described in ,homer1 with fish-tail and the fore-parts of dogs issuing from her waist1 which is encircled by a fringe of scales or feathers4 ,demeter and ,persephone are not always distinguishable from one another1 both having the same attributes--a torch or ears of corn 7cf4 ,plate ,,li474 ,their identification depends rather on the nature of their respective actions in the scenes where they appear4 ,triptolemos is always seen in his winged two-wheeled car 7sometimes drawn by serpents71 and usually holds ears of corn or a libation-bowl2 on ,b4,f4 vases he is bearded4 ,the other ,eleusinian deities1 on the late ,r4,f4 vases where they occur1 are marked by the large torches which they hold4 ,apollo on the ,b4,f4 vases almost invariably occurs in his character of ,kitharoidos1#aidg the lyre which he holds being of the form known as kithara 7on later vases it is a chelys72 he is therefore1 like all musicians1 fully draped in long chiton1 and his hair falls in curls on his shoulders1 or is gathered in a 4 ,unlike most gods1 he is at all times youthful and beardless4#aidh ,he is also represented holding a laurel-branch1 shooting an arrow from his bow1 or riding on a swan or ,gryphon1 or accompanied by a hind or other animal4 ,his sister ,artemis is draped in long chiton and mantle1 and often wears a high cap on ,b4,f4 vases2 it is not until the later ,r4,f4 period that she appears in hunting costume1 with knotted-up hair1 short chiton1 and high laced-up hunting-boots or endromides2 sometimes also a fawn-skin4 ,she is usually distinguished by her bow and arrows1 and is accompanied by a hound1 deer1 goat1 or other animal4#aidi ,hephaistos is usually bearded1#aiej and often appears in the workman's dress of the exomis or short chiton covering one shoulder1 and high conical cap2 his craft is further symbolised by a hammer or tongs1 or by the axe with which he brings ,athena forth from the head of ,zeus4 ,in the ,gigantomachia he uses his tongs with savage violence against an unfortunate opponent 7see p4 #ad74 ,ares is the typical ,greek fully-armed warrior1 bearded1 with helmet1 short chiton1 cuirass1 and greaves1 sword1 spear1 and shield2 but is not otherwise to be distinguished4 ,hermes1 as the messenger of the gods1 appears in appropriate costume of chlamys and petasos 7the ,greek travelling-hat71 and carrying the caduceus or herald's staff2 he usually wears high boots1 and on the earlier vases a short chiton in addition4 ,he is occasionally winged1 but it is more usual to find the wings attached to his petasos or boots4 ,on ,b4,f4 vases he is always bearded1 but not after the sixth century4 ,hestia1 who but rarely occurs on vases1 forms a pair to ,hermes in assemblies of the gods1 but is not distinguished further than by the ,olympian lotos-sceptre4 ,athena on the earlier ,b4,f4 vases is not always distinguished from an ordinary woman2 later1 the helmet1 spear1 shield1 and aegis become inseparable adjuncts of her costume1 the shield being always circular in form4 ,the spear1 which is sometimes her only characteristic1 is usually brandished or couched in her right hand1 and sometimes she holds her helmet in her hand 7see ,plate ,,xxxvi4 and p4 #dj74 ,her costume consists of a long girt chiton1 over which the peplos or small mantle is thrown1 and the aegis round her chest4 ,the latter is covered with scales and has a fringe of rearing serpents1 and sometimes1 on later vases1 the ,gorgon's head in the centre of the front4 ,on the ,panathenaic amphorae she is always represented in the ,promachos attitude1 at first to left1 but later to right1 brandishing her spear4 ,at either side of her are columns surmounted by an owl1 a cock1 or other emblems4 ,on the later specimens her figure is greatly elongated1 and her drapery is often elaborately embroidered with patterns in purple and white4 ,her statue when represented is usually a mere reproduction of the living type2 but on some later vases there seems to be a reminiscence of the ,parthenos or other statues 7see p4 #dj74 ,aphrodite is less individualised than any other deity1 at any rate on the earlier vases1 on which she is invariably draped in the ordinary manner4 ,she sometimes carries a lotos-headed sceptre 7as in ,judgment of ,paris scenes74 ,occasionally she is represented armed4 ,on the later vases the influence of fourth-century sculpture becomes apparent in the treatment of this1 as of other deities4 ,she now first appears nude 7when bathing or washing71 scantily clad or half draped1 and in transparent ,coan draperies1 through which the outlines of her form are visible4 ,she has no characteristic attribute1 but is frequently represented with a dove or other bird4 ,the types of ,eros have already been fully discussed 7p4 #de72 briefly it may be said that on the ,attic ,r4,f4 vases he is a full-grown nude youth with wings2 on those of ,southern ,italy the type is more boyish1 though never the child or putto of the ,hellenistic ,age1 and in ,apulia the androgynous type1 with hair arranged in feminine fashion and jewellery profusely adorning his person--earrings1 necklace1 chains1 and anklets--is invariable4 ,dionysos is distinguished primarily by the ivy-wreath which crowns his head2 he generally wears a long chiton and mantle1 but on the latest vases is frequently nude4 ,on all ,b4,f4 vases1 and often on those of the ,r4,f4 period1 he is bearded1 and it is only on those of ,southern ,italy that he appears as a somewhat effeminate youth1 half draped like ,apollo1 with rounded and graceful limbs4 ,his attributes are the rhyton or keras 7only on ,b4,f4 vases71 the kantharos1 a form of drinking-cup specially associated with him1 a vine-branch1 and the thyrsos2 he is accompanied by panthers and other animals1 or swings the limbs of a kid 774 ,usually he maintains a calm and unmoved attitude amid the wild revelries of his followers4 ,ariadne is undistinguished except by her association with him4 ,pan1 who only occurs on later vases1 is almost invariably represented as a beardless youthful figure1 with goat's horns1 but human legs2 when1 however1 he has goat's legs or feet1 he is usually called ,aegipan1 and in this aspect he assumes a somewhat dwarfish and more bestial aspect4#aiea ,satyrs are either elderly and bearded1 or youthful2 in all cases with pointed ears and horses' tails1 and undraped except for the fawn-skins which they frequently wear4 ,they carry a thyrsos1 drinking-cups1 or musical instruments1 according to the circumstances in which they are depicted4 ,in ,ionic art 7,vol4 ,i4 p4 #cec ff47 the ,satyrs invariably have horses' feet as well as tails1 and are usually of repulsive appearance4 ,the ,seileni are really aged ,satyrs1 depicted as bald or white-haired1 but not otherwise differentiated1 except in the case of ,papposeilenos1 who is covered with shaggy skin4#aieb ,the ,maenads are often represented 7especially on ,b4,f4 vases7 as ordinary draped women1 or only with the addition of a fawn-skin or panther-skin over their chiton2 they carry the thyrsos1 or frequently on later vases a large tambourine 7tympanon74 ,of the personages associated with the under-world1 ,hades is usually an elderly bearded deity of the ,zeus type4 ,he carries a sceptre1 often with ornamented top1 and sometimes from his ,chthonian association with ,dionysos holds a kantharos1 vine-branch1 or cornucopia4 ,kerberos has three heads only on two ,cacretan hydriae and the ,apulian under-world vases2 his usual number is two1 but once or twice he has only one4#aiec ,hekate has torches for her customary attribute1 and the ,furies1 who only occur on ,south ,italian vases1 wear short chitons with cross-belts and have rough hair1 in which and round their arms serpents are intertwined4 ,charon the ferryman is represented as an elderly man in short chiton and conical cap 7cf4 ,fig4 #abb71 but the grim ,etruscan ,charun is a repulsive and savage hook-nosed demon1 wielding a hammer4 ,thanatos and ,hypnos1 the two ,death-deities1 are both winged men1 but only the former is bearded 7cf4 ,fig4 #abc72 there is usually nothing forbidding in his appearance4 ,the question of the representation of ghosts or souls 77 has been fully discussed 7p4 #gb72 most commonly they are diminutive winged figures1 and in other cases they appear as in ordinary life1#aied but possibly they sometimes appear in the form of birds4#aiee ,gaia is represented half rising out of the earth1 a beautiful but not young woman1 with long hair 7,fig4 #aab72 or1 as ,pandora1 her head alone is seen 7see p4 #gc74 ,kybele occasionally appears1 with her attendant lion1 and an even rarer figure is ,asklepios1 with his serpent4 ,the ,eileithyiae1 who attend at the birth of ,athena1 are ordinary women1 distinguished by the appropriate gestures of their hands 7,fig4 #aac74 ,iris1 the female messenger of the gods1 appears winged1 with short chiton to allow of rapid movement1 and carrying the caduceus or herald's staff2 ,hebe1 on the other hand1 is an ordinary woman4 ,nike is usually to be distinguished from ,iris by her long flowing draperies1 even when in flight2 the various attributes usually associated with her have already been dealt with in detail 7p4 #hg74aief ,among personifications1 ,helios is a youthful figure in a chariot1 usually with rays round his head 7as on ,plate ,,liii472 in one or two cases his head is surmounted by a white disc2 ,selene appears on horseback1 and is sometimes indicated by a crescent moon2 where ,helios is accompanied by a goddess in a chariot1 it is probable that ,nyx 7,night7 is intended 7see p4 #gi74 ,the ,stars are represented as nude youths4 ,the ,aurae or breezes appear as girls floating through the air2 the ,hyades or rain-,nymphs are identified by their water-pitchers4 ,a group of winged gods and goddesses is formed by ,eos1 ,agon 7the masculine counterpart of ,nike71 ,eris1 ,lyssa 7,frenzy71#aieg and the various wind-gods1 such as ,boreas and ,zephyros4 ,these are found at all periods1 but the types vary4 ,eris1 who is only found on ,b4,f4 vases1 resembles the ,gorgons 7see below71 a somewhat grotesque figure with wings1 rough hair1 and short girt chiton2 ,lyssa only occurs on ,apulian vases1 and is akin in type to the ,furies--in two instances her figure is enclosed in a circle of rays of light1 perhaps to express the blinding effect of her action1 and she holds a goad4#aieh ,oistros1 a kindred figure1 rides in a car drawn by serpents1 and carries torches4 ,the type of ,agon is assimilated to that of ,eros on ,r4,f4 vases2 on those of earlier date 7if this is the correct interpretation7 he wears a short girt chiton and holds a wreath4 ,the ,wind-gods on ,b4,f4 vases wear the petasos and high boots1 and short girt chiton2 ,zephyros is represented as a youth2 and ,boreas1 who only occurs on ,r4,f4 vases1 wears ,thracian costume2 he is bearded1 and his hair is often rough and shaggy4 ,but these winged deities cannot always be identified with certainty4 ,among other personifications1 ,geras is a somewhat ugly old man2 the ,muses are distinguished by their various musical instruments2 and ,cities and ,countries are occasionally individualised4 ,for instance1 ,thebes1 on a vase by ,assteas1 wears a turreted crown2 ,sparta appears as a ,nymph on horseback2 and1 generally speaking1 their presence is usually indicated not only by inscriptions1 but by their relation to the scene depicted4#aiei ,river-gods1 such as ,achelos1 appear as human-headed bulls1 with horns1 but the last-named on a stamnos by ,pamphaios 7,e #dcg in ,b4,m47 has a fish-tail4 ,kastor and ,polydeukes usually appear on horseback and in hunting costume1 with petasos1 chlamys1 and spears2 on later vases they sometimes wear the pileus1 a conical cap which often appears as their emblem on coins4 ,herakles on earlier vases is always bearded1 and wears the lion's skin fastened round his waist with a belt1 the forepaws knotted round his throat#aifj2 the head covers his head like a cap1 leaving his face only exposed1 and under it he wears a short girt chiton2 he is armed with his club1 or bow and quiver1 and sometimes with a sword4 ,on ,r4,f4 vases he is often nude1 or only wears the skin in chlamys fashion4 ,on the earlier vases he is often less characterised1 and the same applies to the later ,r4,f4 vases1 on which he is frequently beardless2 in many cases he is only to be identified by his club4 ,theseus always appears as a youth1 and on the ,r4,f4 cups usually wears a short loose chiton of crinkly material 7cf4 ,vol4 ,i41 ,frontisp472 his arms are a sword1 or sometimes a club4 ,perseus wears the winged petasos or cap of darkness and high boots 7the shoes of swiftness71 sometimes winged2 he carries the wallet or 1 and sometimes the or curved sword with which he slew ,medusa4 ,pelops on the ,apulian vases is usually characterised as an ,oriental1 with richly embroidered costume and a tiara or embroidered cap4 ,the ,homeric heroes are only to be identified by inscriptions1 or by the actions in which they take part1 but ,paris is usually in ,oriental costume2 in ,judgment scenes he holds a lyre1 but when he takes part in combats he is attired as an archer1 with bow and quiver1 ,phrygian cap1 jerkin1 and trousers4 ,kekrops1 the mythical king of ,athens1 usually ends in a serpent's tail1 to denote his autochthonous origin2 ,midas has ass's ears2 ,orpheus is recognised by his lyre1 and sometimes wears1 as a musician1 feminine costume 7see below1 p4 #aig74aifa ,of other mythological types the ,amazons are1 of course1 always armed1 frequently in the ,oriental fashion1 with ,phrygian cap or kidaris and trousers2 their weapons are the crescent-shaped shield or pelta1 and a peculiar type of battle-axe1 the sagaris4 ,the ,giants on ,b4,f4 vases are ordinary armed warriors1 not even of exceptional size1 but in later times they often end in serpents1 as on the ,pergamene frieze4 ,typhon appears in this form on a ,chalcidian vase4#aifb ,geryon is represented in the manner described by ,pausanias 7vi4 #ai1 #a71 as 8three men joined together10 with distinctive arms and legs2 on ,chalcidian vases he has four wings1 and is only triple from the waist upwards4 ,the ,centaurs on the more archaic vases1 as on those of ,ionia1 appear as men with the body and hind legs of a horse attached behind2 by the middle of the sixth century they appear in the familiar form of a human bust conjoined with a horse's body4 ,the ,gorgons are always rendered in grotesque fashion1 with grinning faces and dishevelled hair intertwined with serpents2 they wear short girt chitons and high winged boots1 and have four wings1 the upper pair recurved2 usually on ,b4,f4 vases they appear in what is known as 8the archaic running attitude10 or1 as the ,germans more expressively phrase it1 8,knielaufschema10 the figures being represented as if kneeling on one knee4 ,the same grotesque type of face1#aifc with the protruding tongue and teeth1 appertains to the ,medusa's head or ,gorgoneion1 which is at all periods such a favourite decorative motive on vases1 either as the interior design of a ,b4,f4 kylix1 or as a medallion in relief on late vases4 ,the more beautiful type of ,medusa head is a creation of later date than most of the painted vases1 but in the medallions on ,italian vases much of the grotesqueness has disappeared4 ,much confusion at one time existed between the conceptions of the ,harpy and the ,siren1 both names being indiscriminately applied to the female-headed bird so common on vases of all periods4 ,but there is ample evidence for the representation of the ,harpy more in the style of the ,gorgons1 as a purely feminine type1 with the short chiton suited for rapid movement1 high boots1 and wings1 and often in the conventional running attitude4#aifd ,in this form they appear in one instance as feminine counterparts of the male ,boreades4#aife ,the ,siren types vary at different times1 the earlier ,sirens frequently having human arms4#aiff ,the ,sphinx is always a woman-headed winged four-footed beast2 sometimes on ,corinthian and ,ionic vases she wears a high head-dress4 ,the ,gryphon#aifg is a winged lion with eagle's beak1 and often with erect ears2 the winged ,pegasos and the bull-headed ,minotaur require no description4 99 99 99 99 99 ,turning now to personages concerned in events of every-day life1 we find great variety of costume and equipment1 especially at different periods and under different circumstances4 ,the vases1 in fact1 may be said to supply the most instructive locus classicus for ,greek dress and ornament1 as well as for minor details--such as weapons1 implements1 and furniture--of which they provide contemporary illustrations4 ,kings are usually distinguished by dignified flowing robes1 by the wearing of a wreath or head-dress1 or by the sceptre which they hold4#aifh ,oriental potentates wear the costume of their country1 with lofty ornamented tiaras1 or the ,persian kidaris or kyrbasia--a peaked cap decorated with fringes and lappets4 ,their dress is often very elaborate on the later vases4 ,actors and musicians both wear appropriate costumes4 ,the former1 who hardly occur except on the ,italian vases1 wear the dress of the ,old ,comedy1 with grotesque mask1 padded stomach1 loose jerkin1 and trousers4#aifi ,tragic actors are seldom represented2 but it has already been pointed out#aigj that in the setting of the mythological scenes on the vases of ,southern ,italy there is an unmistakable reflection of the tragic stage1 especially in the elaborate and somewhat exaggerated details of costume4 ,musicians invariably wear a long chiton1 over which on ,r4,f4 vases they sometimes wear a short loose garment called the 1 embroidered with patterns4#aiga ,there are also a few instances of male performers 7recognisable by their beards7 in distinctively feminine costume4#aigb ,athletes are invariably nude when performing their exercises1 except in the case of the armed foot-race 7see p4 #afd72 in the torch-race they seem to have worn high crowns2 on the reverse of late ,r4,f4 vases they appear inactive1 wrapped in mantles and conversing in groups4 ,hunters wear a distinctive costume of petasos and chlamys1 and usually carry two spears4 ,boys on horseback are usually represented nude1 and on ,ionic vases have their hair tied in a tuft behind4#aigc ,charioteers are always attired in a long girt chiton reaching to the feet1 which on ,attic ,b4,f4 vases is painted white4 ,they usually hold a goad in the right hand1 the reins in the left4 ,heralds wear the attributes of ,hermes--the petasos1 caduceus1 and high boots1 with a chlamys or short girt chiton4 ,warriors on the early and ,b4,f4 vases are equipped in a fashion which tallies to some extent with the descriptions of ,homer4#aigd ,their armour usually consists of a crested ,corinthian helmet1 a metal cuirass1 under which is a short chiton1 and greaves1 to which are sometimes added the thigh-coverings known as parameridia4 ,some peculiarities may also be noted--such as the hooked projection on the front of helmets on the ,ionic vases of ,daphnae and the ,clazomenae sarcophagi1#aige the linen cuirasses 7indicated by white paint7 sometimes worn on ,attic ,b4,f4 vases1#aigf or the heavy helmets with large cheek-pieces seen on the ,caeretan hydriae 7,plate ,,xxvi474 ,the ,r4,f4 vases often represent the fully armed ,athenian hoplite equipped in the same fashion as the ,b4,f42 but in these1 and more especially in the ,italian vases1 there is a tendency to omit much of the defensive armour4 ,cuirasses on ,r4,f4 vases are often decorated with patterns of scales or panelling4#aigg ,helmets on ,italian vases often assume a local character1 with conical crowns and two or three lofty plumes4#aigh ,of offensive armour1 the full equipment consists of sword1 spear1 and shield4 ,the two former call for no comment1 but the shields1 which are of two forms1 the circular ,argive or the indented oval ,boeotian1 present one feature of great interest--the devices with which they are adorned4#aigi ,investigations have failed to discern in these any symbolical or heraldic significance2 they are not appropriated to particular personages1 and all that can be noted about them is that they usually seem to suggest rapid movement4 ,thus we find an eagle or other flying bird1 wheels1 balls1 chariots1 a bent leg1 a serpent1 ,pegasos1 and so on4 ,the passage in the ,septem of ,aeschylus 7#chg ff471 in which the shield-devices of the combatants are described1 is of course familiar1 and similar allusions are not wanting in ,greek writers4#aihj ,they are universal on ,b4,f4 vases1 being painted in white on black ground1 and are often found on the earlier ,r4,f4 vases in black on red2 but they seem to disappear at an early stage of the ,r4,f4 period4 ,sometimes they consist only of letters of the alphabet1 as on a ,panathenaic amphora1 where ,athena's shield has the letters to 2 on a ,b4,f4 vase in the ,british ,museum are the letters 4#aiha ,other peculiar subjects are a winged boar1 two rams butting1 a figure of ,artemis1 a white-bordered square1 and a ladder4#aihb ,some of those on ,r4,f4 vases are somewhat elaborate--a ,seilenos1#aihc a fox eating grapes1#aihd an armed runner1#aihe or a warrior blowing a trumpet4#aihf ,a variation is when the device takes the form of an object in relief--a ,satyr-mask1#aihg ,gorgoneion1#aihh mask of ,phobos 7,panic71#aihi or a ,gryphon1#aiij or a rearing serpent#aiia2 or when a shield is surrounded by a fringe of serpents4#aiib ,shields frequently have a piece of fringed and embroidered stuff suspended from them1 which seems to have served as a protection to the legs4#aiic ,archers are depicted in ,oriental costume1 wearing peaked caps with long lappets and a close-fitting dress of leather1 consisting of jerkin and trousers1 usually embroidered with various patterns4 ,the different barbarian types which appear on vases--,persians1 ,scythians1 ,arimaspi1 and ,thracians--are more or less individualised1 especially on the ,r4,f4 vases4 ,such subjects1 indeed1 were not really popular until the ,persian wars4 ,the details of ,oriental costume have already been noted4 ,thracians on ,r4,f4 vases wear a long loose cloak known as the zeira and a cap of foxskin 7alopeke7 with long flaps1 which dress is also worn by ,boreas 7see above74 ,in the first half of the fifth century ,oriental costumes seem to have had a period of popularity among the fashionable young men of ,athens1 especially the knights2 and they are often depicted riding in the zeira or striped and embroidered dresses of outlandish style 7see pp4 #aff1 #agi74 ,egyptians are often realistically rendered1 with shaven heads1#aiid as are negroes and ,aethiopians4 ,the latter1 like all barbarians on vases1 usually wear trousers4 ,on the vases of ,southern ,italy details of local 7,osco-,samnite or ,messapian7 costumes often appear 7see p4 #ahj1 and ,vol4 ,i4 p4 #dhc71 especially in the case of helmets and breastplates worn by warriors on ,campanian vases4 ,on the earlier vases1 down to the end of the ,b4,f4 period1 there is frequently no distinction between the dress of men and women1 and to this fact may have been due the practice of painting the latter white to differentiate them4 ,both wear the long ,doric chiton1 with a mantle or himation thrown over it2 but men often wear the smaller chlamys over the shoulders in place of the himation4 ,women1 again1 on the earlier ,b4,f4 vases1 often appear without the himation1 and wear a long chiton tightly girt at the waist1 with a short apoptygma or fold falling over the breast4 ,on ,r4,f4 vases the ,doric chiton is sometimes worn by women1 open down one side 7known as the 74 ,men in the 8strong0 ,r4,f4 period wear a short loose chiton of fine crinkly linen4 ,generally in the ,r4,f4 period there is greater freedom of costume and variety of material and arrangement4 ,the ,ionic chiton is introduced about #ejj ,b4,c41 but its vogue does not seem to have lasted long at ,athens4 ,in place of the apoptygma women sometimes wear a loose over-garment1 known as the diplois4 ,on the earliest vases men are often nude1 with the exception of a loin-cloth or pair of tight-fitting 8bathing-drawers40 ,women are practically never nude on vases1 except when occupied in bathing or washing1 or in the case of hetairae and jugglers4 ,the draperies1 especially the chitons1 are often richly embroidered with patterns1 represented by incising and purple and white colours on the ,b4,f4 vases1 by black paint on the ,r4,f4 ,on the former the women's chiton is often covered with a sort of diaper pattern of squares1 filled in with circles and stars1 or the dresses 7both of men and women7 are covered with groups of dots and flowers in white and purple4 ,in the late fine ,r4,f4 period and on the vases of ,lucania and ,apulia the patterns become exceedingly rich and varied#aiie3 chequers1 wave-pattern1 palmettes1 stars1 egg-pattern1 maeander1 and all kinds of borders are introduced4 ,a further extension of the principle is seen in the introduction of borders of figures1 the most notable instances of which are on the ,franois vase and the ,hieron kotyle4#aiif ,on the former the technique is remarkable as a kind of anticipation of red figures on black4 ,aristotle speaks of a garment made for ,alkimenes of ,sybaris on which deities were represented between borders decorated with ,oriental figures1 the subjects being the sacred animals of the ,medes and ,persians4#aiig ,we may also cite the remarkable statue of ,demeter found at ,lykosura in ,arcadia1 the drapery of which is decorated with inlaid borders of figures1#aiih and the mantle of ,jason described by ,apollonius ,rhodius4#aiii ,the hair of women on ,b4,f4 vases1 and frequently also that of men1 usually falls loose or in tight curls on the shoulders1 with a fringe over the forehead4 ,on the early ,r4,f4 vases men often wear their hair looped up behind in the fashion known as the 1#bjjj which1 as we know from ,thucydides1 went out about #dhj ,b4,c4 ,women1 on the other hand1 have theirs knotted up and confined under a cap4 ,on later ,r4,f4 vases and on those of ,apulia their hair is usually gathered up in the opisthosphendone1 or in a broad coif or fillets1 and arranged in bunches of curls in front and behind4 ,on late ,r4,f4 vases a radiated diadem1 painted white1 is often seen4 ,men are seldom represented with long hair after #dhj ,b4,c41 but they usually wear a wreath or plain fillet4 ,head-coverings are rarely worn by ordinary persons1 with the exception of the traveller's and huntsman's petasos2 but ,oriental personages usually wear a high cap of some kind 7see above1 under ,barbarians74 ,jewellery--such as necklaces1 earrings1 armlets1 or anklets--is comparatively rare on ,b4,f4 vases1 but becomes more and more common1 until it reaches profusion on those of ,apulia4 ,bracelets and anklets are often in the form of serpents4 ,various forms of sandals or shoes are seen on later vases1 but on the black-figured the only kind of footgear is the high boot or endromis1 with a curved tag in front4 99 99 99 99 99 ,the extent to which physiognomical expressions are rendered on vases varies at different periods#bjja2 but it is not true1 as has sometimes been thought1 that the artists altogether ignored such expressions in their figures2 it was only in the earlier phases that this was the case1 and even during the fifth century the advance was timid and slow1 much more so than in sculpture4 ,as a rule1 in the same vase all the faces are alike1 and no physiognomical distinction can be drawn between gods and heroes1 or even between men and women1 except 7on the ,attic vases7 in the treatment of the eye4 ,on the ,b4,f4 vases the ordinary type of face has a long nose1 with a tendency to turn up1 a pointed chin1 deep rounded jaw1 and large eyes1 while the limbs are sinewy1 angular1 and tapering4 ,beards of some length are invariable for grown or elderly men2 otherwise distinctions of age are hardly observed until the ,r4,f4 period4 ,and as in sculpture of the archaic period all figures have the same conventional smile1 so on the ,b4,f4 vases gods1 heroes1 and mortals alike all pursue the actions in which they are engaged with the same unvarying expression4 ,the contrast of violent action and calm unmoved physiognomy is often quaint1 and almost grotesque4 ,indications of expression or sentiment are1 in fact1 rather implicit than explicit4 ,they are given in a sort of shorthand fashion1 just as ,polygnotos in his great paintings1 by some subtle touch--by a change of attitude or the action of a hand--indicated the emotion he wished to convey4 ,in the different treatment of the male and female eye there is1 no doubt1 an attempt to give to the man a more lively expression by means of the round pupil1 while the oval form of the woman's eye gives her a softer and less intense look4 ,the neglect of this principle on ,ionian vases1 where the male eye is oval1 seems to be a reflection of the effeminate tendencies of the ,ionian races4#bjjb ,at an early date we may observe a special treatment of the eye to represent it as closed1 in the case of a blind or dying person4 ,thus the ,phineus of the ,wrzburg cup has merely an angular mark in place of an eye1 representing the fall of the upper eyelid over the lower1 or the eye is represented as a vacant space without pupil4#bjjc ,the mouth is sometimes open to express pain or anger1 as in the ,nessos of the ,proto-,attic vase1#bjjd or the quarrelling heroes on a vase in the ,louvre 7,f #cdj74 ,it is also used to express the agony of a dying or injured person1 as on a vase with the outraged ,polyphemos1#bjje with which we may compare the dying warrior of the ,aegina pediment4 ,but all these are rather exceptions than the rule on ,b4,f4 vases4 ,after the time of ,polygnotos the influence of painting makes itself felt1 and we may recall that he perfected the advances of ,kimon in this respect4 ,not only did the vase-painters learn from him how to dispose figures en face or in three-quarter view1 but they also learned how to mark different expressions4 ,it has also been observed that the influence of tragedy must have been strong at this time4 ,the krater from ,orvieto in the ,louvre 7,vol4 ,i4 p4 #ddb7 is a good instance of the progress made in the fifth century in this direction4 ,on one side of the vase 7see ,fig4 #ajc1 ibid47 we have a dying ,niobid and a youth with face to the front and eyes closing2 on the other1 in the ,argonautic scene1 a warrior holding his knees1 with lower lip fallen1 giving him a melancholy expression1 and ,herakles with a face of sadness1 marked by wrinkles4 ,other figures show exactly in what direction they are looking 7compare ,kimon's figures 8looking down or upwards074#bjjf ,in the later developments of the ,apulian vases1 with their scenes drawn from tragic themes and represented in such dramatic fashion1 there is plenty of ability to represent emotion1 and in several cases it is accurately expressed1 as in some of the scenes from the sack of ,troy4 ,but in other cases1 as on the ,assteas vase in ,madrid 7,fig4 #ajg71 much of the old quaintness and grotesqueness is apparent4 99 99 99 99 99 ,it is also necessary to treat of the methods adopted by the artist for indicating locality or landscape in his pictures1 a thing which is often done in the briefest and most cursory manner4 ,the germs of this principle are perhaps to be observed 7as noted elsewhere1 ,vol4 ,i4 p4 #cab7 in the floral ground-ornaments of the ,corinthian and other early vases4 ,in the more developed vase-paintings a sort of shorthand system is customary1 a system which in some degree probably prevailed on the ,greek stage1 as on that of the ,elizabethan drama4 ,thus a temple or a house is represented by a column1 or two columns supporting a pediment1 a wood or grove by a single tree1 water by two dolphins swimming in the lower part of the design1 and so on4 ,a notable exception is in the palace depicted on the ,franois vase1 in which ,thetis awaits the arrival of the bridegroom ,peleus4 ,so much of the building is given in detail that it is even possible to attempt a restoration4#bjjg ,on the same vase the walls of ,troy are depicted1 with a double door studded with nails4 ,in the ,hydrophoria scenes 7p4 #agc7 considerable attention is paid to the architectural details of the well-house1 which was probably in the form of a small temple1 perhaps circular1 surrounded by a colonnade4 ,the water issues from spouts in the form of lions' heads1 and statues are often depicted in different parts of the building4 ,the ,franois vase also gives an illustration of a well-house1 with portico supported by columns4 ,the architecture is almost invariably ,doric4 ,in outdoor scenes rocks occasionally appear1 but only where they are necessary to the subject1 as in the ambuscade of ,achilles for ,troilos4 ,the branches of trees which frequently cover all the vacant spaces of the design on later ,b4,f4 vases1 especially in ,dionysiac scenes1 may be mainly intended for decorative effect4 ,in the ,r4,f4 period more and more attention is paid to landscape and architectural detail as the style develops1 but there is still a strong tendency to adhere to the shorthand system--a tendency which increases rather than disappears1 especially on the white-ground vases4 ,the artist's object was always to make his figures stand out1 as far as possible1 clear against the background1 and he therefore deliberately avoided anything likely to interfere with the desired effect4 ,landscape proper1 with indications of ground-lines1 rocks1 and trees1 was only introduced when the ,polygnotan influence became strong1 and the ,orvieto krater in the ,louvre may be once more cited as a good and early instance of a new development4 ,scenes in architectural settings are rare1 but an exception may be noted in the case of some of the late ,r4,f4 vases with scenes in women's apartments1 where careful attention is paid to the details of the door-ways1 even to the locks and key-holes4#bjjh ,for the rest1 it usually sufficed to indicate the palaestra by a strigil or oil-flask suspended1 or a pair of jumping-weights2 musical gatherings by a lyre or a flute in a case2 banqueting-rooms by cups and other vases hung up1 or by rows of boots4 ,similarly1 women's apartments are represented by a window1 door1 or column1 or by sashes1 hoods1 mirrors1 wreaths1 and wool-baskets scattered about4#bjji ,in the vases of ,southern ,italy this principle is carried almost to excess4 ,not only is the old idea of rosettes and flowers scattered about the scene revived1 but the whole surface of the design is often covered with miscellaneous objects1 such as balls1 sashes1 and mirrors4 ,on the ,apulian vases the use of a double line of white dots to indicate the ground is invariable1 and loose stones are scattered about where it is intended to be rocky4 ,flowers grow about in rich profusion4 ,in the mythological scenes an elaborate architectural background is frequent1 and altars1 tripods1 and columns serve the same end2 the heroa or shrines and other forms of tomb in the sepulchral scenes have already been described4 ,in athletic scenes1 especially on the reverse of the kraters1 a ball1 a stylus and tablets1 or a pair of jumping-weights are suspended in the air to indicate the palaestra2 and on ,lucanian vases subjects of a military nature are suggested by a suspended shield only partly visible4 ,the 8courting-scenes0 on ,apulian vases usually have a representation of a window in a corner of the design4 #b4 ,,arrangement ,,of ,,subjects ,the next point to be considered is the method of arrangement and composition of the figures in general on ,greek vases4 ,as regards the ,mycenaean1 ,geometrical1 and other early wares1 they may be left out of consideration1--firstly1 because their ornamentation is mainly composed of decorative motives or single figures of animals2 secondly1 because even where compositions of figure subjects are found1 as on the great ,dipylon vases1 the method of arrangement is still tentative and without system4 ,the figures are arranged in haphazard groups and bands1 and all the remaining spaces are filled in with ornament4 ,the first attempt at an organised method of decoration is seen in the vases of ,corinth and ,ionia1 and is exemplified principally in the arrangement of the friezes of animals4 ,roughly speaking1 there are two main tendencies1 one characteristic of each line of development--the procession and the heraldic group4 ,both are essentially ,oriental 7i4e4 ,assyrian7 in origin1 the prototype of the latter being the familiar motive of the two animals and the sacred tree1 which is so frequently found on ,mycenaean gems1 and is best exemplified in the famous ,lion ,gate of ,mycenae4#bjaj ,yet this typically ,mycenaean and ,oriental motive was not the one adopted by its natural inheritors1 the ,ionians1 and it is in ,dorian ,corinth that we find its reflection on the painted vases4 ,on one ,corinthian vase#bjaa it actually occurs in the form of a conventional palmette and lotos-pattern 7representing the tree71 on either side of which two lions are confronted in true ,mycenaean fashion4 ,later1 it becomes a common device on the necks of vases1 the ornament taking the form of a decorative combination of palmettes 7see below1 p4 #bbf74 ,even when on ,corinthian vases a whole frieze of animals is found1 there is always a central 8heraldic0 group of two1 towards which the whole seems to lead up1 or else the frieze is broken up into several isolated heraldic groups4#bjab ,but on the ,ionic vases1 as on those of ,rhodes and ,naukratis1 we have over and over again regular processions of animals all facing the same way1 or1 as at ,daphnae1 solemn dances of women1 similarly placed and joining hand-in-hand 7see ,plate ,,xxv474 ,in the developed ,b4,f4 vases the same principles are observed to some extent1 especially where friezes of animals are introduced2 but there is much greater freedom of treatment within the limits of the field available4 ,generally speaking1 however1 all designs on ,b4,f4 vases may be regarded as following one of the three methods of architectural composition--the frieze1 the pediment1 or the metope4 ,the frieze style1 which is seen on the shoulders of hydriae1 the exteriors of kylikes1 and sometimes on the bodies of amphorae1 oinochoae1 or lekythi1 implies a series of figures1 all turned in the same direction1 but without any central point for the action1 as in processions of warriors1 dances of ,satyrs and ,maenads1 and so on4 ,in the pediment style of composition the essential feature is a centre-point1 in which the interest of the subject is concentrated1 as in such scenes as the ,birth of ,athena#bjac or ,theseus killing the ,minotaur4#bjad ,the central group is then flanked by figures immediately interested in the action 7,eileithyia and ,hephaistos1 or ,ariadne1 in the instances quoted2 ,athena and ,iolaos at the labours of ,herakles72 and the ends of the pediment1 so to speak1 are occupied by groups of bystanders1 often nameless and uncharacterised1 who are in fact only included to fill up the space required4 ,the metope style1 which only admits of three1 or at most four1 figures1 was found convenient for all the vases with subjects on panels1 where space was restricted1 and also on the kylikes of the 8minor artist0 class1 on which a limited use of figures was preferred1 and on those of later date where the space was mainly taken up by the large eyes4 ,but in all these cases--friezes1 pediments1 or metopes--one thing was held to be essential3 the correspondence of the two halves of the design 7except in friezes71 producing perfect symmetry in the composition4 ,lastly1 there are a limited number of cases where a single figure was found sufficient1 as in the interior of kylikes1 on the circular pinakes1#bjae and sometimes on the vases where the large eyes take up most of the space4#bjaf ,subordinate designs1 bordering the main design of an amphora above or below1 or decorating the cover1 are usually in the form of animals or chariot-races1 in the frieze style of composition4 ,similar friezes are sometimes also found 7in the old ,b4,f4 method7 on ,r4,f4 vases1 and even on the kraters of ,southern ,italy4 ,the earlier ,r4,f4 vases preserve the principles of the preceding period2 and1 in regard to the kylikes1 the system of decoration has been discussed in detail elsewhere 7,vol4 ,i4 p4 #dbg74 ,in all of them we see particular attention paid to arrangement1 and the variations in the principles of composition form one of our guides in determining the development of the style4 ,in the amphorae and hydriae of the transition from the severe to the strong period the number of figures employed in one scene was diminished1 while they became larger in their proportions and were treated with more care2 the usual number on the ,nolan amphora is one or two each side4 ,on the smaller vases1 such as the oinocho1 the number of the figures never exceeds three4 ,sometimes the hydriae have an elongated composition on the shoulder1 containing a frieze of several figures#bjag2 but usually the design runs into both shoulder and body4 ,designs in framed panels are rare1 except on the earlier amphorae and hydriae1 and on the column-handled kraters4 ,the latter are unique in preserving the older methods of decoration right through the ,r4,f4 period down to the fourth-century specimens from ,southern ,italy4 ,the influence of ,polygnotos and his contemporaries brought about1 as we have seen1 a great change in the arrangement of the compositions1 by the introduction of landscape and perspective1 and the depicting of figures at different levels4 ,this new development was subsequently exemplified in the large vases of ,kertch and ,apulia1 but in the late fine period at ,athens small vases with single friezes or simple subjects were the rule4 ,in the pyxides and other vases with frieze subjects the figures are often crowded together and of dwarfish proportions 7,plate ,,xlii4 fig4 #c74 ,a return to the old system of several friezes is seen where the figures are arranged in two or more rows divided by bands of ornaments1 as in the ,meidias hydria1 or the early ,apulian and some of the ,lucanian vases4#bjah ,the earlier vases of ,southern ,italy1 especially those of ,lucania1 preserve in some measure the spirit of the best ,r4,f4 vases1 in the arrangement of the figures1 and at all times the composition is one of the best features of these vases2 but in the later examples the purely decorative element obtrudes itself2 single figures of little more than ornamental character abound1 and the old preference for mere ornament asserts itself1 the patterns encroaching all over the scenes4 #c4 ,,ornamental ,,patterns ,although by far subordinate to the subjects in point of artistic or archaeological interest1 the ornamental patterns which are employed on the vases are by no means without their value in both respects4#bjai ,they are1 indeed1 intimately interwoven with the subjects themselves1 which they frame in1 relieve1 or embellish4 ,numerous vases are decorated with ornaments only1 even in the advanced stages of the art2 and this is1 of course1 an extremely common occurrence in the earlier fabrics1 such as the ,geometrical and ,rhodian4 ,others1 again1 are only ornamented in the simplest fashion1 with plain bands of red left to show through the black varnish round the body or foot4 ,that the artist took a pride even in this form of ornamentation is shown by the fact that some potters1 such as ,nikosthenes and the 8minor artists10 have left their names on vases only decorated with simple patterns4 ,from the very beginning of ,greek vase-painting there may be observed an endeavour to dispose the ornamental patterns in accordance with some system2 and even though in some cases1 as in the ,cypriote ,geometrical vases1 there is an offence against the canons of art1 yet at all periods the prevailing effect is one of symmetry and taste4 ,it may be thought that in some respects there is a poverty in the variety of ornaments employed--as compared1 for instance1 with mediaeval art2 but it should be remembered that--as their architecture shows--the ,greek principle was to achieve the highest results within a limited sphere4 ,their system was conventional1 but its conventions are forgotten in the artistic effect that it produces4 ,it is on the earliest vases that the greatest variety and richness of ornament occurs2 as the art is developed the ornamentation becomes more and more subsidiary1 until on the vases of the finest ,r4,f4 period it has almost disappeared4 ,but in the later phases it again comes to the fore1 tending more and more to obscure and finally to supersede the subjects4 ,to set forth as briefly as possible the growth and development of ,greek ornament1 both as a whole and in the case of individual motives1 will be the object of the succeeding summary4 ,it will be found advisable to treat the subject in a twofold aspect1--firstly1 dealing with individual forms and their development2 and1 secondly1 in their relation to the decoration of the vases and their subjects1 as exemplified in the different periods and fabrics4 ,various theories have been propounded as to the origin of the ornaments found on ,greek vases4 ,some have seen in the patterns architectural adaptations1 suggested by the ornamentation of the different members of a temple1 such as the maeander1 egg-and-tongue pattern1 or the astragalus1 just as the disposition of the subject is often a reminiscence of the frieze or metopes4 ,but this is no real explanation4 ,in the first place1 the patterns are found on vases at a period when they were hardly as yet used in architecture2 and1 secondly1 their use on vases and in architecture must undoubtedly be traced to a common source4 ,others1 again1 have regarded them as conventional symbols1 the kymation or wave-pattern representing water1 a flower or rosette the ground on which the figures stand1 and so on4 ,or1 again1 it has been thought that they were originally derived from textile patterns1 being produced mechanically by the ways in which the threads ran in the loom1 whence they were applied with deliberate artistic intention to the surface of a vase4 ,it is1 in fact1 impossible to put forward any one theory which will account for the whole system of decorative ornament4 ,as has been pointed out in our introductory chapter1 many of these patterns are not only spontaneous1 but universal in their origin among primitive peoples2 every nation has begun with its circles1 triangles1 spirals1 or chevrons4 ,we are also1 in regard to the ,greeks1 met with the remarkable fact that in its earliest form their painted pottery presents a very elaborate and highly developed system of ornamentation--purely geometrical1 it is true1 yet none the less of an advanced character4 ,it is a composite system1 formed partly from ,mycenaean and pre-,mycenaean local elements1 and partly from the decorative ideas introduced by the ,dorians from ,central ,europe2 subsequently the range of ,greek vase-ornament was yet further enlarged by the introduction of vegetable patterns1 the palmette1 the lotos-flower1 and the rosette1 which are due to the growth of ,oriental influences1 both from ,egypt and from ,assyria4 99 99 99 99 99 ,illustration3 ,,fig4 #aci4 ,,maeander ,,or ,,embattled ,,pattern4 ,illustration3 ,,fig4 #adj4 ,,maeander ,,or ,,key-,,pattern 7,,attic74 ,in order to deal with the various ornaments and patterns in detail1 it may be found convenient to divide them under three heads--rectilinear1 curvilinear1 and vegetable or floral4 ,of the first class the most consistently popular is the typically ,greek pattern known as the maeander1 key1 or fret pattern4 ,it first appears with the ,geometrical style1 in which it plays an important part1 often covering a large proportion of the surface of a vase1 arranged in broad friezes4 ,three varieties are found--a simple battlement pattern 7,fig4 #aci71 and the slightly more elaborate forms1 ,fig4 #adj1 and the pattern given in ,vol4 ,i4 p4 #bhc1 ,fig4 #hc4 ,in the ,boeotian ,geometrical1 ,phaleron1 and ,proto-,corinthian fabrics it is seldom found1 or only in a debased form1 as maeander but one or two forms occur in the 8,rhodian0 and 8,samian0 fabrics of ,ionia2 one of these is given in ,fig4 #ada1 and another consists of squares of the same alternating with crosses or stars in panels4 ,we meet with a most interesting development of the latter variety in the vases of the so-called ,pontic class and on the ,clazomenae sarcophagi1 where an elaborate maeander pattern1 usually in two rows1 is interspersed with stars or rosettes 7,fig4 #adb74 ,it thus becomes almost a distinguishing characteristic of the later ,ionian fabrics4 ,illustration3 ,,fig4 #ada4 ,,maeander ,,or ,,key-,,pattern 7,,ionic74 ,illustration3 ,,fig4 #adb4 ,,maeander ,,and ,,star ,,pattern 7,,later ,,ionic74 ,in the ,attic ,b4,f4 vases there is a return to simplicity4 ,here we find it for the most part in the form ,fig4 #adj above1 and its usual position is below the designs on the red-bodied amphorae2 but it is sometimes found on other vases1 as above the panels on the bodies of hydriae or oinochoae4 ,in the ,r4,f4 period its development is most important for determining the succession of the kylikes1 on which it almost becomes a date-mark1 so regular is its evolution4 ,this has1 however1 been already dealt with in the chapter on the history of the style 7,vol4 ,i4 p4 #daf74 ,after the severe period it is of frequent appearance on all forms of vases1 the kylix1 amphora1 krater1 and pelike in particular2 the usual arrangement is a group of three to five maeanders1 either of the simple ,fig4 #adj type1 or of a more complicated form 7,fig4 #adc71 divided by rectangular panels or squares composed of chequers1 or of crosses 7diagonal and vertical7 with dots or strokes between the arms4#bjbj ,a curious variety of the maeander is used by ,duris2 it consists of a double intersecting maeander interspersed with squares#bjba 7,fig4 #add74 ,illustration3 ,,fig4 #adc4 ,,maeander 7,,attic1 #e,,th ,,century74 ,the invariable place for this ornament is below the design on the large vases1 and it is usually continued the whole way round 7except on the earlier ,nolan amphorae72 it is also found on the ,r4,f4 and white lekythi along the top of the design4 ,it is always painted in black on the clay ground4#bjbb ,illustration3 ,,fig4 #add4 ,,maeander 7,,attic1 ,,about #dhj ,b4,c474 ,a similar form of maeander prevails on the vases of ,southern ,italy 7except in ,campania72 it is found on the krater1 amphora1 lebes1 kotyle1 etc41 and is almost invariable4 ,but there is one unique variety which is occasionally found on the great ,apulian kraters1 as on ,f #bgh in the ,british ,museum2 the type is that of the pattern in ,fig4 #add1 but the maeander is represented in perspective1 being painted in white on the black1 the shaded edges left in the colour of the clay4 ,of patterns akin to the maeander1 the so-called swastika or hook-armed cross1 #afbaswastika occurs in panels on the ,geometrical vases1 but subsequently it is only found as a ground-ornament in the field1 as frequently at ,naukratis1 in ,rhodes1 and elsewhere4 ,it is1 strictly speaking1 to be regarded as a fragmentary piece of maeander1 without any of the symbolical meaning which it bears in the art of northern nations1 with whom it was the emblem of the ,scandinavian god ,thor4 ,another pattern1 #affcmaeander or #afijmaeander which may be called a variety of the maeander1 is frequently found as a continuous border on early vases1 such as the ,phaleron and ,proto-,corinthian wares1 and occasionally in the ,b4,f4 period4 ,next there is the chevron1 zigzag1 or herring-bone pattern1 consisting of systems of ,v-shaped patterns1 arranged in two ways1 either #bjae;chevron or #affdzigzag these patterns are practically only found on the earlier fabrics of ,greece and ,cyprus1 or on the native wares of ,apulia4 ,on the incised vases of the early ,bronze ,age found at ,hissarlik and in ,cyprus this is the prevailing motive1 the lines of zigzag being either single1 or arranged in groups of four or five parallel3 ,illustration ,on the ,geometrical vases such patterns are of very frequent occurrence1 and panels or bands of chevrons arranged vertically1 #bjae;chevron or #bjbbzigzag occur in many instances 7,fig4 #hc74 ,these groups of chevrons or zigzags are also a distinguishing mark of the ,boeotian ,geometrical fabrics 7cf4 ,fig4 #he72 they occur to a lesser extent on the ,melian1 ,proto-,corinthian1 and ,early ,corinthian vases1 and even in the ,chalcidian fabrics4 ,they are either employed as ground-ornaments to fill in spaces1 or as panels forming part of the subsidiary decoration4 ,a variation1 or rather development1 of the chevron1 sometimes employed as a ground-ornament on early ,ionic vases1 is composed of a cross1 #bbba;cross with sets of chevrons between the arms4 ,illustration3 ,,fig4 #ade4 ,,net-,,pattern4 ,diagonally or directly intersecting lines form another universal element of early decoration1 varying from a simple arrangement of cross lines #bbedmesh to an elaborate diaper-pattern1 and in such forms found even in later times4 ,beginning with the simple intersecting lines1 or bands filled in with hatching1 of the primitive incised vases1 further developed in the white slip ware of ,cyprus 7,vol4 ,i4 p4 #bdc71 we next come to their use on the vases of the ,geometrical period1 both in ,greece and in ,cyprus4 ,the variety of these patterns is so great that they can hardly be described in any detail2 the usual method of treatment is in a band or panel of lozenges1 squares1 or triangles1 filled in with a reticular pattern formed by the short intersecting lines4 ,sometimes dots are inserted in the spaces to enrich the general effect4 ,some very good examples of these patterns are to be seen in the ,geometrical vases of ,apulia 7p4 #cbg74 ,in the ,b4,f4 period plain bands or panels of intersecting lines are not infrequent2 sometimes small amphorae or lekythi are decorated entirely in this fashion4#bjbc ,a variation of the motive is the border of network which often surrounds the panels on hydriae or oinochoae1 in which the points of intersection are ornamented with studs1 resembling the knots of a net 7,fig4 #ade74 ,it is also frequently found on the later ,corinthian vases4 ,chequer-patterns are often used with great effect1 at all periods from the ,geometrical vases down to the fourth century1 their usual position being on the neck of a vase 7,fig4 #adf74bjbd ,illustration3 ,,fig4 #adf4 ,,chequer-,,pattern4 ,illustration3 ,,fig4 #adg4 ,,prototype ,,of ,,geometrical ,,tangent-,,circles4 ,the circle as an ornament occurs comparatively rarely1 but there are two exceptions4 ,in the ,geometrical vases we find a use both of concentric circles and of rows of single circles joined by straight lines forming tangents1 a motive which is obviously derived from the ,mycenaean spirals 7,fig4 #adg74 ,secondly1 in the ,graeco-,phoenician pottery of ,cyprus1 especially in its later phases and in the smaller vases1 such as the jugs and lekythi1 the decoration is practically confined to systems of concentric circles1 of a character quite peculiar to this fabric4#bjbe ,the chief feature of these systems is that the ordinary principles of vase-decoration are entirely ignored1 and the circles1 arranged in series of five or six1 forming a band about three-quarters of an inch in width1 are placed not only at right angles to the axis of the vase1 but parallel to it4 ,the illustrations in ,plate ,,xiii4 and ,fig4 #ge 7,vol4 ,i4 p4 #bea7 will give a better idea of the arrangement than any description2 it is clear that the circles were easily produced by applying a fine brush to the vase while turning on the wheel1 first in its natural position and then on its side4 ,artistically1 of course1 the principle is a wrong one1 and this is most glaringly conspicuous in the barrel-shaped lekythi1 in which the axis of the vase is regarded as horizontal rather than vertical4 ,groups of small concentric circles are also arranged vertically or otherwise on the bodies and necks of vases4 ,illustration3 ,,fig4 #adh4 ,,spirals ,,under ,,handles 7,,exekias74 ,illustration3 ,,fig4 #adi4 ,,wave-,,pattern 7,,south ,,italy74 ,the spiral1 which forms such a conspicuous element in ,mycenaean decorative art1 appears again prominently in a class which1 as we have seen 7,vol4 ,i4 p4 #cjb71 owes much to that source--the ,melian amphorae4 ,systems of spirals are arranged to fill the spaces at the sides of the design1#bjbf especially in combination with floral ornaments and reticulated lozenges2 and the same feature may also be observed in the ,proto-,attic vases4 ,it occurs similarly1 combined with a flower1 on the ,samian or ,fikellura vases 7,vol4 ,i4 p4 #ccg74 ,in later times the spiral passes from the sphere of inorganic to that of organic ornament1 being combined in various ways with vegetable patterns1 and merging in the tendril or volute4 ,but it occasionally reverts to its old form1 notably in the red-bodied amphorae of ,exekias1#bjbg who1 in place of the usual palmette-and-lotos ornament under the handles1 contrives an elaborate system of large spirals to fill the space between the designs 7,fig4 #adh74 ,a variation of this is the figure-of-eight ornament1 #aecd;figure-eight sometimes continuous1 #aefa;continuous figure-eight which is found on vases of the ,proto-,attic class1 such as the ,burgon lebes in the ,british ,museum 7,fig4 #hg74 ,illustration3 ,,fig4 #aej4 ,,scale-,,pattern 7,,daphnae74 ,the wave-pattern or kymation moulding1 shown in ,fig4 #adi1 is one which constantly occurs in ,greek architectural decoration1 but on the vases at any rate seems to be found only at a late period4 ,on the ,campanian vases it is the regular border below the design2 it is also found on those of ,lucania and ,apulia4 ,the crescent is only found on early ,ionic vases1 including those which have been attributed to a ,samian origin 7,vol4 ,i4 p4 #ccf ff471 and some of the ,daphnae and ,naukratis fragments1 which probably borrowed it from ,samos2 it is arranged in bands alternating in colour1 black or purple and white4 ,another typically ,ionic ornament is the scale-pattern1 which occurs on many of the so-called ,rhodian vases1 and also on those from ,daphnae 7,fig4 #aej74 ,in the former it is produced by means of incising on the black varnish1 the alternate scales being often coloured purple2 but in the latter it is painted in outline4 ,curiously enough1 it also occurs in the incised form on an early group of ,corinthian vases 7,plate ,,xix4 fig4 #c74 ,like other patterns1 it can be traced to a ,mycenaean origin1 being very common in that style4 ,subsequently it occurs but rarely1 but is sometimes employed on the neck or shoulder of a vase4#bjbh ,it differs from most other patterns in that it does not lend itself to the panel or frieze1 but covers a surface of indefinite extent4 ,it is also known as the 8imbricated0 pattern1 from its likeness to overlapping tiles 7imbrices74 ,illustration3 ,,fig4 #aea4 ,,guilloche ,,or ,,plait-,,band 7,,ionic71 ,,from ,,the ,,euphorbos ,,pinax4 ,illustration3 ,,fig4 #aeb4 ,,tongue-,,pattern 7,b4,f4 ,,period74 ,illustration3 ,,fig4 #aec4 ,,egg-,,pattern 7,r4,f4 ,,period74 ,the guilloche or plait-band 7,fig4 #aea7 is characteristic of early fabrics1 such as those of ,naukratis and ,samos1 the ,clazomenae sarcophagi 7,plate ,,xxvii471 and the small ,proto-,corinthian lekythi1 but is not often found in later times4#bjbi ,it is typically ,ionic1 and seems to be derived from ,mycenae 7cf4 ,a #bji in ,b4,m474 ,lastly1 there is the so-called tongue-pattern1 which is exclusively used as an upper border to designs4 ,on its first appearance in the ,geometrical vases it is rectilinear in form1 #aefctongue-pattern and formed of alternating bars2 but from the beginning of the sixth century onwards it assumes a curvilinear form1 all the tongues pointing downwards1 broader1 and close together1 as in ,fig4 #aeb4 ,in the ,daphnae vases and the later ,corinthian wares it is treated in polychrome fashion1 black1 purple1 and white alternately4 ,on the lip and shoulders of ,caeretan hydriae it appears in an exaggerated form1 painted red1 with black edges1 as on ,plate ,,xxvi4 ,in the ,attic ,b4,f4 vases it forms the invariable upper border of the designs1 below the necks of the amphorae and hydriae1 and is also used as a border to the interior designs of the kylikes2 here1 too1 purple is often applied to the alternate tongues4 ,occasionally the rectilinear form reappears4 ,in the ,r4,f4 period it changes its character again1 and the tongues become short and semi-oval in form1 with black centre and narrow outlined edge2 in this form it is usually described as an egg-pattern 7,fig4 #aec74 ,it is found in the smaller hydriae1 and in many other shapes above or below the designs2 also round the lip of the vase4 ,the same form and arrangement obtain in the ,south ,italian vases1 especially in ,apulia and ,lucania1 except that a dot is often placed between each pair of tongues4 ,in some cases it approximates closely to the egg-and-dart1 as on ,f #agi in the ,british ,museum4 ,both tongue and egg-patterns are often ranged round the base of the handles4 ,the egg-and-tongue1 with its variants1 is a typically ,ionic architectural pattern2 hence its non-appearance in ,attic vases before the fifth century4 ,in later ,roman pottery 7,chap4 ,,xxiii47 it becomes very common4 ,the variety known as the ,lesbian kymation is found in a few late instances4#bjcj 99 99 99 99 99 ,having surveyed the various types of inorganic patterns1 whether rectilinear or curvilinear1 we now come to the consideration of those which are not only derived from vegetable ornament1 but still preserve1 in greater or less degree1 a naturalistic character4 ,to begin with the simple leaf-ornament1 which is of too conventional a type to associate with any particular plant1 this occurs most frequently in the form of of a calyx1 placed round the lower part of the body1 immediately above the foot1 so that the leaves radiate from the foot1 pointing upwards4#bjca ,this ornament begins at a very early period1 and is found in most fabrics1 continuing down to the latest stages4 ,it is1 however1 specially associated with the ,b4,f4 period1 in which it is invariable on the large vases with a more or less marked stem1 the amphorae1 hydriae1 and kraters4 ,on the smaller ones1 however1 it does not occur4 ,in the 8affected0 ,b4,f4 amphorae 7,vol4 ,i4 p4 #chh7 the calyx is double1 with two tiers of rays4#bjcb ,an arrangement of four leaves saltire-wise in a panel sometimes occurs on the ,geometrical vases1 a remarkable instance of vegetable ornament in this style 7cf4 ,vol4 ,i4 p4 #bhb72 an analogous pattern is also found on many early ,corinthian aryballi 7,vol4 ,i4 p4 #cad2 ,b4,m4 ,a #ajhf ff471 the leaves not being united at the base1 and usually interspersed with reticulated or other motives4 ,illustration3 ,,fig4 #aed4 ,,leaf- ,,or ,,chain-,,pattern4 ,another form of leaf-pattern is of rare occurrence1 and is found now and then on ,attic vases2 in this small leaves are joined together in a sort of ribbon or chain-pattern#bjcc 7,fig4 #aed74 ,the peculiarity of this ornament is that even in the ,b4,f4 period it is red-figured in technique1 being left in the colour of the clay with a background of black4 ,illustration3 ,,fig4 #aee4 ,,ivy-,,wreath 7,b4,f4 ,,period74 ,the ivy-leaf was not adopted as a decorative pattern before the middle of the sixth century2 it seems to be ,ionic in origin4#bjcd ,single large leaves occur on the necks of ,b4,f4 lekythi1 on late ,ionic ,b4,f4 vases1 and to a considerable extent on the imitations made in ,etruria4#bjce ,these are usually treated in a very naturalistic manner4 ,double rows of smaller leaves1 forming a straight wreath1 constantly occur as borders to the panels on ,b4,f4 hydriae1 kraters1 and oinochoae 7,fig4 #aee72 and similar ivy-wreaths are found along the flat edges of the flange-shaped handles on the larger panel-amphorae1 as well as on the volute-handles of kraters4#bjcf ,these patterns preserve their vogue in the ,r4,f4 amphorae of the earlier period1 and in the kraters of ,lucania1 and it should be noted that they are always painted in the ,b4,f4 method 7black leaves on red ground7 except in the vases of ,apulia and ,paestum4 ,but as a rule on the ,south ,italian vases the ivy-leaf is treated in a naturalistic manner1 with tendrils and berries1 occupying a large panel on the necks of the column-handled kraters1 or forming a border on the lip of the vase 7,fig4 #aef74bjcg ,the vine as an ornament is very rare1 but there is a good instance on a late phiale in the ,british ,museum 7,f #ejc71 where it is treated in a very naturalistic manner1 forming the sole decoration of the interior2 it is also of frequent occurrence on the vases from the ,kabeirion at ,thebes 7,vol4 ,i4 p4 #cia74 ,the pomegranate occurs only on the ,cyrenaic cups 7,fig4 #ic71 where it forms a continuous frieze of buds round the exterior1 united by interlacing lines4 ,the acanthus is only introduced quite late 7except where it appears as an ornament on the top of a stele71 and is found on the necks of kraters and other large ,apulian vases1 forming a rich and luxuriant mass of foliage1 often with a flower in the centre1 on which rests a female head4 ,myrtle or olive-wreaths occur at all times1 especially on the flat rim of the mouth of a vase2 the myrtle seems to be a typically ,ionic motive1 and is found at ,daphnae1 ,samos1 ,rhodes1 and on the ,caeretan hydriae4#bjch ,in the ,rhodian vases it is either roughly painted in black on red1 or else in red and white on a black ground4 ,it was also adopted at ,athens--e4g4 by ,nikosthenes4 ,laurel-wreaths form the regular decoration of the neck in the bell-shaped kraters and wide-bellied amphorae of the late ,r4,f4 period and the decadence 7,fig4 #aeg74 ,these wreath-patterns on the late vases1 it should be noted1 are either treated in ,r4,f4 technique or painted in opaque white on the black varnish4 ,they are often drawn with great care and accuracy4 ,illustration3 ,,fig4 #aef4 ,,ivy-,,wreath 7,,south ,,italian ,,vases74 ,illustration3 ,,fig4 #aeg4 ,,laurel-,,wreath 7,,south ,,italian ,,vases74 ,the history of the development of the palmette 7or honeysuckle71 the lotos-flower and bud1 and of continuous foliated patterns in general1 has been skilfully treated by ,riegl4#bjci ,to write a complete account of this class of ornamentation would be impossible within the limits of the present work2 only a few main features can be noted1 to show the form the patterns assume at different periods1 so universal is their appearance on vases of all shapes and dates4 ,the lotos-flower or bud is1 of course1 a motive of purely ,oriental origin1 which found its way into ,greece probably through the medium of ,phoenicia2 the palmette1 on the other hand1 is purely ,greek1 although it may possibly be derived from a ,mycenaean prototype1 the ,vallisneria spiralis plant1 which is so frequently found on ,mycenaean vases 7,fig4 #aeh74bjdj ,they are found not only as single motives1 isolated or repeated1 but also combined together1 or forming part of elaborate systems of floral ornament1 with stems and tendrils often conventionalised1 which link them together1 either in continuous bands or in groups occupying a limited space1 on the neck or under the handle4 ,illustration3 ,,fig4 #aeh4 ,,vallisneria ,,spiralis 7,,mycenaean74 ,illustration3 ,,fig4 #aei4 ,,lotos-,,flower ,,on ,,cypriote ,,vase4 ,in the ,graeco-,phoenician pottery of ,cyprus the lotos-flower often appears in a purely ,egyptian form 7,fig4 #aei1 from ,c #afe in ,b4,m471 but it is more often combined with and almost merged in some elaborate system of patterns too complicated to describe or define by any name4#bjda ,but in ,greek vase-paintings1 in which it first makes its appearance in the seventh century1 it is always more or less conventional4 ,it is thus found on the ,melian amphorae in combination with systems of spirals#bjdb2 though on the shoulder of the example given by ,riegl there occurs a band of lotos-flowers alternately upright and inverted1 linked together by scrolls1 where the form is almost that of ,egyptian art1 except that the cup of the flower is rounder1 the petals shorter and blunter4 ,it is obviously as yet in the transitional stage4 ,next we meet with it in the vases of ,ionia1 especially in those of the so-called ,rhodian and earlier ,naukratite styles1 which have friezes of lotos-flowers alternating with closed buds or with palmettes1 connected by tendrils 7,fig4 #afj74 ,a similar pattern1 on an exceptionally large scale and treated in polychrome 7white and purple71 surrounds the lower portion of the body on several of the later ,caeretan hydriae 7cf4 ,plate ,,xxvi474 ,but in most of the fabrics of the sixth century the bud seems to have been preferred to the open flower of the ornament4#bjdc ,rows of lotos-buds linked by tendrils1 upright or inverted1 are found on the ,cyrenaic cups1 on the vases of the ,chalcidian type1 and on the later ,ionic fabrics1 such as the ,rhodian kylikes in the ,british ,museum 7,b #cgi-ha74 ,sometimes1 too1 a single bud appears in the design itself1 overhanging the scene or rising from the ground4 ,on the so-called ,pontic vases the buds are isolated1 and placed alternately upright and pendent4 ,in the ,corinthian and early ,attic fabrics the lotos-flower is found1 combined in various ways with palmettes and tendrils1 as a neck-ornament1 or above a panel1 or under the handles1 and also as a centre in heraldic compositions 7,fig4 #afa72 but subsequently the buds resume their sway1 and are found bordering the panels of black-bodied amphorae 7as in ,fig4 #afb71 forming a lower border to the designs on the red-bodied1 and also on the shoulder of lekythi4 ,these motives linger on in the earlier ,r4,f4 amphorae and hydriae1 and in the column-handled kraters2 rows of buds of a degenerate elongated form1 on the lip1 neck1 or shoulder1 are continued well into the period of the ,south ,italian fabrics4 ,illustration3 ,,fig4 #afj4 ,,lotos-,,flowers ,,and ,,buds 7,,rhodian74 ,illustration3 ,,fig4 #afa4 ,,palmette- ,,and ,,lotos-,,pattern 7,,early ,b4,f474 ,illustration3 ,,fig4 #afb4 ,,lotos-,,buds 7,,attic ,b4,f474 ,illustration3 ,,fig4 #afc4 ,,chain ,,of ,,palmettes ,,and ,,lotos 7,,early ,b4,f474 ,the palmette or honeysuckle ornament is not usually found as an independent ornament before the middle of the sixth century4#bjdd ,its development in this direction really belongs to the ,r4,f4 period4 ,but in combination it is found1 as we have seen1 in ,corinthian and ,attic ,b4,f4 vases1 and also in ,chalcidian4 ,before the ,athenian unification of styles it usually appears linked with lotos-flowers in a sort of double chain1 each pattern being alternately upright and reversed1 as in ,fig4 #afc2 in this form it is usually found on the neck1 or as an upper border to the design4 ,this type of ornament is favoured in the ,proto-,attic1 ,corinthian1 and ,corintho-,attic vases1 and the earlier panel-amphorae2 the palmette is here regarded as the foliage of the lotos-flower1 which at first always predominates4 ,subsequently the palmette gains the upper hand1 as on the necks of the red amphorae 7see ,fig4 #afe71 and the lotos-flower is gradually ousted altogether4 ,it1 however1 returns occasionally on ,r4,f4 hydriae and amphorae4#bjde ,another variety1 which may be described as a metope-like treatment1 compared with the frieze-like treatment above1 consists of an interlacing arrangement filling the space of a square1 with two palmettes and two lotos-flowers respectively opposed1 or a symmetrical arrangement of palmettes and lotos-flowers1 connected by tendrils1 as in ,fig4 #afd4 ,this is found under the handle1 or on the neck1 or in the middle of a frieze of the ,corinthian 8heraldic0 type4#bjdf ,on the red-bodied ,b4,f4 amphorae the universal neck-ornament is a band of large palmettes vertically opposed1 linked by a continuous chain passing between them and separated by elongated lotos-flowers 7,fig4 #afe72 this is also found on the ,panathenaic vases and the earlier ,r4,f4 amphorae4 ,towards the end of the sixth century1 however1 there is a tendency to drop these composite ornaments1 and attention is devoted to the palmette alone4 ,the method of its application to the kylikes as a handle-ornament1 linked thereto by a scroll1 has already been treated in detail 7,vol4 ,i4 p4 #dac72 it first appears on the ,cyrenaic cups1 and is usually employed by the 8minor artists0 of the ,b4,f4 period4 ,the chief feature of the new advance is that the palmette is no longer a stiff upright design with straight unenclosed petals1 the form to which it adheres down to the end of the sixth century2 but now assumes a more flexible and graceful form1 being encircled and linked to its fellows by means of slender scrolls or tendrils1 which thus form a series of elliptical or oval forms capable of great variety of arrangement and position 7,fig4 #aff74 ,this framed palmette is first found in the ,fikellura or ,samian ware4 ,it occurs in the form of a frieze1 with linking scrolls1 on the later ,b4,f4 hydriae4#bjdg ,the number of leaves or petals of which the palmette is composed is usually limited to seven4 ,another important and very effective improvement is achieved by placing opposed pairs of palmettes no longer vertically1 but obliquely1 forming an upper or lower border to the design 7,fig4 #afg74 ,these are frequently found on the krater and hydria1 and appear constantly on the vases of ,apulia and ,lucania1 especially on the lip4 ,great attention is paid to the effective grouping of the framed palmettes in the spaces under the handles1 the object aimed at being more and more naturalism rather than symmetry4#bjdh ,illustration3 ,,fig4 #afd4 ,,palmettes ,,and ,,lotos ,,under ,,handles 7,,attic ,b4,f474 ,illustration3 ,,fig4 #afe4 ,,palmette ,,pattern ,,on ,,neck ,,of ,,red-,,bodied ,,amphorae4 ,illustration3 ,,fig4 #aff4 ,,enclosed ,,palmettes 7,r4,f4 ,,period74 ,illustration3 ,,fig4 #afg4 ,,oblique ,,palmettes 7,,late ,r4,f474 ,in the later ,r4,f4 period1 on the other hand1 there is a certain reaction in the direction of conventional ornament1 combined with exaggeration and lack of refinement4 ,the palmette under the handle returns to the old erect unframed type1 and increases enormously in size1 so that one or at most two vertically opposed suffice to fill the space4 ,in this form it appears on the bell-shaped kraters and hydriae of ,southern ,italy1 and especially those of ,campania1 surrounded by elaborate scrolls and tendrils4 ,in the latter fabric the palmette1 which has become almost gross and ugly1 is usually flanked by two large convolvulus or other flowers rising from the ground1 and drawn in profile 7,fig4 #afh74 ,in the ,apulian and ,lucanian vases there is no rule as to the number of the palmettes1 and sometimes the effect is exceedingly rich and elaborate4 ,speaking generally1 there is no ornament which prevails so universally and in such varied forms and systems on ,greek vases1 but to give an exhaustive account of all its uses would be far beyond the limits of this work4 ,illustration3 ,,fig4 #afh4 ,,palmette ,,under ,,handles 7,,south ,,italian ,,vase74 ,there remains only to be discussed the rosette1 which1 in spite of its often purely formal character1 may be reckoned as in its origin a floral motive1 even if it is not obvious that it is derived from any particular plant4 ,it may be said to have two distinct forms1 the star and the disc1#bjdi the former consisting of an indefinite number of radiating arms or leaves1 the latter of a simple disc surrounded by a row of dots4 ,in both forms it is found at all periods1 not so much as a formal pattern in bands or groups1 but as a decorative adjunct to surfaces within or without the field of the design1 especially as a ground ornament on ,ionic1 ,corinthian1 and other early fabrics1 or as an embellishment of the draperies worn by the figures on the vases4 ,illustration3 ,,fig4 #afi4 ,,rosette 7,,rhodian74 ,illustration3 ,,fig4 #agj4 ,,rosette 7,,apulian74 ,in the ,mycenaean period it is found usually in the dotted disc form1 as a ground ornament1 but the star form is by no means rare4#bjej ,in later ,cypriote pottery the star-shaped rosette sometimes occurs in a band of ornament1 left in the colour of the clay on a black background#bjea2 but the other type is more common in conjunction with the concentric circles4 ,in ,hellenic pottery the rosette at first appears exclusively as a ground-ornament1 and this function it fulfils both in ,corinthian and early ,ionic pottery to a large extent1 as well as in some of the smaller groups4 ,in the ,rhodian and ,naucratite wares it assumes very varied forms 7e4g4 ,fig4 #afi1 from the ,euphorbos pinax71 intermingled with hook-armed crosses and bits of maeander2 in the early ,corinthian wares it takes the shape of an approximately circular flower of six petals1 which covers every available vacant space over the area of the design#bjeb2 these are often rendered with great carelessness1 the artist's only object being apparently to insert a patch of colour where it would fill in a space4 ,subsequently the rosettes become both more symmetrical and at the same time fewer in number1 and by the beginning of the ,attic ,b4,f4 style have altogether disappeared4 ,occasionally they are employed for a band of ornament on the lip1 neck1 or handles of a ,b4,f4 vase4#bjec ,lost sight of for a period of some two hundred years1 the rosette springs again to life in the vases of ,apulia1 resuming its old functions as a ground-ornament1 and also being employed in bands on the neck or elsewhere4 ,it usually appears in the form of a star-shaped flower of six or eight petals1 in red edged with white on the black ground 7,fig4 #agj74 99 99 99 99 99 ,it may also be found convenient to treat the ornamentation of ,greek vases from a different point of view1 in order to give an outline of the decorative system adopted in each of the principal styles1 and as considered appropriate to the various forms4 ,in the vases of the prehistoric period1 from the primitive incised wares down to the end of the ,mycenaean style1 there is an entire absence of anything like rule or formalism4 ,the principle observed in the very early classes1 such as the ,cypriote relief and white slip wares 7,vol4 ,i4 p4 #bda ff471 is the imitation of other substances1 of metal or leather4 ,the object of the artist was to cover the surface of the vase as far as possible with decorative designs2 and if1 as was generally the case1 his artistic capacity restricted him to linear or simple vegetable patterns1 the utmost he could achieve was to adapt these to the whole of the space at his disposal--i4e4 the whole body of the vase4 ,mycenaean vases1 however1 are usually only decorated on the upper part1 as far as the middle of the body1 which was encircled with one or more plain bands of black4 ,thus there remained a sort of panel between the handles1 of varying extent4 ,in the ,geometrical period1 however1 a great change takes place1 which from the artistic point of view is a reaction in the direction of formalism1 but nevertheless forms the basis of the decorative systems of later times4 ,here we see for the first time a regular partition of the surface of the vase by means of bands and panels of ornaments1 without indeed any restriction of particular patterns to any part of the vase1 but yet a deliberate endeavour to establish a decorative system4#bjed ,with the increase of animal and human subjects the ornament becomes more subsidiary1 merely a framework to the design1 but even in the succeeding ,proto-,attic and ,melian classes it plays a very important part4 ,in the ,melian vases the system is ,geometrical1 but the ornamentation is curvilinear and ,mycenaean4 ,the ground-ornaments1 however1 are derived from the former source as well 7hook-cross and zigzags in conjunction with rosettes74 ,in both these classes the space under the handles is selected for the display of a grouping of ornamental motives1 such as spirals or palmettes1 or the two combined in a series of heart-shaped motives or panel-compositions2 similar patterns cover the neck and the lower part of the body4 ,the ornamentation of ,phaleron and ,proto-,corinthian vases is an echo of the ,geometrical system4 ,the ground-ornaments are the hook-cross1 rosettes of dots1 and bits of maeander2 the bands of pattern consist of zigzags1 chequers1 double rows of dots1 and toothed patterns4 ,the early ,ionic vase-painters treat the subsidiary ornamentation as they do their principal subjects1 adopting the frieze principle in most cases2 the only exception is in the ,rhodian pinakes1 where it is usually confined to simple patterns round the rim1 with a sort of fan-pattern in the exergue below the central design4#bjee ,the ground-ornaments are really the chief feature of ,rhodian ornamentation1 as in ,corinthian vases4 ,the decoration of the ,fikellura or ,samian ware is very characteristic1 and demands separate mention4 ,the patterns are highly developed1 and suggest a late date--as1 for instance1 the scroll1 the ivy-leaf1 and the framed palmette4 ,in later ,ionic vases the ornamentation is not very prominent1 except in the ,caeretan hydriae1 in which the broad bands of palmette-and-lotos ornament1 and the exaggerated tongue-pattern on the lip and shoulder1 occupy a proportion of the surface unusual at this period4 ,besides the typical ground-ornaments 7rosette and hook-crosses7 of the earlier vases1 the favourite ,ionian patterns are the maeander1 the guilloche1 and wreaths of ivy and myrtle4 ,at ,corinth1 as we have seen1 for a long time ornament is confined to the ground-filling rosettes1 with some simple motives1 such as zigzag lines or tongue-pattern1 on the mouth and shoulder1 or bordering the design2 even in the later examples1 when the rosettes have disappeared1 it is practically confined to the interlacing palmette-and-lotos pattern on the neck1 above the design1 or inserted in the subordinate friezes of animals4#bjef ,the same principle applies in the ,corintho-,attic and ,chalcidian fabrics4#bjeg ,in ,athenian ,b4,f4 vases we at last find a stereotyped system of ornament for each kind of vase1 from which there is little or no variation4 ,generally the system is as follows3--,on the panel-amphorae1 an interlaced palmette-and-lotos pattern or a row of inverted lotos-buds above the panel1 and a calyx of leaves round the foot1 those with flanged handles having also ornaments thereon1 ivy-leaves or rosettes4 ,on the red-bodied1 a chain of double palmettes round the neck1 tongue-pattern on the shoulder1 a grouping of palmettes1 tendrils1 and lotos-flowers under the handle1 and a row of three or four narrow bands of ornament below the design 7lotos-buds upright or inverted1 maeander1 zigzags71 terminating with the calyx round the foot4 ,the ,panathenaic amphorae have the same neck-ornament as the red-bodied1 with tongues above the panel1 and thick rays round the foot2 the fourth-century examples have palmettes on the neck1 with elongated tongue-pattern immediately below4 ,on the hydriae1 tongue-pattern above the shoulder-design1 borders to the panels 7maeander above1 ivy or network down the sides1 lotos-buds or framed palmettes below71 and calyx round the foot4 ,on the oinochoae1 panel-borders like those of the hydriae1 but on the olpae 7,vol4 ,i4 p4 #agh7 only two or three rows of chequer1 maeander1 etc41 on the neck above2 on the lekythi1 lotos-buds1 ivy-leaves1 and palmettes on the shoulder1 and a double row of dots above the design4 ,the kylix-ornament is practically limited to the handle-palmettes of the 8minor artist0 class1 and a circle of straight-edged rays1 alternately black and outlined1 round the stem on the later varieties 7together with the large eyes74 ,in the ,r4,f4 period the same system of appropriate patterns for each form of vase is in the main adhered to1 but with greater freedom2 there is also a wide difference between the earlier amphorae and hydriae1 which cling to the old panel-system with its ornamental borders1 and the vases of the fine period1 in which there is an absence of all restraint on the one hand1 and a tendency to dispense with ornament almost entirely on the other 7as in the ,nolan amphorae74 ,on the kylix1 the ornament is throughout confined to the palmettes under the handles and the maeander encircling the interior design1 which have been dealt with already 7,vol4 ,i4 p4 #dac ff474 ,the earlier amphorae and hydriae1 as we have seen1 have panels with borders as in the ,b4,f4 period1 usually in the older technique2 those of the fine style 7including the wide-bellied amphorae7 have a short noncontinuous border1 such as egg-pattern or maeander1 above and below the figures1 with similar patterns on the lip and round the bases of the handles4 ,the stamnos has egg-patterns round the lip and handles1 tongue-pattern round the shoulder1 and a system of palmettes between the designs4 ,the red lekythi have egg-pattern or palmettes on the shoulder1 and maeander-pattern 7with crosses7 above or below the design2 the white have black rays on red ground or black and red palmettes on white on the shoulder1 and maeander above the designs4 ,the bell-krater and wide-bellied amphora of the late ,r4,f4 period1 as also those of ,southern ,italy1 have a band of oblique palmettes or a laurel-wreath round the top1 maeander with crosses below the design1 palmettes grouped under the handles1 and egg-pattern round their bases4 ,the column-handled krater1 on the other hand1 adheres throughout to the ,b4,f4 system of ornamentation1 with ivy-wreaths and elongated lotos-buds on the rim1 similar lotos-buds on the neck1 panels bordered with tongue-pattern and debased ivy-wreaths1 and the calyx round the foot4 ,the wide-bellied lekythi have palmettes or egg-pattern above the design1 and maeander below4 ,in the vases of ,southern ,italy there is1 as a rule1 no system observed in the ornamentation2 in the large vases of ,lucania and ,apulia it is used with great profusion and variety1 chiefly in bands on the neck4 ,in the smaller ,apulian vases and in those of ,campania it is often confined to a wave-pattern below the designs2 the ,campanian hydriae usually have in addition a wreath of myrtle or laurel round the shoulder4 ,generally speaking1 the large vases1 such as the bell-krater1 the hydria1 and the wide-bellied amphora1 continue the principles adopted in the ,r4,f4 period4 ,the systems of palmette-patterns under the handles have already been discussed1 and for other details the reader is also referred to what has already been said in discussing the individual patterns4 ----- ,footnote #aidb3 ,to give detailed references throughout may be considered superfluous1 the order of subjects followed being that of the preceding chapters1 to which reference may in all cases be made without difficulty by the reader4 ,footnote #aidc3 ,cf4 ,b4,m4 ,b #adg2 for other representations of ,zeus1 ,figs4 #aaa1 #aac1 #aad2 ,plate ,,li4 ,footnote #aidd3 ,see ,j4,h4,s4 xiii4 p4 #ai4 ,footnote #aide3 ,see ,j4,h4,s4 loc4 cit4 ,footnote #aidf3 l4 ,cr4 iii4 pl4 #cb ,b4 ,footnote #aidg3 ,cf4 the type created by ,skopas in the fourth century4 ,footnote #aidh3 ,an exception is l4 ,cr4 i4 pl4 #fb1 where he is bearded 7on a ,b4,f4 vase74 ,footnote #aidi3 ,see for these two1 ,fig4 #aaf4 ,footnote #aiej3 ,exceptions are ,b4,m4 ,d #d2 l4 ,cr4 i4 pls4 #df ,a1 #dg1 #fc4 ,footnote #aiea3 ,cf4 for the two together on a vase1 ,b4,m4 ,e #bbh4 ,footnote #aieb3 ,for an attempted distinction of the various ,satyr-types1 see ,loeschcke in ,ath4 ,mitth4 #ahid1 p4 #eba ff4 ,footnote #aiec3 ,see ,j4,h4,s4 xviii4 p4 #bif4 ,footnote #aied3 ,cf4 the ,greek heroes on ,b4,f4 vases 7,b4,m4 ,b #bdj1 ,b #edc74 ,footnote #aiee3 ,see ,b4,m4 ,e #dgg and ,weicker1 ,seelenvogel1 passim4 ,footnote #aief3 ,see also ,roscher1 iii4 p4 #ccj4 ,footnote #aieg3 ,only on ,b4,m4 ,f #bga and ,naples #cbcg2 elsewhere unwinged4 ,footnote #aieh3 ,see p4 #ia4 ,footnote #aiei3 ,see ,j4,h4,s4 ix4 p4 #dg ff4 ,footnote #aifj3 ,note that the vase-painters are careful never to represent him wearing the skin when contending with the lion4 ,footnote #aifa3 ,e4g4 ,reinach1 ii4 #hj4 ,footnote #aifb3 ,munich #abe4 ,footnote #aifc3 ,see ,six1 ,de ,gorgone4 ,footnote #aifd3 ,see above1 p4 #adf4 ,footnote #aife3 ,b4,m4 ,b #d4 ,footnote #aiff3 ,see ,weicker's ,seelenvogel1 passim4 ,footnote #aifg3 ,see the article ,gryps in ,roscher's ,lexikon1 vol4 i4 ,footnote #aifh3 ,e4g4 ,b4,m4 ,e #aih4 ,footnote #aifi3 ,see ,krte in ,jahrbuch1 #ahic1 p4 #fa ff42 also ,figs4 #aje1 #acd4 ,footnote #aigj3 ,vol4 ,i4 p4 #dgb4 ,footnote #aiga3 ,e4g4 ,b4,m4 ,e #bgj2 ,hartwig1 ,meistersch4 pls4 #fe-f4 ,footnote #aigb3 l4 ,cr4 ii4 #af and iv4 #ij-ic2 ,b4,m4 ,e #cjh4 ,footnote #aigc3 ,e4g4 ,b4,m4 ,b #ei1 ,b #ajcad4 ,footnote #aigd3 ,see ,helbig1 ,hom4 ,epos#b1 pp4 #bhd ff41 #cdb4 ,footnote #aige3 ,vol4 ,i4 p4 #cec4 ,footnote #aigf3 ,as on the ,exekias amphora1 ,b4,m4 ,b #bji3 see ,j4,h4,s4 iv4 p4 #hb4 ,footnote #aigg3 ,e4g4 ,b4,m4 ,e #bfc1 ,e #dfi4 ,footnote #aigh3 ,cf4 ,b4,m4 ,cat4 of ,bronzes1 #bhbc-bd4 ,footnote #aigi3 ,on this subject generally see ,t4 ,ely in ,archaeologia1 li4 p4 #dgg ff4 ,footnote #aihj3 ,xen4 ,hell4 iv4 #d1 #aj1 vii4 #e1 #bj2 ,paus4 iv4 #bh1 #e2 ,plut4 ,apophth4 ,lacon4 #bcd ,d2 ,vit4 ,demosth4 #bj2 ,bacchyl4 frag4 #da 7,bergk74 ,footnote #aiha3 ,b4,m4 ,b #egd3 cf4 ,b #fjh and ,urlichs1 ,beitrge1 pl4 #ad4 ,footnote #aihb3 ,berlin #afih1 #aheb2 ,munich #aaba2 ,reinach1 i4 #dec2 ,inghirami1 ,vasi ,fitt4 pl4 #aji1 #b4 ,footnote #aihc3 ,b4,m4 ,e #ege4 ,footnote #aihd3 ,cambridge #gj4 ,footnote #aihe3 ,jahrbuch1 #ahie1 pp4 #aia1 #aih4 ,footnote #aihf3 ,reinach1 i4 #gg2 ,vienna #ccb4 ,footnote #aihg3 ,reinach1 i4 #ejh1 #f2 ii4 #id1 #bgj4 ,footnote #aihh3 ,ibid4 i4 #abf1 #aha4 ,footnote #aihi3 ,see above1 p4 #ij1 and ,roscher1 iii4 p4 #bchi ff4 ,footnote #aiij3 ,reinach1 i4 #aha2 ,berlin #agja4 ,footnote #aiia3 ,berlin #cihh1 #ciib2 ,b4,m4 ,b #cfd2 ,reinach1 ii4 #fc4 ,footnote #aiib3 ,reinach1 i4 #eac2 ,louvre ,e #gcb ,fig4 #aaa4 ,footnote #aiic3 ,cf4 ,b4,m4 ,e #afg-fh1 #bie1 etc4 ,footnote #aiid3 ,cf4 ,b4,m4 ,b #ajfa1 and the ,busiris vases 7p4 #ajb74 ,footnote #aiie3 ,see especially the ,meidias vase and the ,python krater 7,b4,m4 ,e #bbd1 ,f #adi74 ,footnote #aiif3 ,see ,plate ,,li42 also ,furtwaengler and ,reichhold1 pl4 #c2 #ab #ahhc1 pl4 #c2 #ahhe1 pl4 #e1 fig4 #c2 ,rm4 ,mitth4 #ahij1 pl4 #aa 7on head-band74 ,footnote #aiig3 ,auscult4 ,mirab4 #if4 ,footnote #aiih3 ,kavvadias1 ,fouilles de ,lycosura1 pl4 #d4 ,footnote #aiii3 ,argonautica1 i4 #gbi ff4 ,footnote #bjjj3 ,jahrbuch1 #ahif1 p4 #bdh ff4 ,footnote #bjja3 ,see on this subject throughout ,mon4 ,grecs1 #ahie-ig1 p4 #g ff4 ,footnote #bjjb3 ,cf4 a funerary plaque in the ,louvre1 where the male mourners1 no doubt intentionally1 have the oval form of eye2 also ,louvre ,f #bef 7figure of ,aeneas74 ,footnote #bjjc3 ,for other instances ,m4 ,girard 7,mon4 ,grecs1 loc4 cit47 refers to ,louvre ,e #gec1 #ged2 ,e #fdc1 #hjh2 ,jahrbuch1 #ahic1 pl4 #a2 see also ,b4,m4 ,e #ddj 7,r4,f4 period74 ,footnote #bjjd3 ,ant4 ,denkm4 i4 pl4 #eg4 ,footnote #bjje3 ,anzeiger1 #ahie1 p4 #ce1 fig4 #i3 cf4 ,louvre ,e #fab bis1 and ,ant4 ,denkm4 ii4 #bd1 #ae4 ,footnote #bjjf3 ,see also ,mon4 ,grecs1 #ahie-ig1 p4 #af4 ,footnote #bjjg3 ,furtwaengler and ,reichhold1 ,gr4 ,vasenm4 p4 #h4 ,footnote #bjjh3 ,e4g4 ,b4,m4 ,e #ggc1 #ggd1 #ggi1 #ghj4 ,footnote #bjji3 ,see on the subject ,p4 ,gardner in ,j4,h4,s4 xix4 p4 #bed4 ,footnote #bjaj3 ,see on this motive and other heraldic groups1 ,jahrbuch1 #aijd1 p4 #bg ff4 ,footnote #bjaa3 ,b #ah in ,b4,m43 cf4 also the fragment from ,naukratis1 ,b #ajcag4 ,footnote #bjab3 ,this principle in its most developed form may be observed on the ,chalcidian and ,tyrrhenian amphorae3 see ,vol4 ,i4 p4 #cba ff4 ,footnote #bjac3 ,b4,m4 ,b #adg4 ,footnote #bjad3 ,ibid4 ,b #cac4 ,footnote #bjae3 ,b4,m4 ,b #ehi-ia4 ,footnote #bjaf3 ,e4g4 ,b4,m4 ,b #bfd1 ,b #dbh1 etc4 ,footnote #bjag3 ,cf4 ,b4,m4 ,e #afd ff4 ,footnote #bjah3 ,see ,winter1 ,jngere ,attische ,vasen1 p4 #fi2 ,rm4 ,mitth4 #ahig1 p4 #ajb2 also ,plate ,,xlv4 ,footnote #bjai3 ,this subject has hitherto received little or no general scientific treatment from archaeologists4 ,riegl's ,stilfragen 7#ahic7 contains an interesting study of vegetable ornament on ,greek vases2 but the plates of ,brunn and ,lau's ,gr4 ,vasen1 though intended to illustrate the system of ornamentation1 are not very instructive4 ,footnote #bjbj3 ,for the various types of these patterns see ,vol4 ,i4 p4 #daf1 ,fig4 #ajb4 ,footnote #bjba3 ,this is also found on a ,b4,f4 vase in the ,british ,museum 7,b #ccj73 see ,hartwig1 ,meistersch4 p4 #bbj2 also ,b4,m4 ,e #hd2 ,thiersch1 ,hell4 ,vasen1 pl4 #e2 ,arch4 ,zeit4 #ahgc1 pl4 #i4 ,footnote #bjbb3 ,the ,pamphaios hydria in the ,british ,museum 7,b #cjj7 has bits of red-on-black maeander down the sides of the design on the shoulder4 ,footnote #bjbc3 ,see examples from ,cyprus and ,rhodes in ,cases #bd1 #be1 #bh1 ,second ,vase ,room1 ,b4,m4 ,footnote #bjbd3 ,e4g4 ,b4,m4 ,b #bje1 #dgd1 #dgf1 #fbj1 ,d #ae1 ,e #aea1 ,f #agh4 ,footnote #bjbe3 ,it appears1 however1 to be of ,mycenaean origin3 cf4 the ,b4,m4 vases ,a #bec1 #cbc1 #cbd1 and ,excavations in ,cyprus1 p4 #f1 fig4 #f1 from ,ialysos and ,cyprus1 decorated in this fashion with vertical concentric circles4 ,footnote #bjbf3 ,riegl1 p4 #aee4 ,footnote #bjbg3 ,e4g4 ,b4,m4 ,b #bji1 ,b #baj4 ,footnote #bjbh3 ,e4g4 ,b4,m4 ,e #efd4 ,footnote #bjbi3 ,for its use on a ,b4,f4 kylix see ,b4,m4 ,b #chb 7probably ,ionic work74 ,footnote #bjcj3 ,munich #haj1 #hdi ,brunn-,lau1 ,gr4 ,vasen1 pls4 #ce-f3 cf4 ,b4,m4 ,f #bgh4 ,footnote #bjca3 ,examples may be seen in ,plates ,,xxiii41 ,,xxviii4-,,xxxiii4 ,footnote #bjcb3 ,b4,m4 ,b #adh-di1 #aea1 #aec2 ,j4,h4,s4 xix4 p4 #afc4 ,footnote #bjcc3 ,e4g4 ,b4,m4 ,b #bab1 ,b #eic1 ,b #fgg1 ,b #fgi3 see also ,jahrbuch1 #ahii1 p4 #afa4 ,footnote #bjcd3 ,see ,bull4 de ,corr4 ,hell4 #ahih1 p4 #bih4 ,footnote #bjce3 ,e4g4 ,b4,m4 ,b #fc 7,plate ,,lviii474 ,footnote #bjcf3 ,e4g4 ,b4,m4 ,b #cfd4 ,footnote #bjcg3 ,as on the ,python krater1 ,b4,m4 ,f #adi4 ,footnote #bjch3 ,see ,jahrbuch1 #ahie1 p4 #dd1 note #ae4 ,footnote #bjci3 ,stilfragen1 passim1 especially p4 #dh ff4 and p4 #agh4 ,footnote #bjdj3 ,see ,riegl1 p4 #aae ff41 and ,houssay in ,rev4 ,arch4 xxx4 7#ahig71 p4 #ia ff4 ,footnote #bjda3 ,for the ,egyptian types of lotos-flower and bud see ,riegl1 p4 #dh ff4 ,footnote #bjdb3 ,riegl1 p4 #aee3 see also an early ,boeotian example in the ,b4,m4 7,a #efd ,riegl1 p4 #agc74 ,footnote #bjdc3 ,thiersch1 ,tyrrhen4 ,amphoren1 p4 #gj1 points out that the form of lotos-flower with two large points is ,peloponnesian 7,corinthian1 etc47 and ,ionic2 the form found in ,attic1 ,boeotian1 and ,proto-,corinthian fabrics has three principal points4 ,footnote #bjdd3 ,see generally ,riegl1 p4 #aee ff4 ,footnote #bjde3 ,e4g4 ,b4,m4 ,e #afi4 ,footnote #bjdf3 ,the varieties of this pattern should be carefully distinguished4 ,corinthian vases have a composition of lotos-flowers only2 ,chalcidian1 palmettes only 7cf4 ,vienna #bai2 ,b4,m4 ,b #cd74 ,in the 8,tyrrhenian0 amphorae1 and subsequently in ,attic red-bodied amphorae1 the two principles are seen to be united1 and palmettes alternate with lotos-flowers4 ,see also ,fig4 #afa4 ,footnote #bjdg3 ,cf4 also an elegant oinocho with white ground in the ,british ,museum 7,b #fca74 ,on a similar jug at ,munich 7#ccd ,brunn-,lau1 ,gr4 ,vasen1 pl4 #bb7 the palmettes are enclosed in heart-shaped borders4 ,for other vases which1 like these1 have palmettes for their sole decoration1 see ,british ,museum1 ,second ,vase ,room1 ,case #bh1 and ,laborde1 ,vases de ,lamberg1 ii4 pl4 #da4 ,footnote #bjdh3 ,cf4 ,riegl1 pp4 #bja-c1 and ,vol4 ,i4 p4 #dae4 ,footnote #bjdi3 ,they are distinguished by ,german writers as 8,blattrosette0 and 8,punktrosette40 ,footnote #bjej3 ,cf4 ,furtwaengler and ,loeschcke1 ,myken4 ,vasen1 pls4 #d1 #be1 #bh1 #cg1 #ch2 ,j4,h4,s4 xxiii4 pl4 #e 7,crete74 ,footnote #bjea3 ,e4g4 ,c #bdd in ,b4,m41 and ,fig4 #gf 7,vol4 ,i4 p4 #bed74 ,footnote #bjeb3 ,see ,riegl1 op4 cit4 p4 #aig4 ,he points out that the rosette1 although ,assyrian in origin1 is not here used in a strictly ,assyrian fashion4 ,footnote #bjec3 ,e4g4 ,b4,m4 ,b #ea1 ,b #aig ff43 cf4 also the ,proto-,attic vase1 ,ant4 ,denkm4 i4 #eg4 ,footnote #bjed3 ,see what has already been said on this subject in ,vol4 ,i4 ,chapter ,,vii4 p4 #bhb3 cf4 also ,perrot1 ,hist4 de l',art1 vii4 p4 #afe4 ,footnote #bjee3 ,cf4 a similar pattern on the ,daphnae situlae 7,b4,m4 ,b #aje-f74 ,footnote #bjef3 ,see generally ,wilisch1 ,altkor4 ,thonindustrie1 p4 #da ff41 for ,corinthian ornamentation4 ,footnote #bjeg3 ,see on the ornamentation of the former ,thiersch1 ,tyrrhen4 ,amphoren1 p4 #fi ff42 on the latter ,riegl1 p4 #ahg4 ,,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--,corinthian1 ,ionic1 ,boeotian1 and ,chalcidian inscriptions--,inscriptions on ,athenian vases--,dialect--,artists' signatures--,inscriptions relating to the subjects--,exclamations---names--,the ,attic alphabet and orthography--,chronology of ,attic inscriptions--,south ,italian vases with inscriptions4 ,the practice of inscribing works of art with the names of persons and objects represented was one of some antiquity in ,greece4 ,the earliest instance of which we have historical record is the chest of ,kypselos1 which dated from the beginning of the sixth century ,b4,c41 and concerning which ,pausanias#bjeh tells us that 8the majority of the figures on the chest have inscriptions written in the archaic characters2 and some of them read straight1 but other letters have the appearance called by the ,greeks #8backwards-and-forwards' 771 which is like this3 at the end of the verse the second line turns round again like a runner half through his course4 ,and any way the inscriptions on the chest are written in a tortuous and hardly decipherable fashion40 ,there is1 however1 no mention of inscribed vases until a much later date2 ,athenaeus speaks of a cup with the name of ,zeus ,soter upon it1 also of 1 or cups with letters on them4#bjei ,inscriptions on ,greek vases are found in comparatively early times1 even prior to the date to which the chest of ,kypselos is attributed4 ,this question will receive more attention subsequently2 meanwhile1 we may point out some of the ways in which they have proved important in the study of archaeology4 ,in the first place1 they were originally among the principal1 perhaps the strongest1 arguments in the hands of ,winckelmann1 ,sir ,w4 ,hamilton1 and the other upholders of the true origin of ,greek vases against ,gori and the other 8,etruscans0 7see ,vol4 ,i4 p4 #ai74 ,they are1 in fact1 if such were required1 an incontestable proof of ,greek manufacture4 ,secondly1 in more modern times1 they have been of inestimable value in enabling scholars to classify the early vases according to their different fabrics4 ,the alphabets of the different cities and states being established by inscriptions obtained from trustworthy sources or found in situ1 it was an easy matter to apply this knowledge to the vases4 ,in ,chapters ,,vii4-,,viii4 numerous instances have been given of the value of this evidence 7see also below1 p4 #bdg ff471 perhaps the best being that of the ,chalcidian class1 for which the inscriptions have been a more important criterion even than style4 ,thirdly1 the inscriptions are sometimes of considerable philological value4 ,those on ,attic vases may fairly be said to represent the vernacular of the day2 and thus we learn that the ,greeks of the ,peisistratid age spoke of 1 not 1 and of 1 not 2 that they used such forms as for 1#bjfj and for 7see below1 p4 #bee74 ,traces of foreign influence in the inscriptions1 as in the frequently occurring ,doric forms1 imply that many of the vase-painters were foreigners1 probably of the metic class4 ,we shall also see that one class of inscriptions gives some interesting information on the subject of the names and prices of vases in antiquity4 ,the whole subject has been treated exhaustively--especially from a philological point of view--in a valuable treatise by ,p4 ,kretschmer1#bjfa to which we shall have occasion to make constant reference in the following pages4 ,he classifies them under two main headings3 7a7 inscriptions incised with a sharp tool in the hard clay2 7b7 inscriptions painted with the brush after the final baking4 ,they are also found in very rare instances impressed in the soft clay and varnished over4#bjfb ,in later times inscriptions in relief are actually found1 sometimes painted with thick white pigment1 sometimes gilded4#bjfc ,on the so-called ,megarian bowls and on the ,arretine and other wares of the ,roman period they are stamped from the moulds4 ,lastly1 there are the stamps imprinted on the handles of wine-amphorae1 which have been discussed in ,chapter ,,iv4 ,the incised inscriptions are of three kinds3 7#a7 those executed by the maker of the vase2 7#b7 those scratched under the foot2 7#c7 those incised by the owner4 ,as these represent a much smaller class than the painted ones1 they shall be dealt with first4 7#a7 ,inscriptions incised by the maker before the final baking4 ,these are found on the handles and feet1 round the edge of a design1 or interspersed therewith like the painted inscriptions4 ,generally they represent the signature of the potter1 as in the case of the early ,boeotian vase signed by ,gamedes1#bjfd the vases of the fifth-century artist ,hieron1#bjfe and those of ,assteas1 ,python1 and ,lasimos in ,southern ,italy4#bjff ,on the vases of the latter class explanatory inscriptions seldom occur1 but when they do 7as on the vases of ,assteas7 they are always incised4 ,of their palaeographical peculiarities we will speak later4 ,on a vase in the ,south ,kensington ,museum#bjfg the words are incised and painted red1 and on the pottery found on the site of the ,kabeirion at ,thebes the same process is often adopted1 except that the paint used is white4#bjfh 7#b7 ,of inscriptions scratched under the foot a considerable number remain1 especially on ,b4,f4 vases4 ,they are often difficult to decipher1 being in the form of monograms1 and frequently appear to be meaningless4 ,in many cases they may have been private marks of the potter or his workmen2 others1 again1 are evidently private memoranda made by the workman1 relating to the number of forms of vases in his batch1 or by the merchant respecting the price to be paid4 ,commonly they take the form of names of vases1#bjfi such as ,v for 7hydria71 or ,v for 7lekythos71 ,v for 7skyphos71#bjgj and so on4 ,many of the inscriptions give the words in full1 with numbers and prices1 and we may obtain from them some curious information4 ,among the more elaborate examples given by ,schne in his valuable monograph is one from a krater in the ,louvre#bjga3 3 ,i 3 3 3 7at #a dr4 #a ob47 ,that is1 six kraters1 value four drachmae2 eight oxides2 twenty bathea 7an unknown form71 one drachma one obol4 ,the bathea were probably deep cups or ladles2 the oxides 7lit4 vinegar-cups7 were small vessels1 probably answering to our wine-glasses4 ,another instance given by ,schne#bjgb is3 or ten lekythi and two oinochoae4 ,another good example is on a krater in the ,british ,museum 7,e #ejd73 3 77 3 3 #bjgc 3 3 3 ,i 7at #a dr4 #a ob47 i4e4 six kraters at four drachmae1 twelve cups at three obols1 twenty oxides at three obols1 twenty oxybapha at one drachma one obol4 ,another in ,vienna#bjgd3 3 3 3 7#d dr47 3 3 3 7#a dr4 #a ob47 44 3 is to the same effect as the two preceding4 ,on a hydria at ,petersburg#bjge we find3 77 7777 77 77 77 or three hydriae worth five drachmae one obol4 ,the last example that need be mentioned is from a vase at ,berlin#bjgf3 3 3 3 3 3 787 77 ' ,here the letters probably stand for numerals of the ordinary kind1 denoting the numbers of the batch 7' #ae1 ' #bg74 ,the form of the letters in all these cases is that of the fifth century4 ,in the case of the second1 third1 and fourth examples given1 it will be noted that the shape of the vase itself corresponds with the first item4 ,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 bodies4#bjgg ,schne1 in the light of the examples already quoted1 makes the ingenious suggestion that each list represents a different 8set0 of so many vases of different forms1 and used for different purposes1 sold together in a batch1 like a modern 8dinner-set0 or 8toilet-set0 of china4 ,thus we have in our fourth example a set of six mixing-bowls at four drachmae 7#cs47 apiece1 ten wine-glasses at 7probably7 three obols or #d;d4 apiece1 and twenty cups or ladles at about #aj;d4 apiece4 ,some of the shorter inscriptions also throw light on the prices at which different vases were sold4 ,for instance1 #aeabc,v 3 3 would denote thirty-four lekythi for thirty-seven obols1 or roughly #a;d4 apiece2 #aeaba,v 3 3 thirteen lekythi for eleven obols1 at a slightly lower price4#bjgh ,aristophanes#bjgi tells us that one obol would purchase quite a fine lekythos1 just as elsewhere#bjhj he mentions three drachmae as the cost of a or cask4 ,this latter statement is borne out by the inscription on a vase1 1 or five value twelve drachmae1 i4e4 at about #b dr4 apiece4#bjha ,an inscription quoted below shows that the owner of a cup valued it at one drachma4 ,other examples of the same kind are collected by ,schne4 ,the cup from ,cerigo in the ,british ,museum1 on which is incised ,v 77#bjhb does not strictly come into this category1 but may be mentioned as having an inscription of the same class4 7#c7 ,inscriptions incised by the owner1 and subsequently to the completion of the vase4 ,these usually take the form of the word 771 with the owner's name in the genitive1 as 78,i am ,idamenes'071 or 78,i am ,astyochidas'071 on two ,b4,f4 cups from ,rhodes4#bjhc ,sometimes this appears in an extended and metrical form1 as on another ,b4,f4 kylix from the same site3 8,i am the painted cup of the fair ,philto40#bjhd ,another metrical inscription runs3 4444 8,i am the cup of ,kephisophon2 if any one breaks me1 let him pay a drachma2 the gift of ,xeno7krates740#bjhe ,a yet more remarkable example is on an early lekythos from ,cumae in the ,british ,museum1#bjhf which1 in the manner favoured by modern schoolboys1 invokes an imprecation on the head of a thief3 ,illustration3 ,,fig4 #aga4 ' 8,i am ,tataie's oil-flask1 and he shall be struck blind who steals me40 ,others1 again1 record the gift of the vase1 as3 8,epainetos gave me to ,charopos0#bjhg2 3 8,lo1 this ,thoudemos gives to thee40#bjhh ,a boat-shaped vase 7kymbion7 in the ,british ,museum has incised on it the exhortation 1 8,drink1 do not lay me down40#bjhi ,the owner's name is found in the nominative on a vase from ,carthage at ,naples3 1 8,charminos1 son of ,theophamidas1 a ,coan0#bjij2 similarly in the genitive with the omission of 3 1 2 4#bjia ,under the same heading comes the class of votive or dedicatory inscriptions1 found in such large numbers on the pottery of certain temple-sites1 such as that of ,aphrodite at ,naukratis1#bjib and that of the ,kabeiri at ,thebes4#bjic ,the usual formula at ,naukratis is 7or 7#bjid2 but sometimes we find the formula 1 where the god as the recipient of the gift is regarded as the owner4 ,illustration3 ,,fig4 #agb4 ,one of the most interesting1 and certainly the most ancient1 of all incised inscriptions on ,greek vases is that engraved on a jug of 8,dipylon0 ware found at ,athens in #ahhj4bjie ,it runs3 1 4444 8,he who now sports most delicately of all the dancers10 etc4 ,though probably not contemporary with this eighth-century vase1 it is still of great antiquity1 and the earliest ,athenian inscription known4 ,in studying these graffiti1 it must always be borne in mind that they lend themselves easily to forgery1 and that many are open to grave suspicion4 ,instances of these doubtful inscriptions are the ,kleomenes vase in the ,louvre#bjif and a late vase signed by ,statios in the ,british ,museum 7,f #eid74 99 99 99 99 99 ,the painted inscriptions are practically limited to a period extending over two centuries1 from the time at which the primitive methods of painting were slowly emerging into the black-figured style1 down to the finest stage of red-figure vases4 ,rare at first1 they rapidly spring into popularity1 being constantly found on the sixth-century fabrics2 but throughout the red-figure period they gradually become rarer and rarer1 until they drop out almost entirely4 ,in the vases of the ,decadence they have for the most part fallen into disuse2 at any rate1 they are comparatively scarce4 ,some of the latest inscriptions are in the ,oscan and ,latin languages1 showing the increasing influence of the ,romans over ,southern ,italy1 and especially ,campania4 ,the inscriptions always follow the laws of palaeography of the region and period to which they belong4 ,generally speaking1 it may be said that they have some reference to the design painted on the vase2 at least1 the majority are explanatory of the subject represented4 ,sometimes not only is every figure accompanied by its name1 but even animals and inanimate objects1 instances of which are given below4 ,on the ,franois vase there are no less than #aae such inscriptions4 ,in almost all cases we can be certain that they are original1 and contemporaneous with the vase itself4 ,the explanatory inscriptions are generally small in size1 the letters averaging one-eighth of an inch in height4 ,on ,b4,f4 vases they are painted in black2 on ,r4,f4 vases of the 8severe0 style1 in purple on the black ground1 or in black on the red portions2 on later ,r4,f4 vases1 in white4 ,there is no rule for their position1 or indeed for their presence2 but1 as a general rule1 it may be said that they are oftener found on the finer and larger vases1 and that they are placed in close juxtaposition to the figures to which they refer4 ,the direction in which they are written may be either from left to right or right to left 7as generally on ,corinthian or ,chalcidian vases72 on the ,panathenaic amphorae are the only known examples of inscriptions1 in which the letters are placed vertically in relation to each other4 ,they are occasionally found on the objects depicted1 as on stelae or lavers 7see pp4 #bfj1 #bgb71 on shields1#bjig or even on the figures themselves4#bjih ,signatures of artists are occasionally found on the handle or foot of a vase4#bjii ,kretschmer 7p4 #e7 illustrates the practice of employing inscriptions on vases from the art of the ,semitic nations4 ,he instances clay vases from ,cyprus with painted ,phoenician inscriptions1#bajj for which the same pigment is used as for the decoration of the vases themselves4 ,but none of these are likely to be earlier than the first ,greek inscriptions1 and it is more than probable that the ,cypriote ,phoenicians borrowed the practice from the ,greeks4 ,in order1 therefore1 to obtain information as to the date of these painted inscriptions1 we are entirely dependent upon internal evidence4 ,the importance of these inscriptions may1 perhaps1 be best realised when it is pointed out that they are one of the chief guides to the age of the vases1 and have contributed more than any other feature to the establishment of a scientific classification of the earlier fabrics1 as will be fully indicated in the succeeding account4 ,the ,greek alphabet1 as is well known1 is derived from the ,phoenician1 and this is attested not only by tradition1 but by the known existing forms of the latter1 the signs being twenty-two in number4 ,the invention of the two double letters1 and of the long and 1 which are purely ,greek1 was attributed by popular tradition to various personages without any authority4 ,with the question of the introduction of writing into ,greece this is not the place to deal4 ,recent discoveries1 especially in ,crete1 have greatly modified all preconceived notions on the subject1 and for the present we are only immediately concerned with the earliest use of the ,greek alphabet1 as we know it4 ,this can be traced as far back as the seventh century ,b4,c4 on various grounds1 and in all probability the traditional view which placed its introduction into ,greece at about #ffj ,b4,c4 is fairly correct4 ,the earliest inscriptions on the vases are certainly not later1 perhaps earlier than this 7see below1 p4 #bed74 ,at ,abou-,simbel in ,egypt1 ,greek inscriptions have been found in which the name of ,psammetichos occurs1 and this king is generally supposed to be the second of that name 7#eid-ehi74baja ,in ,thera and other ,aegean islands1 and on the coast of ,asia ,minor1 inscriptions are known which1 for various reasons1 have been placed even earlier than this1 and the vase with ,arkesilaos1 the inscriptions on which are discussed below1 is hardly later1 as it can be shown to date between #ehj and #eej ,b4,c4 ,before proceeding to discuss the early inscriptions1 it may be as well to note1 for the benefit of those to whom ,greek ,epigraphy is an unfamiliar subject1 the chief peculiarities of the earlier alphabets4#bajb ,they fall into two principal groups1 the ,eastern and ,western1 each of which has many subdivisions4 ,certain forms1 such as for 1 are characteristic of one or the other division2 but the distinction is not so clearly marked on the vases1 on which many alphabets1 such as the ,ionic and ,island varieties1 are scarcely represented4 ,the vase-inscriptions fall mainly under three heads3 ,corinthian and ,athenian in the ,eastern group1 ,chalcidian in the ,western4 ,during the fifth century 7or even earlier7 there is a rapid tendency to unification in the ,greek alphabet1 which is chiefly brought about by the growing supremacy of ,athens4 ,this acted in two ways3 firstly1 by the fact that ,attic became the literary and therefore the paramount language in ,greece2 secondly1 by the fact of her artistic pre-eminence1 which crushed out the other local fabrics4 ,finally1 by the time of the archonship of ,eukleides in #djc ,b4,c41 the alphabet1 if not the language1 had become entirely unified1 and the ,ionic forms universally adopted for public and official purposes4 ,for private use they had1 of course1 long been known at ,athens2 but the official enactment of that year only set the seal to a long recognised practice4 ,throughout the fifth century the old ,attic and the ,ionic forms are found side by side on ,r4,f4 vases4#bajc ,in the later archaic period the coins come in as an important source of evidence4#bajd ,none of the inscribed ones appear to be earlier than the sixth century1 the oldest being perhaps the electrum stater usually attributed to ,halikarnassos1 with the name of ,phanes7874 ,the only characteristic letter 7the alphabet belonging to the ,ionic group7 is the sign heta in place of to denote eta1 which has not been found on any vase with the ,ionic alphabet1 and therefore betokens a very early date4 ,next comes an ,attic stater of about #efj ,b4,c41 with the legend 771 which may be fitly compared with the oldest ,panathenaic amphora1#baje on which the dotted is also found4 ,the earliest coins of ,haliartos in ,boeotia have the curious form #aeh;curious asper for the spiritus asper or 1 dating apparently before #eej ,b4,c42 the succession can thence be traced through #adaj;asper#b #adi;asper#c and heta1 down to about #dhj ,b4,c41 when it is dropped entirely4 ,at ,himera in ,sicily heta occurs in the fifth century for the spiritus asper1 and is followed by the ,,hh form1 which in the ,west is employed down to about #djj ,b4,c4 ,on the early coins of ,poseidonia 7,paestum7 the ,m form of is found 7#eej-dhj ,b4,c471 being also characteristic of ,corinthian vases of the sixth century2 it also lingers on in ,crete1 but in ,sicily and elsewhere the form of ,attic and other alphabets is more usual1 until replaced in the fifth century by 4 ,of the specially ,ionic letters1 7 eta7 is found generally at an early date1 as at ,teos 7#edj-djj ,b4,c471 and also 4 ,at ,corinth the koppa for is in use from the earliest times down to the days of the ,achaean ,league1 and does not therefore afford evidence of date by itself1 but only of a local peculiarity1 being equally universal on vases4 ,the digamma is only found on coins of ,elis and ,crete1 whereas it often occurs on early ,greek vases4#bajf ,it may also be of interest to note that the heta form for the rough breathing occurs on the helmet of ,hiero in the ,british ,museum1#bajg which can be dated #dhj-dgj ,b4,c41 and that the use of for eta and of the four-lined at ,athens previous to the archonship of ,eukleides can be deduced from the well-known fragment of ,euripides#bajh in which the letters forming the name are carefully described4 ,in the following pages illustrations of the points above noted will be fully detailed where occurring on the vases4 ,the annexed scheme of alphabets used on vases 7,fig4 #agc7 will serve to give a general idea of the variations of form in different fabrics4 ,the painted inscriptions on vases first appear1 as already noted1 about the beginning of the seventh century ,b4,c4 ,the earlier fabrics--,mycenaean1 ,cretan1 and ,cycladic--generally belong to an epoch when writing1 if not unknown1 was at any rate little practised#baji2 nor have any inscriptions been found on the ,dipylon or ,geometrical vases1 except the incised one which we have already discussed4 ,the oldest known painted inscriptions are found on a ,proto-,corinthian lekythos 7see p4 #bed71 the ,euphorbos pinax from ,kameiros 7,b4,m4 ,a #gdi71 and the krater signed by ,aristonos1 which is perhaps of ,ionic origin1 strongly influenced by ,mycenaean art4 ,,scheme ,,of ,,alphabets ,,used ,,on ,,greek ,,vases ,illustration3 ,,fig4 #agc4 ,with the great impulse given to vase-painting at the beginning of the sixth century by the development of the art in ,corinth1 ,chalkis1 and ,athens 7especially in ,corinth71 the number of inscribed vases rapidly increases4 ,among the earliest examples are those remarkable painted pinakes found at ,corinth 7,vol4 ,i4 p4 #caf71 nearly all of which have dedicatory inscriptions1 while in most cases the names are given of the deities1 ,poseidon and ,amphitrite1 to whom they were dedicated1 and whose figures appear on them4 ,they may be dated #fjj-eej ,b4,c4 ,the custom of inscribing names on works of art is illustrated by other products of this period1 as we have already noted in the case of the chest of ,kypselos2 and they occur on the early bronze reliefs from ,olympia1#baaj the ,samothrace relief in the ,louvre1#baaa the archaic reliefs at ,delphi1 and the newly found painted metopes at ,thermon1#baab as well as later on the paintings of ,polygnotos4 ,on the ,euphorbos pinax already mentioned#baac appear the names of ,menelaos 771 ,hector 771 and ,euphorbos 774 ,although found in ,rhodes1 it is proved to be of ,argive origin by the characteristic form of the in ,menelaos4#baad ,although its date cannot be exactly ascertained1 it is probably about #fbj-fjj ,b4,c4 ,it is a vase important in more than one respect1 as it may be said to foreshadow the beginnings of the black-figure style4 ,the vase of ,aristonos#baae was found at ,cervetri1 and bears the artist's signature1 1 1 in an alphabet from which1 unfortunately1 all characteristic letters are wanting1 so that its origin is uncertain4 ,it is1 however1 as we have said1 probably a seventh-century product of an ,ionian fabric1 on the coast of ,asia ,minor4 ,the #adac;halved circle has been taken by several scholars#baaf to denote ,f as in the ,phrygian alphabet1 but ,kretschmer 7p4 #aa7 prefers to read it as #adac;halved circle #adacquartered circle ,we have1 however1 already seen that it is most probably a superfluous letter4 ,early in the sixth century must be placed another remarkable vase1 the ,arkesilaos cup of ,cyrenaean fabric4#baag ,the inscribed names on this vase are as remarkable as its subject2 there are nine in all1 two only fragmentary4 ,the only proper name is that of ,arkesilas 771 who was king of ,kyrene #ehj-eej ,b4,c42 the others seem to be titles1 such as 1 or 1 8,keeper of the burdens02 1 1 a word having some reference to silphium1 the subject of the vase2 1 8,guardian02 1 and 1 4 ,one word1 1 1 refers to an inanimate object 7a balance74 ,the dialect is ,doric1 ,kyrene having been colonised by that race4 ,next we have to deal with a very important class of inscriptions--those found on ,corinthian vases4#baah ,they are too numerous to be dealt with in detail2 ,kretschmer mentions nearly fifty inscribed vases1 exclusive of the pinakes4 ,wilisch attributes the earliest to the latter half of the seventh century1 the latest to the middle of the sixth century2 but they certainly do not become common before the sixth4#baai ,they include several artists' signatures--viz4 ,chares1 ,milonidas1 and ,timonidas 7,vol4 ,i4 p4 #cae74 ,one of the most famous of the inscribed vases is the ,dodwell pyxis at ,munich1#babj representing a boar-hunt4 ,the figures are inscribed with fanciful names1 such as 7,agamemnon71 7,dorimachos1 or 8spearman071 7,pakon71 and so on4 ,a krater in the ,british ,museum 7,plate ,,xxi47 represents a similar scene1 also with fancy names1 such as ,polydas and ,antiphatas4 ,another famous vase is the ,amphiaraos krater in ,berlin1#baba representing the setting out of ,amphiaraos and the funeral games of ,pelias2 no less than twenty names are inscribed4 ,of these1 7,baton7 and 7,hippalk7i7mos7 illustrate other palaeo graphical peculiarities4 ,other good examples are the vase by ,chares1#babb another in the ,british ,museum with the name of the owner 7 1 71#babc and that by ,timonidas representing ,achilles lying in wait for ,troilos4#babd ,a study of the pinakes in ,berlin is also instructive in this respect4 ,one is signed by ,timonidas1 another by ,milonidas1 while others bear interesting inscriptions1 such as ,fig4 #agd3 ,illustration3 ,,fig4 #agd4 1 8,we have come from ,peiraeus0#babe2 77 1 8,and do thou make a graceful repayment0#babf2 and so on4 ,the majority have only the names of ,poseidon and ,amphitrite1 or 7 7 1 ,in view of the palaeographical importance of these inscriptions1 it may be worth while to dwell briefly on their peculiarities4 ,the dialect is of course ,doric1 and consequently the names often differ widely from the forms to which we are accustomed2 and this is increased by divergencies of spelling1 which produce many anomalous results4 ,for instance1 77 77 appears for ,kassandra on a vase in the ,louvre4#babg is used for 1 as in 7 7 on the ,chares pyxis1 and in 7 for 777 on the pinax already quoted4 ,a nasal is dropped before a consonant1 as in the names of ,amphiaraos 77 and ,amphitrite 77 ,the digamma lingers as a medial 7more rarely as initial7 in many words1 such as 1 1 1 and 2 its written form is #aei or #aei ,the use of heta for the rough breathing is invariable4#babh ,one or two vases have been recognised as of ,sicyonian fabric by the use in inscriptions of the unique #aeaf;,e for 1 peculiar to that place 7,vol4 ,i4 p4 #cba74 ,the only certain example1 however1 is a krater in ,berlin 7,cat4 #aadg71 with the names of ,achilles 77 and ,memnon 774 ,it may also be noted that an ,athenian sixth-century vase1 signed by ,exekias1 has a ,sicyonian inscription incised upon it by its owner#babi3 ' 4 ,boeotian vases never attained to the importance of the ,corinthian fabrics1 though1 on the other hand1 the manufacture lasted longer2 but there are several instances of early signed vases from this district4 ,two1 of which one is in the ,british ,museum1 are by ,gamedes1 the others by ,theozotos1 ,gryton1 ,iphitadas1 ,mnasalkes1 and ,menaidas4#bacj ,they are recognised as ,boeotian by the use of typical letters1 as well as by origin1 style1 and dialect2 such are the ,boeotian ,a for ,a1 ,boeotian for 1 and so on4 ,there is also a fifth-century vase with the ,boeotian alphabet4#baca ,the ,kabeirion vases have inscriptions in the local alphabet1 with a few exceptions1 which are ,ionic4#bacb ,a unique vase1 from the epigraphical point of view1 is ,e #gcb in the ,louvre1 found at ,cervetri1 to which allusion has been made elsewhere 7,vol4 ,i4 p4 #ceg1 and see ,fig4 #aaa74 ,it bears eleven names 7of gods and giants7 in an alphabet which has been recognised as ,ionian1 and is according to ,kretschmer most probably that of the island of ,keos4 ,the great uncertainty as to the sounds presented by this vase finds parallels in the stone inscriptions found on that island1 while in the use of for 7the older form of that letter71 the four-stroke ,fourline and 1 with a central dot1 this attribution finds further support4 ,the only other islands that would fit the conditions are ,naxos and ,amorgos4 ,as instances of the confused use of 1 we have for 1 but for 1 while again appears as 6 ,but this confusion does not occur in ,naxos or ,amorgos4 ,other vases are undoubtedly of ,ionic origin1 but their actual home is uncertain2 they are usually assigned to the coast of ,asia ,minor4 ,for some reason1 however1 it is very rare for these vases to bear inscriptions2 in all the numerous instances now collected1 only some half-dozen with inscriptions can be found4#bacc ,one of these is the well-known ,wrzburg kylix with ,phineus and the ,harpies 7see ,vol4 ,i4 p4 #ceg72 another is a vase from ,vulci1 published by ,gerhard1#bacd which has since disappeared4 ,on both of these we find the characteristic ,ionic letters for 1 for 1 for 1 for 1 and with four strokes4 ,both vases are of the sixth century1 and other details attest their ,ionic origin4 ,we now come to a very important but somewhat puzzling class of inscriptions1 those in the ,chalcidian alphabet4#bace ,the number of these is hardly more than a dozen1 but such as they are they have enabled archaeologists to establish a ,chalcidian school of painting by comparisons with other uninscribed vases4 ,in all cases the inscriptions relate exclusively to the figures in the designs4 ,among the characteristic ,chalcidian letters are the for 1 as in 772 the curved for 1 as in 772 for and for 1 as in 2 772 for 1 as in 772 and the abnormal form of the digamma 1 as in 774 is represented by in one instance 7 74 ,kretschmer has compiled a list of twelve vases with inscriptions in this alphabet1 to which one or two may be added1 but for a fuller treatment of the questions involved in studying this group the reader is referred to ,chapter ,,vii4 ,this1 however1 may be a more suitable place for a few remarks relating to the inscriptions alone4 ,in one or two instances the dialect alone is peculiarly ,chalcidian1 as the characteristic letters happen to be wanting4 ,in some instances1 as ,kretschmer points out1 the ,aeolic fondness for the vowel is to be traced1 as in 1 for 1 which finds parallels in the ,chalcidian colony of ,cumae1 and probably influenced the ,latin language through that means4 ,hence1 too1 the preference for the ,q sound of the 1 as in ,english and other languages when is preceded by a guttural4 ,on the ,british ,museum ,geryon vase 7,b #aee7 there is a curious mixture of dialect in the forms 1 4 ,it must be borne in mind1 in speaking of the ,chalcidian alphabet1 that it really extended over a wide area1 including not only ,chalkis in ,euboea1 but ,chalkidike in ,northern ,greece1 and the colonies on the coast of ,italy1 such as ,cumae1 and this may partly account for the mixed character of the dialect on some of these ,chalcidian vases4 ,but although an attempt has been made to connect them with ,cumae1 it cannot be said at present that any certainty has been attained as to the place of their manufacture4 ,though not belonging to the ,chalcidian group1 there is a vase which must be mentioned here1 on account of its inscription1 which is partly in the alphabet of the ,chalcidian colonies4 ,the vase is of the 8,proto-,corinthian0 class 7see ,vol4 ,i4 p4 #cjh71 and dates about #gjj-fej ,b4,c42 it bears the name of the maker1 ,pyrrhos#bacf3 77 ' and is therefore one of the oldest existing signatures4 ,,athenian ,,vases ,under this heading are included all remaining vase-inscriptions1 except a few from ,italy4 ,their value to us1 as ,kretschmer points out1 is not to be measured only by the mythological information they provide1 or by the list of ,athenian craftsmen and popular favourites which can be drawn up from them1 but it is also largely philological4 ,in other words1 they illustrate for us the vernacular of ,athens in the sixth and fifth centuries1 just as the ,egyptian papyri have thrown light on the ,hellenistic vernacular of the second4 ,in countless small details the language of the vase-painters varies from the official language of state documents and the literary standard of ,thucydides1 ,sophocles1 and even ,aristophanes4 ,the reason is1 of course1 a simple one--namely1 that the vase-artists occupied a subordinate position in the ,athenian state2 they were mere craftsmen1 of little education1 and in all probability their spelling was purely phonetic4#bacg ,hence we constantly find such forms as for 1 for 1 or for 7see above1 p4 #bcg72 and even the rich potter ,hyperbolos is ridiculed by the comic poet ,plato#bach for saying 7sc4 oliyon7 for 1 and for 4 ,another interesting point is that many of the artists who have signed their vases were obviously not ,athenians by birth4 ,thus we find such names as ,phintias1 ,amasis1 ,brygos1 ,cholkos1 ,sikanos1 ,thrax1#baci and even such signatures as 7or 7 4 ,it is1 then1 evident that many of them were or resident aliens1 and consequently occupied but a humble rank in the social order of the city4#badj ,one name1 indeed1 that of ,epiktetos1 is actually a slave's name 7 8acquired074 ,we need not1 then1 be surprised at meeting with many un-,attic forms or spellings in the vase-inscriptions1 which sometimes give a clue to the origin of the artist1 and of which it may be interesting to give some specimens4 ,kretschmer notes that these variations are always ,doric1 never ,ionic4 ,the commonest ,doricism on ,attic vases is the use of for ,h1 of which there are many instances1 such as 1 for #bada2 for 7,b4,m4 ,e #ddj72 for the ,attic 4#badb ,such forms as and are also clearly un-,attic4 ,on the other hand1 the names ,menelaos and ,iolaos always appear in their ,attic form 1 4 ,the above instances are all from proper names2 but there are other remarkable instances1 such as the use of for in 4#badc ,on one of his signed vases ,exekias uses the un-,attic form 1 771 but1 as ,kretschmer notes1 he also uses for 1 and was probably not an ,athenian4 ,on a ,b4,f4 amphora in ,rome 7see below1 p4 #bfc7 occurs the form 4 ,perhaps the most remarkable use of non-,attic ,greek on a vase is in the case of the artist ,brygos1 who1 as we have already pointed out1 was of foreign origin4 ,on a kylix in his style 7,b4,m4 ,e #fi7 we find the forms 1 1 1 and 4 ,these were at one time referred to a ,macedonian origin1#badd but ,kretschmer points out that that people used 1 not 1 for 4 ,he aptly quotes the ,scythian in the ,thesmophoriasusae1#bade with his 1 1 and 1 as giving a likely clue to the home of this dropping of the aspirate4#badf ,the painted inscriptions on the ,attic vases may be divided into three classes3 7#a7 those relating to the whole vase and its purpose1 such as artists' signatures2 7#b7 those relating to the designs on the vase1 i4e4 explanatory inscriptions1 and those found on ,panathenaic amphorae2 7#c7 those which stand in no direct relation to the vase1 such as the so-called 8love-names0 or 8pet-names10 and interjections such as 8hail10 8drink deep10 etc4 ,the incised inscriptions have already been discussed4 ,the artists' signatures first call for consideration4 ,in relation to their works they are fully discussed elsewhere 7,chapters ,,ix41 ,x471 but the present may be regarded as a convenient opportunity for some general outline of the style and palaeography of these inscriptions4 ,klein in his ,meistersignaturen 7#bnd edn47 reckons a total of ninety-five signatures1 a number which has probably been largely increased since he wrote in #ahhg4 ,these names he finds distributed over some #dbd vases1 one name1 that of ,nikosthenes1 occurring on no fewer than seventy-seven2 he divides them into four classes1 as follows3 7#a7 masters in the ,b4,f4 method2 7#b7 masters combining the two methods2 7#c7 masters in the ,r4,f4 method 7including ,s4 ,italy vases72 7#d7 masters whose names appear on vases without subjects4 ,these four classes are not mutually exclusive1 as names in 7#a7 and 7#c7 appear again in 7#b7 and 7#d74 ,the form which the signature takes is usually 7#a7-- 7of the potter72 or 7#b7-- 7of the painter72 or 7#c71 the two combined1 either under one name1 as-- 2 or 7#d71 with separate names1 as on the ,franois vase-- ,illustration3 ,,fig4 #age4 ' ' 4 ,the form 7#c7 may possibly indicate the priority of the artist1 but it is more probable that it was adopted as forming an iambic trimeter4 ,when only occurs on a painted vase1 it is generally to be assumed that the potter is also the painter4 ,the older artists avoided1 as a rule1 the imperfect or 1 but its use came into fashion for a short time among the early ,r4,f4 artists1 such as ,andokides1 ,chelis1 and ,psiax1 who use 7,vol4 ,i4 p4 #dcj72 it was again adopted by the ,paestum and ,apulian schools1 as a modest affectation that their work was as yet unfinished4#badg ,but the majority preferred the more decided aorist1 indicating completeness4 ,the word or is usually added by the earlier artists1 as in the instance already quoted from ,exekias4 ,generally speaking1 rarely occurs on ,b4,f4 vases1 being the rule4 ,a rare form of inscription is the formula 7 71 as in the doubtful signature of ,statios#badh2 and even more unique is the use of the word by the early ,attic potter ,oikopheles1#badi as a synonym for 4 ,other peculiarities of signature are to be seen on the works of ,lykinos 771 ,paseas 7 71 and ,therinos 7 74#baej ,the potter sometimes added the name of his father1 either as being that of a well-known man1 or to distinguish himself from others of the same name4 ,thus ,timonidas of ,corinth signs 7sc4 son of ,bias72 ,tleson1 2 ,eucheiros1 7the son of ,ergotimos72 ,euthymides1 1 4 ,the latter in one instance not only gives his patronymic1 but challenges comparison with his great rival ,euphronios1 in the following terms3 1 77 1 i4e41 8,euphronios never made anything like this40#baea ,other peculiarities are3 the omission of the verb1 as was sometimes done by ,r4,f4 artists 7e4g4 ,psiax72 or1 on the contrary1 the simple 1 without a name1 sometimes found on ,r4,f4 kylikes of the ,epictetan school#baeb2 or the addition by the artist of his tribe or nationality4 ,among the latter we have ,kleomenes1 ,teisias1 and ,xenophantos1 who style themselves 1 and ,nikias1 who not only gives his father's name1 but also his deme in ,attica3 ,illustration3 ,,fig4 #agf4 4 ,two other artists call themselves 7the ,lydian7 and 7the ,scythian74 ,smikros signs one of his vases in the ,louvre#baec 1 8,it seems to be ,smikros' work40 ,there are also frequent vagaries of spelling1 as in for 1 or for 1 and for 4 ,sakonides once spells his name 1 and ,nikosthenes once uses the koppa for 4 ,fuller information in regard to this subject may be found in ,klein's admirable work2 there is also much of interest relating to the ,r4,f4 cup-painters in ,hartwig's exhaustive treatise4 ,a complete list of all known artists' names is given at the end of this chapter4 99 99 99 99 99 ,we now come to the inscriptions which have relation to the subjects depicted on the vases4 ,these are seldom of a general kind1 having reference to the whole composition2 but on a ,panathenaic amphora in ,naples a boxing scene is entitled 1 8general maul10#baed and on another in ,munich over a foot-race is written1 1 1#baee while ,b4,f4 lekythos in the same collection with ,dionysos and dancing ,maenads is inscribed 774#baef ,on a vase with a ,homeric subject is 1 and on one with a scene from ,theban legend 4#baeg ,localities are sometimes hinted at by the use of such words as 77 on the ,franois vase1 where ,polyxena goes to the fountain1 or by the 77 on the ,british ,museum hydria 7,b #cca7 with girls drawing water at the fountain of ,kallirrho4 ,more often names are given to inanimate objects like the 7seat7 and 7pitcher7 on the ,franois vase1 on the ,arkesilas cup1 the 7altar7 on a vase in ,munich 7,cat4 #abd71 7lyre7 on a cup in ,munich 7#ccc71 and 7throne7 on an amphora in the ,louvre4#baeh ,on a washing-basin on a ,r4,f4 vase published by ,tischbein appears the word 1 i4e4 8public baths40#baei ,the word sometimes appears on a stele on later vases4#bafj ,animals are also occasionally named1 such as the on the ,munich vase already quoted 7#ccc74bafa ,but the greater majority of these inscriptions refer to the names of persons1 deities1 and mythological figures1 the name being usually in the nominative1 but occasionally in the genitive1 with or understood4#bafb ,sometimes generic names or nicknames are given to ordinary figures in genre scenes1 as 1 8the ship's captain02 1 8leader of the revels02 or1 again1 for a horseman1 and for a ,scythian bowman4#bafc ,names of real contemporary persons are occasionally introduced1 as on a hydria by ,phintias1 on which his comrade ,euthymides and the 8minor artist0 ,tlenpolemos are represented1 with names inscribed#bafd2 and on a stamnos by ,smikros at ,brussels the artist introduces himself and the potter ,pheidiades at a banquet4#bafe ,although proper names usually stand alone1 they are sometimes accompanied by some interjection1 as 1 8,here is ,menestheus10#baff 1 8,this is the ,sphinx2 hail60#bafg or in the form of a phrase1 as 4#bafh ,so also we find 1 8the old man of the sea10 for ,nereus#bafi2 8,nestor of ,pylos0#bagj2 1 for ,dionysos#baga2 1 8the son of ,zeus10 for ,herakles#bagb2 1 8the grazing bull10 for the metamorphosed ,zeus 7a doubtful instance74#bagc ,besides the names of figures and objects1 words and exclamations are sometimes represented as proceeding from the mouths of the figures themselves1 in the same manner as on the labels affixed to the figures of saints in the ,middle ,ages4 ,they vary in length and purport1 but in some cases they appear to be extracts from poems or songs1 or expressions familiar at the time1 but now unintelligible or lost in the wreck of ,hellenic literature4 ,they are found on both ,b4,f4 and ,r4,f4 vases1 but more commonly on the former1 and generally read according to the direction of the figure1 as if issuing from the mouth4 ,thus a boy pouring wine out of an amphora cries1 4 4 1 77 1 8,pour in sweet wine0#bagd2 over the first of three runners in a race appears 1 1 8,polymenon1 you win0#bage2 again1 ,amphiaraos is exhorted to mount his chariot with the word 1#bagf or one personage says to another1 or 4#bagg ,sometimes the words are evidently those of a song1 as on a ,r4,f4 kylix at ,athens1 where a man lying on a couch sings an elegy of ,theognis beginning 1 8,fairest of boys60#bagh ,another sings 1 which has been recognised as an inaccurate version of an ,aeolic line1 4#bagi ,on a red-figured vase in the ,british ,museum 7,e #bgj7 a man accompanied by a flute-player has an inscription proceeding from his open mouth1 which runs1 1 ' 2 evidently the beginning of a song1 8,here once in ,tiryns44440 ,on a stamnos in the ,british ,museum 7,e #dci7 the letters appear before the mouth of a ,seilenos1 and evidently represent notes of music4#bahj ,on a psykter by ,euphronios#baha a courtesan playing at kottabos casts the drops out of a cup with the words 1 771 8,to thee1 ,leagros1 ,i dash these drops40 ,another kylix 7,munich #cga7 represents a surfeited drinker on a couch1 saying1 ' 1 8,i can no more60 ,to turn to another class of these expressions1 we have a ,panathenaic amphora in the ,british ,museum 7,b #add71 on which a herald proclaims a victor in the horse-race as follows3 3 3 1 77 1 8,the horse of ,dysneiketos#bahb wins40 ,on another of the same class#bahc is an acrobat on horseback before judges1 of whom one cries1 1 #bahd 1 8,bravo1 then1 to the acrobat40 ,a boy walking with his dog calls to it1 1 7i4e4 8,maltese 787 dog074#bahe ,a charioteer calls to his horses1 1 1 8,gee up60#bahf ,women weeping over a corpse cry1 1 8,woe is me60#bahg ,in a representation of ,oedipus and the ,sphinx on a ,r4,f4 vase in ,rome the words 1 1 occur1 evidently with reference to the well-known riddle4#bahh ,an interesting bit of dialogue appears on a ,b4,f4 vase1#bahi which represents boys and men watching a swallow1 evidently the first of the returning spring2 one boy says1 1 8,see1 the swallow02 to which a man replies1 1 8,yes1 by ,herakles60 ,another boy joins in with 1 8,there she is10 and 1 8,it is already spring40 ,another good instance is on a ,b4,f4 vase in the ,vatican4#baij ,on one side we see the proprietor of an olive garden extracting oil from the olives1 with the prayer1 1 ' 1 8,o ,father ,zeus1 may ,i be rich60 while on the other he sits over a full vessel1 and cries to the purchaser1 1 1 77 1 8,already1 already it has gone far beyond my needs40#baia ,to conclude with a few miscellaneous and unique inscriptions1 we have firstly1 on a vase in the ,british ,museum 7,e #bih71 a tripod1 on the base of which are the words 1 showing that it is intended for a monument in honour of a choragic victory1 with the name of the victorious tribe4 ,on a sepulchral stele on a ,b4,f4 funeral amphora at ,athens#baib are the words 7now nearly obliterated7 1 8,here lie ,i1 a vile rag of a dead man40 ,similarly1 on a sepulchral plaque at ,athens are the words1 ,s,,matodestin 3 ,,areiou1 8,this is the grave of ,areios40#baic ,in a representation of ,sappho reading from her poems1 she holds an open roll1 on which are visible the words 1 444 #baid2 and in the well-known school-scene on the ,duris vase in ,berlin#baie a teacher holds a roll1 on which are the words 7in ,aeolic dialect1 and combined from the openings of two distinct hymns73 77 77 4#baif ,a small fragment of a red-figure kylix 787 of fine style1 found at ,naukratis in #ahii 7and now in the ,ashmolean ,museum at ,oxford71#baig has a similar scene of a dictation lesson4 ,a seated figure unrolls an inscribed scroll1 on which is the boustrophedon legend1 1 while another figure1 of which the right hand alone remains1 is writing on a tablet 7,fig4 #agg74 ,illustration3 ,,fig4 #agg4 ,,figure ,,with ,,inscribed ,,scroll4 ,in a very puzzling scene on a ,r4,f4 vase of fine style1 generally supposed to have some reference to the ,argonautic expedition1 one figure holds up an object inscribed with the name 4#baih ,this object has generally been interpreted as a tessera hospitalis1 or 8letter of introduction10 as we should say4 ,lastly1 there is the class of ,panathenaic vases with their inscriptions4#baii ,they fall into two groups3 7#a7 the words 1 to which is sometimes added1 87,i am7 from the games at ,athens02 7#b7 the names of archons1 which only occur on the fourth-century examples4 ,they form a unique instance of inscriptions which give direct information as to the date of a vase1 and range from #cfg to #cac ,b4,c4 7see ,vol4 ,i4 p4 #cij74 ,sometimes vases 7especially in the ,b4,f4 period7 are covered with meaningless collocations of letters1 either separate or in the form of words4 ,some ingenious explanations of these have been propounded1 but none are very satisfactory4 ,they are often found on the class known as 8,corintho-,attic0 or 8,tyrrhenian amphorae10 and it is just possible that in this case they are attempts by an ,athenian workman to copy the unfamiliar ,corinthian alphabet4 99 99 99 99 99 ,the third class of inscriptions on ,attic vases is composed of those which have no direct relation to the vase itself4 ,they include invocations to deities such as were used in making libations1 e4g4 1 8,to ,zeus the ,saviour0#bbjj2 or1 again1 the exhortations so frequently found on ,b4,f4 kylikes of the 8,minor ,artists'0 school1 of which the commonest is 1 8,hail1 and drink deep60#bbja or 1 8,hail1 and drink this60#bbjb ,on a number of ,r4,f4 kylikes appears the word 1 8,i salute you40#bbjc ,but the most numerous and important inscriptions of this class are those conveniently named by ,german archaeologists 8,lieblingsnamen10 or 8,lieblingsinschriften10 for which we have no satisfactory equivalent in ,english1 though 8pet-name0 and 8love-name0 have been suggested1 and latterly 8-name40 ,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 case1 generally masculine1 with the word attached4 ,sometimes1 but not so frequently1 the name is feminine1 with #bbjd2 the superlative form is also found4#bbje ,in other cases or appears in place of the proper name1 or the word is added1 and sometimes also or 1 emphasising the statement4 ,the most remarkable instance is a ,b4,f4 jug at ,munich1 round the shoulder of which is the inscription 1 1 4#bbjf ,it is not quite certain how far the word should be interpreted in a physical sense as 8handsome0 or 8fair10 or in an ethical sense as 8good0 or 8noble02 but having regard to the manners and customs of fifth-century ,athens1#bbjg it is more likely that the physical meaning of the word is to be inferred4 ,these inscriptions are often found on ,b4,f4 vases1 but far more frequently in the succeeding period1 and generally in more or less direct connection with artists' signatures1 from which fact interesting results have been obtained4 ,special attention has been drawn to them of late years1 from the fact that many of the names are those borne by historical personages1 such as ,miltiades1 ,megakles1 ,glaukon1 and so on1 and attempts have been made to connect them with those characters 7see ,vol4 ,i4 p4 #djc74 ,klein1 the chief writer on this subject1 has collected in the second edition of his valuable work no less than #eeh instances of these -inscriptions1#bbjh as against #dbd signatures of artists2 and there are besides these the numerous instances in which no proper name is given4 ,the chief question which calls for consideration in regard to these inscriptions is their purport1 and the reason why they occur exclusively on vases1 and of these exclusively on ,attic vases covering a period of not more than one hundred years4 ,the custom was not1 of course1 an unfamiliar one at ,athens1 as two references in ,aristophanes indicate4 ,in the ,acharnians#bbji he describes the ,thracian ,sitalkes as being such a 8lover0 of the ,athenians that he wrote on the walls1 8,the ,athenians are fair02 and1 again1 the slave ,xanthias1 in the ,wasps1 speaking of his master's litigious proclivities1 says that if ever he saw written on a door he promptly wrote by the side 4#bbaj ,but the most interesting and apposite instance recorded is that of ,pheidias1 who scratched on the finger of his statue of the ,olympian ,zeus1 4#bbaa ,generally speaking1 the word was no doubt intended to refer to the personal beauty of boys 7as indicated by the use of 71 or at any rate of young athletes1 and was applied to popular favourites of the day1#bbab whose occupations in the gymnasium1 at the banquet1 and elsewhere were matters of every-day talk4 ,these names may have been placed on the vases with the view of attracting the public to purchase them1 or may even have been the subject of special orders from customers4 ,some light seems to be thrown on the matter by a cup signed by the painter ,phintias1#bbac which represents a young man1 purse in hand1 making purchases of vases in a potter's workshop4 ,this vase has the inscription 1 but whether it is intended as a representation of ,chairias or his admirer it is impossible to say4 ,the names1 however1 are not always those of every-day life4 ,they may have relation to the figures on the vase1 as 4#bbad ,we have already noted that historical names frequently occur in this series1 and it is obvious that if they can be identified with the actual historical owners of such names much valuable information in regard to the chronology of ,greek vases will be gained4 ,the question has already been discussed in a previous chapter 7,vol4 ,i4 p4 #djc71 and the principles there laid down need not be repeated4 ,it is sufficient to say that so far only two or three names have been identified with those of historical personages1 though more results may yet be obtained4 ,of these one is ,stesileos1 occurring on two vases in ,berlin1 and identified with a strategos who fell at ,marathon in #dij4bbae ,on two lekythi 7one late ,b4,f41 the other ,r4,f47 the name of ,glaukon son of ,leagros#bbaf appears1 and these two names have also been identified with ,athenian strategi1 ,leagros having fallen in battle against the ,edones in #dfg1 while ,glaukon commanded at ,kerkyra in #dcc-dcb ,b4,c4 ,it may be roughly inferred that ,leagros was a boy 77 about #eaj ,b4,c41 and his son ,glaukon about #dgj ,b4,c41 which gives an approximate date 7within ten years or so7 for these two groups of vases4 ,it is1 however1 obvious that much at present only rests on hypothesis4 ,it is curious to note that nearly all these names have an aristocratic sound3 thus we have ,alcibiades1 ,alkmaeon1 ,hipparchos1 and ,megakles1 besides those already quoted4 ,miltiades occurs on a ,r4,f4 plate at ,oxford1#bbag but there seems hardly sufficient evidence for referring it to the youth of the conqueror of ,marathon 7cf4 ,vol4 ,i4 p4 #djc74 ,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 artists4 99 99 99 99 99 ,it is now necessary to discuss some of the principal peculiarities of the ,attic vase-inscriptions1 in regard to palaeography1 orthography1 and grammar4#bbah ,the variety in the forms and uses of the letters is somewhat surprising at first sight1 but it must be remembered that non-,attic influences were always strong1 as has indeed already been pointed out4 usually appears either in that form or as ,corinthian 1 ,sicyonian 2 but such variations as #aead,,rf ,attic alpha #aead,,rf ,attic alpha #aeac,,rf ,attic alpha are found on ,r4,f4 vases1 while at a later period even #aeac,,rf ,attic alpha occurs4 on the vases of ,duris generally appears as #aeac,,rf ,attic alpha ,attic lambda#b is found for ,attic lambda1 the ,attic form of 4 varies between sigma and fourline sigma1 while such abnormal forms as #aeaarounded ,s 7,oikopheles71 and #aeaa;,e-shaped sigma are not unknown4 ,the minor artist ,xenokles uses a sort of cursive handwriting for his signature4 is used for and 1 as in ,h for 1 for ,k1 which seems to be a confusion of ideas resulting from its use for eta in ,ionic1 and for h in ,chalcidian 7i4e4 ,western7 alphabets4#bbai ,the sign for the aspirate occurs first as heta1 afterwards as 1 and is sometimes introduced without apparent reason1 as in for 1 and ,h for 4 ,the digamma is unknown on ,attic vases1 but the ,franois vase and the allied ',tyrrhenian' group give some interesting examples of the use of for 4 ,thus we find ,,ora for 1 for 1 ,,ari,o for 4 ,on the ,corintho-,attic vase in ,berlin 7#agjd7 are two curious instances of dittography1 due no doubt to ,corinthian influence1 being written ,y,,nio 77 and as ,y1 where the ,corinthian and ,attic forms of and stand side by side4 ,so on a vase in the ,louvre 7,e #heb7 we have ,,dey 4#bbbj ,as a result no doubt of the unsettled state of the alphabet in the fifth century1 a confusion in the use of and 1 and and respectively1 often arises1 and we find for 1 for 1 for 1 and similar forms4#bbba ,the diphthong is sometimes rendered by 1 sometimes by 1 as in for 2 and are also rendered by 1 as in the name for and for 1 or by 1 as in for 4 ,in a few words1 such as 77 and 771 the diphthong is represented by its other member 4 ,on the other hand1 we find for 7,b4,m4 ,b #cja74 ,the general vagueness of the ,attic craftsmen's orthography is well illustrated by ,kretschmer in the word 1 which is not only invariably spelled with a 1 reminding us of the ,latin form ,ulixes1 but occurs in the following different forms#bbbb3-- #aehf #aegi #aeii #aeajc #aegc #aeha #aeia this order being roughly chronological4 ,the ordinary -form is1 however1 found4#bbbc ,a tendency to assimilation of aspirated consonants1 always avoided in literary ,greek1 is seen in such forms as for 1 for 1 and for 4 ,the reverse tendency is curiously illustrated in for 4 ,unassimilated forms occur1 as in the case of for 4#bbbd ,another peculiarity is the omission of nasals before consonants1 as in for 771 for 771#bbbe for 771 for 771 and for 774 ,there is also a tendency to avoid double consonants1 as in for 1 for 1 for 1 for #bbbf2 this is especially common in the case of double or double 1 as in and just quoted4 ,on the other hand1 on later vases consonants are often doubled without reason1 as in for 1#bbbg for 1 for 1 this being commonest with fourline and 4 and ,chalcidian 1 originally absent from the ,attic alphabet1 are represented usually by and 1 exceptionally by and 1 as in 1 #bbbh2 also occasionally by metathesis1 as 1 1 4#bbbi ,attic contractions1 such as for and for 1 are also found4#bbcj ,among peculiarities of inflection 7some of which may of course be mere misspellings7 may be mentioned for 1 for pas1 for 1 and for 2 also the open form - for -h1 as in 1 1 and the form for 2 to some of these allusion has already been made4 99 99 99 99 99 ,from this mass of detail it is possible to deduce certain chronological results1#bbca which are not without their value for the dating of the various ,athenian fabrics4 ,excluding the doubtful ,dipylon vase1 the inscriptions extend from the seventh century#bbcb down to the time of ,xenophantos and the late ,panathenaic amphorae1 a period of over three hundred years4 ,in the ,franois vase we meet with the closed asper for the aspirate1 the and together1 and the two forms and of 2 as the form dropped out of private use earlier than out of official documents1 and is found in the latter down to #ebj ,b4,c41 we can date the ,franois vase about the middle of the sixth century 7not later1 as the closed asper shows72 the same date will also apply to the earliest ,panathenaic amphora 7,b4,m4 ,b #acj71 and the cup of ,oikopheles4 ,the fact that ,eucheiros1 a 8minor artist10 calls himself the son of ,ergotimos1 who made the ,franois vase1 permits us to place him some thirty years later1 about #ebj ,b4,c41 and this point may be regarded as the zenith of the ,b4,f4 period4 ,in the later ,b4,f4 vases the ,h and for and begin to make their appearance#bbcc2 but the conservative ,panathenaic amphorae1 like the coins1 adhere to the original spelling right down to the end4 ,the existence of the ,r4,f4 style for some time previous to #dhj ,b4,c4 has now been established by the discoveries on the ,athenian ,acropolis4 ,this is also borne out by the appearance on vases by ,euthymides of the form for 1 and the complete absence in the earlier vases of the ,h and forms1 which are not found among the ,acropolis fragments4 ,the hydria of ,meidias 7,b4,m4 ,b #bbd71 which marks the zenith of the 8fine0 period1 has a purely ,ionic alphabet4 ,the ,ionic forms seem to have come in with the 8fine0 ,r4,f4 style after #dhj ,b4,c41 and for some time we find a mixed alphabet on the vases4#bbcd ,it is also interesting to note the appearance in some cases of the ,thasian alphabet1 with its use of for 7as in 1 ,b4,m4 ,e #cah71 which has been traced to the influence of ,polygnotos4#bbce 99 99 99 99 99 ,we conclude our account of inscriptions on ,greek vases with a brief survey of those found on the vases of ,southern ,italy#bbcf2 it will be seen that they are neither numerous nor specially interesting4 ,the inscriptions are for the most part in the ,doric dialect and ,ionic alphabet1 with the addition of the ,doric sign doric asper for the aspirate4 ,generally speaking1 these ,doric forms are found on the ,apulian vases1 whereas on the products of ,paestum they are mainly ,ionic1 with admixtures of ,doric4 ,attic forms also occur4 ,it seems probable that the ,doric tendencies of the ,apulian inscriptions are due to the influence of the great ,laconian colony of ,tarentum 7although the vases were not made there71 while ,paestum was influenced1 on the other hand1 by the neighbouring ,ionic colonies1 such as ,cumae4 ,the latter1 being for the most part of earlier date1 will first occupy our attention4 ,they include two artists' signatures1 which appear in the form and 4 ,we have already remarked on the use of the imperfect tense 7p4 #beh72 there are five vases by ,assteas and one by ,python1 on all of which the figures also have their names inscribed4#bbcg ,the ,ionic forms appear in 1 1 1 1 and so on2 on the other hand1 ,python uses the ,doric form 1 1 and ,assteas the ,doric ,doric heta in 4 ,ionic forms are also found on a few ,apulian vases1 as for instance ,berlin #cbeg 7from ,ceglie71 which has and for and 1 or ,naples #bbif with for 4 ,some of the inscribed ,apulian vases are not without interest1 as for instance that in the ,louvre1 which bears the signature of ,lasimos3 1 4#bbch ,he was probably not a ,greek1 but of ,messapian origin4 ,on the great ,dareios vase in ,naples 7,no4 #cbec7 several names are inscribed1 such as for1 1 1 and the general title of the scene1 4 ,on a well-known burlesque scene in the ,british ,museum 7,f #bfi7 the characters are inscribed 771 7 ,hephaistos71 and 7 ,ares72 and on the fine amphora ,f #cca1 representing ,pelops at ,olympia1 are numerous incised inscriptions3 1 2 1 2 1 1 etc4 ,on the altar is painted 1 1 sc4 8the altar of ,zeus40 ,a curious inscription is that on a krater in ,naples 7,no4 #bhgb71 which represents ,eros and a woman playing at ball2 the latter leans on a stele on which is inscribed which was interpreted by ,cavedoni1 probably correctly1 as 771 8,you might send me the ball40 ,the ,sicyonian is an error for ,doric heta1 the heta reversed for 4 ,this inscription1 be it noted1 is painted1 contrary to the general rule in these vases1 as they are generally incised2 but an exception seems to be made in favour of inscriptions on stelae and similar objects1 which are not uncommon1 though many are open to suspicion4 ,in the ,british ,museum there are several examples1#bbci but by far the most curious is on an amphora in ,naples 7,no4 #bhfh71 where a stele is inscribed3 ,illustration3 ' 77 8,on my back ,i bear mallow and many-rooted asphodel1 but in my bosom ,oedipus1 ,laios' son40#bbdj ,a curious and unique inscription is found engraved on a kotyle from ,chiusi3 1 8,this fellow said that the people were a depraved lot40#bbda ,the of was first written 1 and then corrected into 1 the ,doric form4 ,it may be supposed that the inscription is due to a workman who did not approve of the democracy under which he lived4 ,on an amphora from ,gnatia 7,fasano71 with a goose and a cock1 in white on the black ground1 is the quaint dialogue3 1 1 1 or1 8,what1 the goose80 8,oh1 the cock60#bbdb ,etruscan inscriptions do not come within the scope of this chapter1 but an ,oscan inscription should be mentioned here1 which is incised on a vase in the ,british ,museum 7,f #bcc71 over an actor3 ,santia1 the ,oscan form of 1 which was a common name for the slave of comedy4 ,,list ,,of ,,artists' ,,signatures ,,found ,,on ,,greek ,,vases ,i4 ,,early ,,fabrics 7,,chapter ,,vii47 ,aristonos ,uncertain fabric ,see ,vol4 ,i4 p4 #big ,pyrrhos ,proto-,corinthian ,rev4 ,arch4 xl4 7#aijb71 p4 #da ,chares ,corinthian ,klein1 ,meistersig4 p4 #bi ,milonidas do4 ,wiener ,vorl4 #ahhh1 pl4 #a1 fig4 #d ,timonidas do4 ,klein1 p4 #bh ,gamedes ,boeotian ,ibid4 p4 #ca ,gryton do4 ,boston ,mus4 ,report1 #ahih1 p4 #ed ,iphitadas ,boeotian ,rm4 ,mitth4 #ahig1 p4 #aje ,menaidas do4 ,wiener ,vorl4 #ahhi1 pl4 #a1 fig4 #a ,mnasalkes do4 ,boston ,mus4 ,report1 #ahii1 p4 #ef ,theozotos do4 ,louvre ,f #fi ,,ii4 ,,attic ,,black-,,figured ,,vases 7,vol4 ,i4 p4 #cgi74 ,amasis ,amphorae and ,klein1 p4 #dc2 ,vol4 ,i4 p4 oinochoae #chc ,anakles #bbdc ,minor artist ,ibid4 p4 #ge ,antidoros ,minor artist ,notizie degli ,scavi1 #ahig1 p4 #bca ,archikles ,minor artist ,klein1 p4 #gf ,charitaios ,hydria and kylix ,ibid4 p4 #ea ,cheiron ,minor artist ,ibid4 p4 #gi ,epitimos ,minor artist ,ibid4 p4 #hd ,ergoteles ,minor artist ,berlin #ageh ,ergotimos ,potter of ,franois ,klein1 p4 #cg vase2 kylix ,eucheiros ,minor artist ,ibid4 p4 #gb ,euphiletos ,pinax ,ibid4 p4 #di ,exekias ,amphorae and kylikes ,ibid4 p4 #ch ,glaukytes ,minor artist 7with ,ibid4 p4 #gg ,archikles7 ,hermogenes ,minor artist ,ibid4 p4 #hb ,kaulos ,potter for ,sakonides ,notizie degli ,scavi1 #aijc1 p4 #ce ,kittos ,panathen4 amph4 7#dth ,b4,m4 ,b #fjd cent47 ,kleisophos ,oinocho 7,xenokles ,athens #fia as potter7 ,klitias ,franois vase ,klein1 p4 #cb2 ,b4,m4 ,b 7painter7 #fjad-e ,kolchos ,oinocho ,berlin #agcb ,mnesikleides ,aryballos ,athens #ffi ,myspios ,minor artist ,klein1 p4 #hd ,neandros ,minor artist ,ibid4 p4 #gi ,nearchos 4 4 4 ,situla ,ibid4 p4 #ch ,nikosthenes ,about eighty vases ,ibid4 p4 #ea ,oikopheles ,kylix ,oxford #ahi ,paseas ,pinax ,klein1 p4 #di ,phrynos ,minor artist ,b4,m4 ,b #dbd and ,boston ,priapos ,doubtful ,b4,m4 ,b #cie ,psoieas 787 ,minor artist ,b4,m4 ,b #fjjdj ,sakonides ,minor artist ,klein1 p4 #he ,sikelos ,panathen4 amphora ,ibid4 p4 #hf ,skythes ,pinax ,ibid4 p4 #dh ,sokles ,minor artist ,ibid4 p4 #gi ,sondros ,minor artist ,b4,m4 ,b #fjaf ,sophilos ,fragment ,ath4 ,mitth4 #ahhi1 pl4 #a ,taleides ,various shapes ,klein1 p4 #df ,thrax ,minor artist ,notizie degli ,scavi1 #aijc1 p4 #cf ,timagoras ,hydriae ,klein1 p4 #ej ,tlenpolemos ,minor artist2 potter ,ibid4 p4 #hd for ,sakonides ,tleson ,minor artist ,ibid4 p4 #gc ,tychios ,hydria ,ibid4 p4 #ej ,xenokles ,minor artist2 potter ,ibid4 p4 #hj for ,kleisophos ,,iii4 ,,transitional ,,or 8,,mixed ,,technique0 ,andokides ,amphorae1 etc4 ,see ,vol4 ,i4 p4 #chf ,chelis ,see below ,epiktetos ,see below ,epilykos ,see below ,hischylos ,potter for ,klein1 p4 #ig ,epiktetos1 ,sakonides1 ,pheidippos ,nikosthenes ,see above2 two mixed2 three ,r4,f4#bbdd ,pamphaios ,various shapes ,ibid4 p4 #hg ,pasiades ,white-ground ,b4,m4 ,b #ffh ,thypheithide ,doubtful ,see ,b4,m4 ,e #d s ,,iv4 ,,attic ,,red-,,figured ,,vases 7see ,vol4 ,i4 p4 #dbj ff47 ,aeson ,kylix ,ant4 ,denkm4 ii4 pl4 #a ,amasis ,,ii 77 ,kylix ,bibl4 ,nat4 #ece2 ,hartwig1 ,meistersch4 chap4 xvi4 ,apollodoros ,kylikes ,ibid4 chap4 xxii4 ,aristophanes ,kylikes ,berlin #beca2 ,boston ,mus4 ,report1 #aijj1 p4 #di ff4 ,brygos ,kylikes ,hartwig1 chap4 xiii4 ,chachrylion ,kylikes ,ibid4 chap iv4 ,chelis ,kylikes 7one ,klein1 ,meistersig4 p4 8mixed07 #aaf ,deiniades ,potter for ,phintias ,duris ,various shapes ,hartwig1 chaps4 x41 xxi4 ,epigenes ,kantharos ,klein1 p4 #ahf ,epiktetos ,kylikes and plates ,ibid4 p4 #ajj ,epilykos ,kylikes ,ibid4 p4 #aad3 see ,monuments ,piot1 ix4 p4 #ace ff4 ,erginos ,potter for ,aristophanes ,euergides ,kylikes ,klein1 p4 #ii ,euphronios ,various shapes ,hartwig1 chaps4 vii41 xviii4 ,euthymides ,various shapes ,hoppin1 ,euthymides ,euxitheos ,amphora2 potter for ,klein1 p4 #ace ,oltos ,hegesiboulos ,white-ground cup ,branteghem ,cat41 ,no4 #afg ,hegias ,kylix ,klein1 p4 #ahf ,hermaios ,kylikes ,see ,vol4 ,i4 p4 #dbd ,hermonax ,stamni and 8pelikae0 ,klein1 p4 #bjj ,hieron ,kylikes and kotylae2 ,hartwig1 chap4 xii4 potter for ,makron ,hilinos ,potter for ,psiax ,hischylos ,see above ,hypsis ,hydria ,klein1 p4 #aih ,kalliades ,potter for ,duris3 see ,table ,v4 ,kleophrades ,potter for ,duris and ,amasis ,,ii4 ,makron 7,with ,hieron7 ,maurion ,pyxis ,b4,m4 ,e #ggj2 ,class4 ,rev4 #ahid1 p4 #dai ,megakles ,pyxis ,klein1 p4 #bje ,meidias ,hydria ,b4,m4 ,e #bbd ,plate ,,xli4 ,mys ,lekythos ,athens #acfb ,nikias ,krater in ,b4,m ,see p4 #bei above ,oltos ,kylikes ,hartwig1 chap4 v4 ,onesimos ,kylikes 7,euphronios ,ibid4 chap4 xix4 as potter7 ,peithinos ,kylikes ,ibid4 chap4 xi4 ,pheidippos ,kylix ,b4,m4 ,e #f ,phintias ,various shapes ,hartwig1 chap4 ix4 ,pistoxenos ,kotylae2 potter for ,ibid4 chap4 xiv4 ,euphronios ,polygnotos ,amphorae2 stamni ,mon4 ,antichi1 ix4 p4 #a ff4 ,praxias 7,non-,athenian87 ,klein1 p4 #ca ,psiax ,kylix and alabastron ,amer4 ,journ4 of ,arch4 #ahie1 p4 #dhe ,python ,i4 ,potter for ,epiktetos and ,duris ,sikanos ,plate ,klein1 p4 #aaf ,smikros #bbde ,stamni ,monuments ,piot1 ix4 p4 #ae ff4 ,sosias ,kylix ,berlin #bbgh2 ,klein1 p4 #adg ,sotades ,white-ground vases ,branteghem ,cat4 #aei-aff ,klein1 p4 #ahg ,syriskos ,astragalos vase ,hartwig1 chap4 xxiv4 ,xenophantos ,lekythos ,petersburg #agij ,xenotimos ,kylikes ,branteghem ,cat4 #hd-he ,v4 ,,unfigured ,,and ,,modelled ,,vases ,charinos ,modelled vases ,klein1 p4 #bae2 ,rm4 ,mitth4 #ahij1 p4 #caf ,kalliades ,modelled vases2 ,klein1 p4 #baf potter for ,duris ,kleomenes ,modelled vase in ,mon4 ,grecs1 #ahig1 pls4 ,louvre #af-ag ,kriton ,jug2 no subject ,klein1 p4 #bac ,lydos ,fragment2 painter's ,ibid4 p4 #bag name lost ,lykinos ,pyxis ,ibid4 p4 #bac ,lysias ,jug2 no subject ,ibid4 p4 #bac ,myson 4 4 4 ,fragment ,ibid4 p4 #bag ,prokles ,modelled lekythos ,berlin #bbjb ,teisias ,vases without ,klein1 p4 #bab subject ,therinos ,chytra ,ibid4 p4 #bad ,,vi4 ,,south ,,italian 7see ,vol4 ,i4 p4 #dgh7 ,assteas ,kraters1 etc4 ,see ,vol4 ,i4 p4 #dgh ,lasimos ,krater ,klein1 p4 #baj ,python ,krater ,b4,m4 ,f #adi ,statios ,doubtful ,see ,b4,m4 ,f #eid ,,list ,,of -,,names ,,on ,,greek ,,vases ,names in parentheses denote the artists with whom they are associated ,i4 ,,black-,,figured ,,vases ,aischis ,myia ,andokides 7,timagoras7 ,mys ,anthylle ,neokleides 7,taleides7 ,automenes ,onetor ,chairaia8 7,nikosthenes7 ,onetorides 7,exekias7 ,chares ,pyles ,dorotheos 7,charinos8 also ,pythokles ,i4 ,r4,f47 ,eresilla ,rhodon ,euphiletos ,rhodopis ,hippokrates 7also ,r4,f47 ,sibon 7,kabeirion vase3 see ,vol4 ,i4 p4 #bah7 ,hippokritos 7,glaukytes7 ,sime ,hippon ,i4 ,sostratos ,kallias ,i4 7,taleides7 ,stesias 7,exekias7 ,kallippe ,stesileos ,klitarchos 7,taleides7 ,stroibos ,leagros 7,exekias2 also ,r4,f47 ,timotheos ,lysippides ,xenodoke 7,charinos7 ,mnesilla ,,ii4 ,,red-,,figured ,,vases ,aisimides ,antimachos ,akestor ,antiphon ,akestorides ,aphrodisia ,alexomenos ,archinos ,,ii4 ,alkides ,aristagoras 7,duris7 ,alkimachos ,aristarchos ,antias ,aristeides ,athenodotos 7,peithinos2 with ,lichas ,leagros7 ,brachas ,lyandros ,chairestratos ,lykopis ,chairias 7,phintias7 ,lykos 7,euphronios1 ,duris1 ,onesimos7 ,chairippos ,lysis 7,hartwig1 chap4 xxiii47 ,charmides ,megakles ,i4 7,phintias1 ,euthymides7 ,damas ,megakles ,,ii4 ,diogenes 7see ,hartwig1 chap4 ,memnon 7,chelis1 ,chachrylion7 xv47 ,diokles ,midas ,dion ,mikion ,,ii4 ,dionokles ,miltiades ,diphilos ,naukleia 7,hieron7 ,dorotheos 7also ,b4,f47 ,nikodemos ,dromippos ,nikon ,elpinikos ,nikophile ,epidromos 7,chachrylion87 ,nikostratos ,,ii4 7,hartwig1 chap4 xx47 ,epileios ,oinanthe ,epimedes ,olympiodoros 7also one ,b4,f47 ,erosantheo ,panaitios 7,euphronios1 ,duris7 ,erothemis 7,euphronios and ,pedieus ,onesimos7 ,euaion ,perses ,eurymachos ,phayllos ,euryptolemos 7,apollodoros7 ,pheidiades ,glaukon 7,euphronios7 ,pheidon ,heras ,philon ,hermogenes 7,duris7 ,praxiteles ,hiketes ,sekline 7,euphronios7 ,hipparchos 7,epiktetos7 ,sikinnos ,hippodamas 7,duris and ,hieron7 ,simiades ,hippon ,,ii4 ,smikythos 7,euthymides7 ,hygiainon ,sokrates ,kallias ,,ii4 ,solon ,kallides ,sophanes ,kallikles ,sostratos ,kallisto 7,hieron7 ,thaleia ,karton ,theodoros ,kephisios ,thero 7,oltos7 ,kephisophon ,timarchos ,kleinias ,timokrates ,kleophon 7with ,megakles ,i47 ,timoxenos or ,timaxenos ,krates ,tleson ,laches 7see ,hartwig1 chap4 ,xenon xx47 ,leagros 7,chachrylion1 ,xenophon4 ,euphronios1 ,euxitheos7 ,the foregoing list is not exhaustive1 but only gives the more frequently occurring names2 reference should be made throughout to ,klein's ,lieblingsinschriften1 #ahih edition4 ----- ,footnote #bjeh3 v4 #ag1 #f4 ,footnote #bjei3 xi4 #dff ,d-,e4 ,footnote #bjfj3 ,hence the oblique cases 1 1 etc41 of classical usage4 ,footnote #bjfa3 ,die griechischen ,vaseninschriften1 ,gtersloh1 #ahid4 ,footnote #bjfb3 ,see ,berlin #bhia2 ,arch4 ,zeit4 #ahgi1 p4 #if4 ,footnote #bjfc3 ,cf4 ,berlin #bhff and the vase of ,xenophantos 7,reinach1 i4 #bc74 ,footnote #bjfd3 ,b4,m4 ,a #ahi99 ,plate ,,xvii4 fig4 #f4 ,footnote #bjfe3 ,vol4 ,i4 p4 #dcf2 ,klein1 ,meistersig4 p4 #afb ff4 ,footnote #bjff3 ,vol4 ,i4 p4 #dgh2 ,klein1 ibid4 p4 #bjf ff4 ,footnote #bjfg3 ,klein1 ,lieblingsinschr4#b p4 #aah4 ,footnote #bjfh3 ,ath4 ,mitth4 #ahij1 p4 #cif4 ,footnote #bjfi3 ,for the explanation of these names see ,chapter ,,iv4 ,footnote #bjgj3 ,b4,m4 ,e #dig2 ,schne in ,comm4 ,phil4 in hon4 ,mommseni1 p4 #feh1 ,nos4 #bi-cb4 ,footnote #bjga3 ,op4 cit4 p4 #fea1 ,no4 #e4 ,in this and the other examples it will be understood that denotes #aj 771 #e 771 and so on2 being the sign for a drachma4 ,footnote #bjgb3 ,op4 cit4 ,no4 #ag4 ,footnote #bjgc3 ,a diminutive of 1 a large deep cup or bowl 7see ,vol4 ,i4 p4 #ahf74 ,footnote #bjgd3 ,schne1 op4 cit4 p4 #fej1 ,no4 #c4 ,footnote #bjge3 ,ibid4 ,no4 #g ,cat4 #abjf4 ,footnote #bjgf3 ,cat4 #bahh2 ,schne's ,no4 #h4 ,the meaning of is uncertain4 ,footnote #bjgg3 ,ber4 d4 schs4 ,gesellsch4 #ahed1 p4 #cf4 ,footnote #bjgh3 ,b4,m4 ,b #caj2 ,munich #fic4 ,see ,jahn in ,ber4 d4 ,schs4 ,gesellsch4 #ahed1 p4 #cg4 ,footnote #bjgi3 ,ran4 #abcf4 ,footnote #bjhj3 ,pac4 #abjb4 ,footnote #bjha3 ,schne1 op4 cit4 p4 #fee1 ,no4 #ac4 ,footnote #bjhb3 ,f #eie3 see ,vol4 ,i4 p4 #ace4 ,footnote #bjhc3 ,b4,m4 ,b #dea2 ,j4,h4,s4 vi4 p4 #cgd ff4 ,footnote #bjhd3 ,b4,m4 ,b #dej ,j4,h4,s4 vi4 p4 #cgb4 ,footnote #bjhe3 ,boeckh1 ,c4,i4,g4 i4 #ede4 ,footnote #bjhf3 ,a #ajed ,roehl1 ,i4,g4,a4 #ebd1 p4 #aea4 ,see also ,kretschmer1 pp4 #c-d4 ,footnote #bjhg3 ,i4,g4,a4 #bb3 see below1 p4 #beb4 ,footnote #bjhh3 ,ibid4 #b ,b4,m4 ,a #aeab4 ,footnote #bjhi3 ,b4,m4 ,f #eif3 see ,vol4 ,i4 p4 #ahf4 ,footnote #bjij3 ,heydemann's ,cat4 #abab4 ,footnote #bjia3 ,b4,m4 ,f #fje-f4 ,footnote #bjib3 ,naukratis ,i41 pls4 #cb-d1 p4 #ed ff42 ,naukratis ,,ii41 pl4 #ba1 p4 #fb ff42 ,brit4 ,sch4 ,annual1 #ahih-ii1 p4 #ec4 ,footnote #bjic3 ,ath4 ,mitth4 xv4 p4 #cie ff4 ,footnote #bjid3 ,see ,vol4 ,i4 pp4 #aci1 #cde4 ,footnote #bjie3 ,ath4 ,mitth4 #ahha1 p4 #ajg2 #ahic1 p4 #bbe2 ,kretschmer1 p4 #aaj2 also ,vol4 ,i4 p4 #bia4 ,footnote #bjif3 ,mon4 ,grecs1 #ahig1 pls4 #af-g1 p4 #ee2 and see ,vol4 ,i4 p4 #dic4 ,footnote #bjig3 ,b4,m4 ,b #acd2 ,urlichs1 ,beitrge1 pl4 #ad4 ,footnote #bjih3 ,berlin #bcad4 ,footnote #bjii3 ,examples in the ,b4,m4 are ,e #ab and ,e #deg 7,pamphaios71 ,e #fa 7,hieron71 ,e #fe 7,brygos71 ,e #beh 7,euxitheos72 and cf4 ,fig4 #abi4 ,footnote #bajj3 ,perrot1 ,hist4 de l',art1 iii4 p4 #fgj4 ,they have been found at ,larnaka1 ,paphos1 ,dali1 and ,amathus4 ,footnote #baja3 ,roberts1 ,gk4 ,epigraphy1 i4 p4 #aed4 ,footnote #bajb3 ,on the subject generally see ,roberts1 ,greek ,epigraphy1 vol4 i4 7,cambridge ,press74 ,footnote #bajc3 ,see the table given by ,kretschmer1 p4 #aje4 ,footnote #bajd3 ,see ,hill1 ,handbook of ,greek and ,roman ,coins1 p4 #bjh ff4 ,footnote #baje3 ,b4,m4 ,b #acj4 ,footnote #bajf3 ,see for other details of coin-inscriptions ,hill1 op4 cit4 ,footnote #bajg3 ,cat4 of ,bronzes1 ,no4 #bej4 ,footnote #bajh3 ,no4 #che 7,didot74 ,footnote #baji3 ,it should be borne in mind that ,mycenaean vases have been found in ,argolis1 ,cyprus1 and elsewhere1 with characters incised on the handles1 of contemporaneous execution1 and forming parallels to the ,cretan script and the later ,cypriote syllabary4 ,footnote #baaj3 ,olympia1 iv4 pl4 #ci1 p4 #ajb4 ,footnote #baaa3 ,roehl1 ,i4,g4,a4 #cgg4 ,footnote #baab3 #ab #aijc1 pls4 #b-f3 see ,vol4 ,i4 p4 #ib4 ,footnote #baac3 ,see also ,vol4 ,i4 p4 #cce4 ,footnote #baad3 ,jahrbuch1 #ahia1 p4 #bfc2 ,kretschmer1 p4 #g4 ,footnote #baae3 ,vol4 ,i4 p4 #big and ,plate ,,xvi42 for the latest interpretation of the name1 as here adopted1 see ,class4 ,review1 #aijj1 p4 #bfd4 ,footnote #baaf3 ,e4g4 ,ramsay in ,j4,h4,s4 x4 p4 #ahg4 ,footnote #baag3 ,studniczka1 ,kyrene1 p4 #aa ff42 ,vol4 ,i4 p4 #cdb4 ,footnote #baah3 ,collected by ,blass1 ,dialektinschr4 iii4 #cabj ff41 and ,wilisch1 ,altkorinthische ,thonindustrie1 p4 #aef4 ,footnote #baai3 ,roberts 7,gk4 ,epigraphy1 i4 p4 #acd7 distinguishes three periods in the ,corinthian alphabet from #gjj to #djj ,b4,c41 but the vases seem to belong almost entirely to the first1 down to #eej ,b4,c4 ,footnote #babj3 ,vol4 ,i4 p4 #caf1 ,fig4 #ij4 ,footnote #baba3 ,cat4 #afee3 see ,vol4 ,i4 p4 #cai4 ,footnote #babb3 ,louvre ,e #fjj ,reinach1 i4 #cie4 ,footnote #babc3 ,b4,m4 ,a #ajhj ,reinach1 i4 #cjf4 ,footnote #babd3 ,athens #fbj ,reinach1 i4 #cid4 ,footnote #babe3 ,roehl1 ,i4,g4,a4 #bj1 #e4 ,footnote #babf3 ,ibid4 #bj1 #fc4 ,footnote #babg3 ,e #fch ,mon4 dell' ,inst4 #ahee1 pl4 #bj4 ,it has been suggested that the name is originally a corruption of ,alexandra ,xandra ,ksandra ,kesandra 7,kretschmer1 p4 #bh74 ,footnote #babh3 ,the general peculiarities of the ,corinthian alphabet are not touched on here1 as examples have been given of all characteristic letters4 ,see ,roberts1 ,gk4 ,epigraphy1 i4 p4 #acd4 ,footnote #babi3 ,kretschmer1 p4 #ea2 ,roehl1 ,i4,g4,a4 p4 #ad1 ,no4 #bb4 ,footnote #bacj3 ,see ,vol4 ,i4 p4 #cjj2 ,klein1 ,meisters4 p4 #cj2 ,boston ,mus4 ,report1 #ahih1 p4 #ed1 #ahii1 p4 #ef2 ,rm4 ,mitth4 #ahig1 p4 #aje4 ,footnote #baca3 ,ath4 ,mitth4 #ahib1 pl4 #f1 p4 #aja4 ,footnote #bacb3 ,ath4 ,mitth4 #ahij1 p4 #daa4 ,footnote #bacc3 ,see ,vol4 ,i4 p4 #ceg2 ,karo in ,j4,h4,s4 xix4 p4 #aef2 ,ath4 ,mitth4 #aijj1 p4 #ic1 note4 ,footnote #bacd3 ,auserl4 ,vasenb4 #bje1 #c1 #d3 see ,vol4 ,i4 p4 #ceg4 ,footnote #bace3 ,see ,vol4 ,i4 p4 #cbb and ,kretschmer1 p4 #fb4 ,footnote #bacf3 ,rev4 ,arch4 xl4 7#aijb71 p4 #da4 ,footnote #bacg3 ,as is often the case with ,english seventeenth-century inscriptions4 ,footnote #bach3 ,frag4 ,com4 ,gr4 7,script4 ,gr4 ,bibl41 xlii471 p4 #bdh4 ,footnote #baci3 ,notizie degli ,scavi1 #aijc1 p4 #cd4 ,footnote #badj3 ,for the language spoken by the cf4 ,kretschmer1 p4 #gf1 and ,philostratus1 ,vit4 ,soph4 ii4 #a1 #ad2 also ,plat4 ,lys4 #bbc;a1 4 ,footnote #bada3 ,naples #cjhi ,millingen-,reinach1 #cc-d4 ,footnote #badb3 ,bibl4 ,nat4 #cgb ,reinach1 i4 #ib4 ,footnote #badc3 ,bibl4 ,nat4 #hdf ,klein1 ,lieblingsinschr4#b p4 #abi4 ,footnote #badd3 ,hartwig1 ,meistersch4 p4 #cbj2 ,dmmler in ,berl4 ,phil4 ,woch4 #ahhh1 p4 #bj2 ,kretschmer1 p4 #ha4 ,footnote #bade3 ,ar4 ,thesm4 #ajhd-abbe4 ,footnote #badf3 ,kretschmer also hints that it seems to indicate the pronunciation of by the ,athenians as ,,ph in 8hap-hazard10 not as ,f4 ,footnote #badg3 ,there are also isolated instances of 2 ,timonidas of ,corinth1 ,pheidippos1 ,euthymides1 and ,aristophanes4 ,see ,klein1 ,meisters4 p4 #ac4 ,footnote #badh3 ,b4,m4 ,f #eid4 ,footnote #badi3 ,gardner1 ,ashmolean ,vases1 ,no4 #ahi1 pl4 #bf3 4 ,we are reminded of the jest about ,chairestratos made by the comic poet ,phrynichos1 who speaks of 8,chairestratos soberly pottering 77 at home0 7,athen4 xi4 #dgd ,b74 ,footnote #baej3 ,see list at end of chapter1 and ,klein1 op4 cit4 pp4 #di1 #bac1 #bad4 ,footnote #baea3 ,munich #cgh ,furtwaengler and ,reichhold1 pl4 #ad4 ,see ,vol4 ,i4 p4 #dbh4 ,footnote #baeb3 ,klein1 ,meistersig4 p4 #aaa4 ,footnote #baec3 ,g #ajg3 see ,monuments ,piot1 ix4 p4 #cc4 ,footnote #baed3 ,naples #cdae4 ,footnote #baee3 ,munich #dih ,reinach1 i4 #bae4 ,footnote #baef3 ,cat4 #aaeb4 ,footnote #baeg3 ,munich #chj1 #haj ,reinach1 ii4 #aae1 i4 #cfc4 ,footnote #baeh3 ,louvre ,e #heb ,reinach1 i4 #aef4 ,footnote #baei3 ,reinach1 ii4 #bib4 ,footnote #bafj3 ,e4g4 ,b4,m4 ,f #fb4 ,footnote #bafa3 ,see also ,kretschmer1 p4 #hd4 ,footnote #bafb3 ,e4g4 ,b4,m4 ,b #afd1 ,b #bed2 ,louvre ,f #big ,reinach1 ii4 #bf4 ,footnote #bafc3 ,kretschmer1 p4 #he3 see p #ib4 ,footnote #bafd3 ,munich #f3 see ,vol4 ,i4 p4 #dbh1 and ,hoppin1 ,euthymides1 p4 #ah4 ,footnote #bafe3 ,monuments ,piot1 ix4 pl4 #b4 ,footnote #baff3 ,berlin #agcg4 ,footnote #bafg3 ,munich #ccc ,reinach1 ii4 #aai4 ,footnote #bafh3 ,berlin #agjd ,reinach1 i4 #aih2 ,vol4 ,i4 p4 #cbf4 ,footnote #bafi3 ,berlin #agcb ,reinach1 ii4 #ff4 ,footnote #bagj3 ,plate ,,xxiii43 see ,vol4 ,i4 p4 #cbf4 ,footnote #baga3 ,bibl4 ,nat4 #bai4 ,footnote #bagb3 ,louvre ,f #che ,millingen1 ,anc4 ,uned4 ,mon4 pl4 #ch4 ,footnote #bagc3 ,reinach1 ii4 #di4 ,footnote #bagd3 ,kretschmer1 p4 #hf4 ,footnote #bage3 ,reinach1 ii4 #abh4 ,footnote #bagf3 ,kretschmer1 pp4 #hf1 #aig4 ,footnote #bagg3 ,see ,kretschmer1 p4 #hf4 ,footnote #bagh3 ,cat4 #aaeh ,ath4 ,mitth4 #ahhd1 pl4 #a4 ,footnote #bagi3 ,kretschmer1 loc4 cit43 cf4 ,bergk1 ,poet4 lyr4 ,gr4 iii4#d p4 #ig1 frag4 #bc4 ,footnote #bahj3 ,see ,hartwig1 ,meistersch4 p4 #bee4 ,footnote #baha3 ,petersburg #afgj4 ,the ,doric dialect is explained by ,kretschmer as due to the ,sicilian origin of the game4 ,footnote #bahb3 ,sc4 8hard to beat40 ,footnote #bahc3 ,kretschmer1 p4 #hh4 ,footnote #bahd3 ,i4e4 4 ,footnote #bahe3 ,reinach1 i4 #bid4 ,probably1 as ,kretschmer points out1 a dog of ,melita off ,illyricum1 not of ,malta4 ,footnote #bahf3 ,kretschmer1 p4 #ia4 ,footnote #bahg3 ,benndorf1 ,gr4 u4 sic4 ,vasenb4 pl4 #a4 ,footnote #bahh3 ,helbig1 #ahf ,wiener ,vorl4 #ahhi1 pl4 #h1 #f4 ,footnote #bahi3 ,reinach1 i4 #if4 ,footnote #baij3 ,reinach1 i4 #ajf4 ,footnote #baia3 ,this translation is somewhat doubtful3 see ,reinach1 loc4 cit4 ,footnote #baib3 ,cat4 #fhh ,reinach1 i4 #afd4 ,footnote #baic3 ,reinach1 i4 #eac4 ,footnote #baid3 ,athens #abda ,dumont-,pottier1 i4 pl4 #f4 ,footnote #baie3 ,plate ,,xxxix4 ,footnote #baif3 ,on the form of the see below1 p4 #bfh4 ,footnote #baig3 ,brit4 ,sch4 ,annual1 #ahih-ii1 p4 #fe4 ,footnote #baih3 ,reinach1 i4 #bgg3 see on the subject1 ,hermes1 #ahih1 p4 #fdj2 ,notizie degli ,scavi1 #ahie1 #hf ff42 and above1 pp4 #aae1 #acg4 ,footnote #baii3 ,see on this subject1 ,urlichs1 ,beitrge1 p4 #cc ff41 and ,vol4 ,i4 p4 #chi4 ,footnote #bbjj3 ,athen4 xi4 #dff ,d2 not found on ,attic vases1 but cf4 ,b4,m4 ,f #edh4 ,footnote #bbja3 ,b4,m4 ,b #dae1 #dbb2 ,berlin #agge-gf4 ,footnote #bbjb3 ,berlin #agfd2 ,munich #cg4 ,for variations see ,kretschmer1 p4 #aie4 ,footnote #bbjc3 ,see ,klein1 ,meisters4 p4 #aaj2 ,kretschmer1 p4 #hb4 ,footnote #bbjd3 ,instances are ,b4,m4 ,b #ccj1 ,b #cci1 ,b #fca1 ,e #ahb1 ,e #gah4 ,footnote #bbje3 ,e4g4 ,b4,m4 ,b #djj4 ,footnote #bbjf3 ,cat4 #ccd ,reinach1 i4 #gi4 ,the vase is probably by ,charinos4 ,footnote #bbjg3 ,cf4 the story of ,pericles and ,sophocles told by ,cicero1 ,de ,offic4 i4 #dj1 #add4 ,footnote #bbjh3 ,vasen mit ,lieblingsinschriften1 #bnd edn41 #ahih4 ,of these1 #ebh are masculine names1 and only #cj feminine4 ,footnote #bbji3 #adc ff4 ,there is1 of course1 a play here on the word 4 ,footnote #bbaj3 #ig ff4 ,demos is here a proper name2 means the ballot-box1 in which the juries recorded their votes4 ,footnote #bbaa3 ,cf4 ,frazer's note on ,paus4 vi4 #aj1 #f 7vol4 iv4 p4 #cg74 ,footnote #bbab3 ,such as the ,laches on ,berlin #bcad1 a name which recalls the ,platonic dialogue with that title4 ,footnote #bbac3 ,hartwig1 ,meistersch4 pl4 #ag1 #a4 ,footnote #bbad3 ,reinach1 ii4 #id4 ,footnote #bbae3 ,hartwig in ,mlanges d',arch4 #ahid1 p4 #aj note4 ,footnote #bbaf3 ,the name of ,leagros occurs on many vases by ,euphronios and other artists3 see ,klein1 ,lieblingsinschr4#b p4 #gj ff4 ,footnote #bbag3 ,klein1 ,lieblingsinschr4#b p4 #hg ,ashmolean ,vases1 ,no4 #caj4 ,footnote #bbah3 ,see for this section1 ,kretschmer1 p4 #id ff4 ,footnote #bbai3 ,see ,kretschmer1 p4 #ih4 ,footnote #bbbj3 ,see ,vol4 ,i4 p4 #cbf4 ,footnote #bbba3 ,but see p4 #bga for the probable explanation of this use of 4 ,footnote #bbbb3 ,kretschmer1 p4 #adf4 ,footnote #bbbc3 ,naples #bhii2 ,b4,m4 ,e #aef4 ,footnote #bbbd3 ,louvre ,f #ec ,reinach1 ii4 #ei 7,exekias74 ,footnote #bbbe3 ,berlin #bbia4 ,footnote #bbbf3 ,munich #cdj ,c4,i4,g4 #gdcc4 ,footnote #bbbg3 ,b4,m4 ,e #bbd2 ,karlsruhe #bji3 cf4 ,berlin #bahd 77 and #aijf 774 ,footnote #bbbh3 ,kretschmer1 p4 #agi4 ,footnote #bbbi3 ,ibid4 p4 #ahj4 ,footnote #bbcj3 ,munich #ccd4 ,footnote #bbca3 ,see generally ,kretschmer1 p4 #aaj ff4 ,footnote #bbcb3 ,the two ,proto-,attic inscribed vases 7,berlin #afhb and ,art4 ,denkm4 i4 #eg3 see ,vol4 ,i4 p4 #bic74 ,footnote #bbcc3 ,berlin #bjjh2 ,rm4 ,mitth4 #ahhf1 p4 #ba4 ,footnote #bbcd3 ,see the table given by ,kretschmer1 p4 #aje4 ,footnote #bbce3 ,see ,vol4 ,i4 p4 #ddc1 and ,dmmler's article in ,jahrbuch1 #ahhg1 p4 #afh ff4 ,footnote #bbcf3 ,see ,kretschmer1 p4 #baa ff4 ,footnote #bbcg3 ,for the proof that ,assteas and ,python worked at ,paestum1 see ,vol4 ,i4 p4 #dgi4 ,footnote #bbch3 ,the name is perhaps a by-form of ,dasimos 7see ,vol4 ,i4 p4 #dgh74 ,the correspondence of ,d and ,l is not uncommon1 as in lacrima4 ,footnote #bbci3 ,f #fb1 2 ,f #ib1 4 ,see also ,millingen-,reinach1 pls4 #ad1 #ag1 #ah4 ,footnote #bbdj3 ,cf4 the version given by ,eustathius ad ,odyss4 p4 #afih1 #be4 ,footnote #bbda3 ,kretschmer1 p4 #bah2 ,rev4 ,arch4 xii4 7#ahhh71 p4 #cdd4 ,footnote #bbdb3 ,rayet and ,collignon1 p4 #ccj 7in ,louvre73 see above1 p4 #ahf2 also ,vol4 ,i4 p4 #dhh4 ,footnote #bbdc3 ,one kylix in partnership with ,nikosthenes4 ,footnote #bbdd3 ,in one case as potter for ,epiktetos4 ,footnote #bbde3 ,see also ,vol4 ,i4 p4 #ddj4 ,,part ,,iv ,,italian ,,pottery ,,chapter ,,xviii ,,etruscan ,,and ,,south ,,italian ,,pottery ,early ,italian civilisation--,origin of ,etruscans--,terramare civilisation--,villanuova period--,pit-tombs--,hut-urns--,trench-t ombs--,relief-wares and painted vases from ,cervetri--,chamber-tombs--,polledrara ware--,bucchero ware--,canopic jars--,imitations of ,greek vases--,etruscan inscriptions--,sculpture in terracotta--,architectural decoration--,sarcophagi--,local pottery of ,southern ,italy--,messapian and ,peucetian fabrics4 ,in the succeeding section of this work we propose1 by a natural transition1 to deal with ,italian pottery1 that is1 ,etruscan and ,roman1 as distinct from ,greek4 ,the subject naturally falls under three heads--the first two dealing with the pottery of the period previous to the ,roman domination of ,italy1 and therefore contemporaneous with the ,greek pottery2 the third with ,roman pottery from the second century ,b4,c4 onwards1 and of necessity including also remains of similar pottery from ,gaul1 ,britain1 and other countries over which that civilisation extended4 ,in the present chapter the first two branches of the subject--namely1 ,etruscan pottery1 and the local fabrics of ,southern ,italy--will be discussed2 the period of time which they cover is1 as has been said1 coincident with that covered by the history of ,greek pottery1 extending from the ,bronze ,age down to the end of the third century ,b4,c4 #a4 ,,etruscan ,,pottery ,,bibliography ,helbig1 ,die ,italiker in der ,poebene2 ,ann4 dell' ,inst4 #ahhd1 p4 #ajh ff41 #ahhe1 p4 #e ff42 ,karo1 ,cenni sulla cronologia preclassica1 ,parma1 #ahih2 ,von ,duhn in ,bonner ,studien1 p4 #ba ff41 and in ,j4,h4,s4 xvi4 p4 #abe ff42 ,martha1 ,l',art trusque1 passim2 ,dennis1 ,cities and ,cemeteries of ,etruria1 #bnd edn4 7good for topography2 archaeology out of date72 ,j4,h4,s4 xiv4 p4 #bjf ff4 7,c4 ,smith on ,polledrara ware72 ,gsell1 ,fouilles de ,vulci2 ,pottier1 ,cat4 des vases ant4 du ,louvre1 ii4 p4 #bhe ff4 7the best general survey72 ,notizie degli ,scavi1 passim1 for excavations2 ,brit4 ,mus4 ,cat4 of ,bronzes1 p4 xliv ff4 7#a7 ,,early ,,italian ,,civilisation ,as regards ,etruria1 it will be seen that the art of the people was largely imitative1 being derived mainly from ,greece1 but in some measure also from the ,east4 ,few remains of their productions have reached the present day1 with the exception of large numbers of vases1 bronzes1 and jewellery2 these1 however1 afford a very clear notion of the characteristics of ,etruscan art4 ,it is hardly possible to treat the subject of working in clay in ,etruria with such fulness as can be done in the case of ,greece and ,rome1 owing to the greater dearth of literature2 but in our previous chapter 7,,iii47 on this subject much has already been said with reference to what is known on this head4 ,in regard to the pottery1 careful scientific excavations1 such as those undertaken by ,m4 ,gsell at ,vulci 7,vol4 ,i4 p4 #gg71 have done much to increase our knowledge of all periods1 and to place chronological certainty within the reach of the inquirer4 ,in dealing with the history of art in ,italy1 we are naturally first met with two questions3 7#a7 ,who were the earliest inhabitants of the country1 particularly in the region afterwards known as ,etruria1 in which the first signs of artistic development appear8 7#b7 ,at what period and from what quarter did the ,etruscans occupy this region1 or are they aboriginal8 ,it will therefore be necessary to devote a few preliminary paragraphs to these much-debated questions1#bbdf in order to gain a better understanding of the subsequent history4 ,the question of the origin of the ,etruscans1 to take the second first1 is as old as ,herodotos4#bbdg ,as is well known1 the ,father of ,history held to the view that they originally came from ,lydia1 a view which found general support in antiquity1 and is referred to by ,horace1#bbdh and many other writers4 ,his fellow-townsman ,dionysios was1 however1 of the opinion that they were autochthonous4#bbdi ,however much of truth there may be in either of these theories1 the fact remains that with certain modifications each of the two alternatives has found supporters even down to the present day1 though to ,niebuhr first is due the suggestion that the immigration of the ,etruscans was by land and not by sea1 and that they came from ,central ,europe by way of the ,rhaetian ,alps4 ,he has been followed by most writers since--above all by ,mommsen1 who was the first to point out the absurdity of identifying the ,lydian or with the ,italian ,tusci or ,etrusci4 ,it follows from this that the whole of the civilisation of ,northern and ,central ,italy is due to this race1 which would obviously have left its impress on each district as it passed through it2 and1 secondly1 that it was this same race that was afterwards known by the name of ,etruscan4 ,the chief objection to the theory of an autochthonous origin is that1 as we shall presently see1 a break in the civilisation of ,northern ,italy which can be traced about the beginning of the ninth century ,b4,c4 is of such a marked and rapid character that it cannot be regarded as due to any cause but the irruption of a new race4 ,moreover1 there is probably1 as ,m4 ,pottier points out1#bbej more truth in the words of ,herodotos than appears at first sight4 ,it is true that there are no grounds for accepting the ,lydian theory absolutely2 but apart from this1 it is to be noted that ,herodotos nowhere states that the ,tyrrhenians landed on the west coast of ,italy--i4e4 in ,etruria4 ,what he does say is that1 8after having visited 7or coasted along7 many nations1 they arrived at the ,umbrians1 where they founded cities and inhabit them to this day2 and instead of ,lydians1 their name was changed to that of ,tyrrhenians40 ,additional evidence is given by ,hellanikos1#bbea who explicitly states that they landed at the mouth of the ,po2 and as the ,umbrians probably occupied a larger territory in prehistoric than in classical times1#bbeb we may fairly place here the city of ,tyrsenia or ,tyrrhenia1 which ,herodotos gives as the name of their first new home4 ,thus the ,umbrians will represent the early aborigines whose civilisation1 known as the ,terramare1 we shall presently describe1 and it was this civilisation1 transformed and developed1 which was carried by the invaders over the ,apennines into the region now to be known as ,etruria4 ,it will be noted that this theory at least satisfactorily combines the land and sea migrations of the ,etruscans into ,etruria1 though it does not profess to dogmatise as to the region whence they first started4 ,the idea that they first landed on the west coast is entirely due to ,roman ideas1 fostered by poets like ,virgil2 and though it is in one passage accepted by ,dionysios of ,halicarnassos1 he expressly contradicts himself in another4#bbec ,the two chief characteristics of this new ,etrusco-,umbrian civilisation are the development of geometrical decoration and the predominance of a metallurgic element1 both of which are obviously derived from ,eastern sources1 whether ,hellenic or ,oriental4 ,it will suffice here to point out that the 8,tyrrhenians0 during their previous voyages 7see above7 might well have come in contact with the other civilisations of the ,eastern ,mediterranean1 such as ,cyprus1 ,asia ,minor1 ,mycenae1 and the ,greek islands1 and that their natural acquisitiveness and capacity for imitation1 which we shall find illustrated throughout their history1 enabled them to pick up and use artistic ideas from all these quarters4 ,even their earliest art yields many points of comparison with that of the ,eastern ,mediterranean4 ,the earliest civilisation of which traces have survived in ,italy is1 as we have already seen1 that of the ,terramare1 so called from the remains discovered in that district1 covering the basin of the ,eridanus or ,po1 but chiefly between ,piacenza and ,bologna4 ,we have further seen that the aboriginal people to whom these remains belong are probably to be identified with the ,umbrians1 but it is perhaps safer to style them ,italiotes4 ,they were lake-dwellers1 living in wooden houses built on piles in the water or in the marshy lagoons of the district which they inhabited1 and their civilisation was of the rudest description4 ,we find among their remains1 besides rude objects in bronze and other substances1 pottery of the very simplest kinds1 hand-made and roughly baked4 ,this is not found in tombs1 but mingled with the dbris of the dwellings4 ,the shapes comprise cups and pots1 and there are few attempts at decoration beyond rows of knobs or bosses4 ,a crescent-shaped or lunulated handle is attached to many of the vases1 serving as a support for the thumb2 but this is a feature also found in other parts of ,italy and in ,sicily4 ,iron1 glass1 and silver are quite unknown1 and gold only represented by a doubtful specimen2 on the other hand1 along with the finds of bronze1 which include weapons1 tools1 and objects of toilet1 are survivals of the ,neolithic ,age in the shape of axes1 spear-heads1 and tools of stone4 ,in several of the settlements actual moulds for bronze-casting were found4 ,the ,neolithic remains are sufficient to indicate the early date of this civilisation1 and it is probably contemporary in point of development 7if not of date7 with the earliest remains from ,hissarlik and ,cyprus4 ,it may thus be traced back as far as #aejj ,b4,c4 at least1 and seems to extend down to about the end of the tenth century ,b4,c4 ,the analogous pottery found at ,thapsus in ,sicily is mixed with ,mycenaean vases1 and may therefore be more precisely dated2 but it is altogether more advanced than that of the ,terramare4 ,the influence of the latter no doubt spread gradually downwards during these thousand years through ,central and ,southern ,italy4#bbed 7#b7 ,,the ,,villanuova ,,period 7,,tombs ,a ,,pozzo7 ,the next stage in the development of civilisation in ,italy1 probably separated from the preceding by a period of transition1 is what is known as the ,villanuova period1 from a site of that name at ,bologna4 ,it begins with the ninth century ,b4,c41 and lasts for some two hundred years2 its traces are much more widely spread than those of the ,terramare people1 being found not only to the north of the ,apennines1 but all over ,etruria4 ,it is interesting to note that the chief finds have been made in what afterwards became the principal centres of ,etruscan civilisation1 such as ,bologna1 ,corneto1 ,vetulonia1 etc4 ,in almost every respect it shows a marked development on the preceding stage4 ,iron is already known1 and the working of bronze better understood1 the processes of hammering plates 77 and working in repouss being introduced to supplement that of casting4#bbee ,we now for the first time meet with tombs1 the characteristic form of which is that of a well or pit1 ending in a small circular chamber1 in which the remains are deposited4 ,italian archaeologists have given to these tombs the name of a pozzo4 ,the method of burial practised was almost exclusively that of incineration1 but it appears certain that the inhabitants of ,etruria never showed a special preference either for one method or the other1 and the alternative method of inhumation already appears at ,corneto before the next stage is reached with the eighth century4 ,it has been sometimes objected that the introduction of inhumation must connote the first arrival of the ,etruscan people in these regions1 on the ground that they did not practise incineration2 but this idea rests on no sound basis4 ,the introduction of the new system1 which never entirely ousted incineration1 can easily be explained as due to external influences2 not indeed to the ,phoenicians 7although it was a universal ,oriental custom71 for their influence in ,italy has been much exaggerated2 but rather to the ,greeks1 who colonised ,cumae in the middle of the eighth century1 from which time onwards ,hellenic influence gradually becomes more and more apparent4 ,we have seen1 then1 that the ,villanuova civilisation may be fairly regarded as ,etruscan4 ,it was not1 however1 by any means confined to ,etruria1 for it is spread all over the country to the north of the ,apennines1 and two of its most important centres were at ,bologna and ,este4 ,the whole of this region shows traces of having been for a long time under the early ,etruscan domination4 ,it is1 in fact1 in close dependence on the ,terramare civilisation which here preceded it1 the difference1 as we have indicated1 being brought about by commerce and foreign influences4 ,illustration3 ,from ,ann4 dell' ,inst4 ,,fig4 #agh4 ,,tomb ,a ,,pozzo ,,with ,,cinerary ,,urn4 ,the pozzo tombs usually contain a large cinerary urn or ossuarium1 in which the ashes were placed after being burnt 7,fig4 #agh74bbef ,these urns are fashioned by hand from a badly levigated volcanic clay1 generally known as impasto ,italico4 ,it is to be distinguished from the later bucchero nero 7see p4 #cja7 by its quality1 and by the fact that vases of the latter clay are always wheel-made4 ,the clay is irregularly baked over an open fire1 and the colour of the surface varies from red-brown to greyish black4 ,it is covered with a polished slip1 and there is no doubt that it was the intention of the potter to give the vases a metallic appearance as well as form4 ,as regards their shape1 they are of a peculiar but uniform type1 with a small handle at the widest part1 and cover in the form of an inverted bowl or saucer with handle 7,fig4 #agi3 see also ,fig4 #agh74bbeg ,the ornamentation consists of geometrical ornaments incised or stamped in bands round the neck and body--such as maeanders1 chevrons1 stars1 and dots--the incisions being made while the clay was moist4 ,in rare cases we meet with painted ornaments in white applied directly to the surface4 ,besides the urns1 which often almost fill the chamber1 accessory objects in the form of common pottery1 fibulae1 and other bronze objects1 spindle-whorls and amber objects1 are found in the tombs4 ,the common pottery does not in its character exhibit much advance on that of the ,terramare4 ,the difference1 indeed1 consists not so much in development of technique as in a greater variety of decoration4 ,it has points of resemblance with the far earlier pottery of ,hissarlik and the early ,bronze ,age tombs of ,cyprus 7see ,chapter ,,vi471 and there are not wanting evidences of commercial intercourse with and importation from the ,eastern ,mediterranean4 ,but two salient features of the ,italian wares are the employment of handles and the unique form of the hut-urn 7see below74 ,illustration3 ,from ,notizie degli ,scavi4 ,,fig4 #agi4 ,,cinerary ,,urns ,,from ,,tombs ,,of ,,villanuova ,,period ,,at ,,corneto4 ,the clay is mostly of the same kind as that of the urns1 and the smoked and irregularly fired surface shows that furnaces were not yet in use1 but that an open fire sufficed for the purpose4 ,the technique is exceedingly primitive1 and the forms are simple but heavy4 ,in the latter respect the striking difference in the inherent artistic capacity of the ,greeks and ,italians is already apparent4 ,the latter never at any time displayed that unfailing eye for form which distinguishes the ,greeks in all their products4 ,the shapes include saucers like the urn-covers1 bowls with a flat vertical or high-looped handle1 flasks with long beak-like necks like the early ,cypriote vases1 bowls with small feet1 jars with one or two handles1 aski1 and kerni1 or groups of vases united on one stem4 ,many of these are quite plain1 but the majority are decorated with geometrical patterns1 like the ossuaria or urns already described4 ,some of the patterns show quite a mechanical regularity1 as if produced from a stamp4 ,these take the form of circular sinkings and other patterns formed by circles1 an early instance of a motive which afterwards became common in ,etruria4 ,there are even some instances of designs in colour1 a sort of cream pigment being used4 ,a peculiarity of this class is the fondness for protuberances in the form of horns on the handles 7ansae lunulatae71 which are also found in the ,terramare1 as already mentioned2 or knobs round the body of the vase1 in order to hold cords for suspension1 which afterwards served a merely decorative purpose1 like the bosses on cups described by ,homer4#bbeh ,sometimes are to be seen rude attempts at modelling horses or heads of oxen1 or at giving the whole vase the form of a bird1 as is seen in some of the aski4#bbei ,the absence of accessory vases in ,villanuova tombs1 as is sometimes the case at ,vulci1#bbfj seems to show either very great antiquity or else a long survival of an older type4 ,on the whole1 however1 a chronological classification is hardly possible4 ,generally speaking1 the pit-tombs were still in use throughout ,etruria at the end of the eighth century1 and no tombs of the next stage can be dated earlier than #gjj ,b4,c4 ,the line of demarcation for the latter end of the period is therefore the seventh century1 coincident with the first undoubtedly ,greek importations found in the tombs4 ,the real interest of the ,villanuova period is1 however1 centred in remains which do not come within our province--namely1 the objects in bronze which have been found in such enormous numbers at ,bologna1 ,vetulonia1 and elsewhere4#bbfa ,they fall into line with the earliest remains on ,hellenic sites--such as ,olympia1 ,rhodes1 and ,crete--and a connection can often be traced1 as in the fibulae1 with the ,hallstatt civilisation4#bbfb ,on the other hand1 they are entirely free from any ,oriental influence4 ,sometimes the cinerary urns in the tombs of this period take the form of huts 7tuguria71 though these are more often found in the neighbourhood of ,rome1 as at ,alba ,longa4 ,they represent1 in fact1 the civilisation of the ,italiote people on their first arrival in ,latium1 which they probably colonised by moving southward through ,umbria and ,picenum1 leaving ,tuscany to the ,etruscans4 ,one of the best examples of these hut-urns is that from the ,hamilton collection in the ,british ,museum 7,plate ,,lvii4 fig4 #d71 which still contains ashes4 ,the ashes were inserted through a little door1 which was secured by a cord passing through two rings at its side and tied round the vase4 ,the ornamentation suggests the rude carpentry which was applied to the construction of the dwellings of this primitive people1 the cover or roof being vaulted1 with raised ridges intended to represent the beams of a house or cottage4 ,these urns have no glaze on their surface1 but a polish was produced by friction4 ,they are occasionally painted with patterns in white1 inlaid in grooves4 ,on the ,museum example are fragments of maeander4 ,they are usually found inside large vases1 which protected them from falling earth and other accidents4 ,the fact that they were found under beds of lava originally led to an exaggerated opinion of their antiquity1 but in any case the nature of their contents confirms their very primitive use4#bbfc ,an interesting account of the early settlements in the southern extremity of ,etruria is given by ,von ,duhn1#bbfd as the result of exploration by local archaeologists on the sites of ,falerii 7,civita ,castellana7 and ,narce4#bbfe ,the most interesting feature of these results is the gradual migration of the peoples from the hill-tops to the valleys as they became more civilised4 ,thus many modern cities1 such as ,florence1 are direct descendants of the early hill-settlements of primitive ,italy4 ,in ,etruria it was usually the reclaiming of the marshes for cultivation that enabled the population to settle in the lower and more accessible situations4 ,the ,faliscan region well illustrates this principle1 as does ,narce4 ,in the earliest graves on the hill-tops cremation is the rule1 and the urns are of the ,villanuova type4 ,nothing of later date than the eighth century is found1 and no importations4 ,the hut-dwellings at ,narce seem to have been of the hut-urn type4 ,the common pottery is of the primitive hand-made greyish black clay2 but after the eighth century the position of the settlement was shifted lower down1 and in these later tombs a remarkable series of red-glazed wares is found 7see below1 p4 #cja71 and ,greek and ,oriental importations soon make their appearance4 ,narce soon fell under ,etruscan sway1 but ,falerii retained its individuality for some time longer4 7#c7 ,,third ,,period3 ,,tombs ,a ,,fossa2 ,,first ,,greek ,,influences ,the next stage in the development of ,etruscan civilisation is marked by a change in the form of the tomb4 ,the pit is now replaced by a trench2 in other words1 the vertical form is exchanged for a horizontal one4 ,concurrently with this change the practice of inhumation becomes fairly general4 ,this period may be regarded as extending from the eighth century ,b4,c4 to the beginning of the sixth1 and is marked by the first signs of importations from ,greece in the shape of ,geometric pottery and bronzes4 ,in general character it is not strongly marked off from the preceding4 ,the great advance is in the development of art in the objects found in the tombs4 ,not only do we witness the first beginnings of what is destined to become the typical species of ,etruscan pottery--namely1 the bucchero nero--but towards the end of the period the ,greek influence1 as evidenced by finds of wheel-made vases with ,geometrical decoration1 or even of the so-called ,proto-,corinthian type1 becomes widely felt4 ,it was no doubt largely due to the foundation of colonies in the south of ,italy1 such as ,cumae4 ,altogether it is a most important period for the history of ,etruscan pottery4 ,of ,oriental influence there are at present hardly any signs1 and all wheel-made vases found in these tombs are probably of ,greek origin1 as it does not appear that the wheel was in regular use before the middle of the sixth century4#bbff ,it is now necessary to turn our attention to the local hand-made varieties4 ,and1 in the first place1 it is worthy of note that pottery of the ,villanuova type actually survives the transition from the pit-tombs to the trenches1 as is seen at ,corneto1 ,vetulonia1 and elsewhere4 ,probably it indicates the pottery in common use1 the imported objects being only regarded as de luxe2 or else1 as ,prof4 ,helbig suggests1#bbfg the former types were preserved for religious reasons connected with burial rites1 as was often the case in ,roman religion4 ,in the earlier types of pottery from the fossa tombs1 such as are common at ,vulci1 the hand-made pottery of impasto ,italico still continues1 preserving the same shapes and the same simple linear decoration2 but it is better baked1 and the surface is somewhat better polished4 ,red wares are also found1 and yellow wares with ,geometrical ornaments painted in red1 which are evidently local imitations of the ,greek ,geometrical fabrics 7see below74 ,later1 while the technique remains unaltered1 a difference is seen in the forms1 which become lighter1 more varied1 and more symmetrical4 ,such shapes as the stamnos1 kantharos1 and trefoil-mouthed oinocho now for the first time appear4 ,the methods of ornamentation are also modified2 new varieties of incised patterns are seen1 and the bodies of the vases are sometimes fluted or ribbed2 while such motives as friezes of ducks1 which are also found on the contemporary bronzes1#bbfh now first find a place4 ,m4 ,gsell1 describing in detail the various fabrics found in the ,vulci tombs of this period1#bbfi speaks of pottery of a grey clay baked to red1 perhaps in a furnace1 forming urns and jars of a considerable size4 ,he thinks that some primitive kind of wheel 7see above7 must have been used to produce these4 ,in some of the impasto wares there is a decided advance in technique1 the clay being better levigated and the walls of the vases thinner4 ,some black wares seem to have been fumigated like the later bucchero4 ,generally speaking1 both incineration and inhumation are still practised4 ,the ornaments are incised1 stamped1 or painted1 and the decoration almost exclusively linear1 the stamped patterns being usually in the form of stars4 ,this pottery is1 in fact1 merely a continuation of that of the pit-tombs1 except that the imitation of metal-work is much more strongly in evidence4 ,yet another variety preserves the methods and forms of the ,villanuova class1 but introduces a new kind of clay1 altogether black1 as distinguished from the earlier reds and browns4 ,a remarkable specimen of this early black ware found at ,orvieto has incised upon it the subject of ,bellerophon and the ,chimaera1 the style being1 as we should expect1 childish to the verge of the ludicrous4#bbgj ,later1 the black wares acquire a very fair glazed surface1 and are ornamented with incised linear patterns of zigzags1 chevrons1 etc42 these are mostly small vases4 ,it is in these two particularly that we see the forerunners of the highly developed bucchero ware4 ,besides these local fabrics1 there are found ,greek imported wares with ,geometrical decoration of pale yellow clay1 with ornaments in brown turning to red2 the commonest form is the oinocho1 and the patterns include circles1 zigzags1 wavy lines1 embattled patterns1 etc4 ,these are all wheel-made1 and are1 in fact1 the same types as are found in the ,dipylon cemetery at ,athens and in ,boeotia 7,chapter ,,vii472 the earliest instances belong to the end of the eighth century1 in some late pit-tombs at ,caere1 in which also 8,proto-,corinthian0 pottery was found4 ,they coincide with the great impetus given to ,greek colonisation in ,sicily and ,southern ,italy1 and probably came by that way into ,etruria4 ,it should be borne in mind that these vases were imported not for their own merit1 but for the value of their contents4 ,it has already been mentioned that local imitations of them are found in the trench-tombs4 ,to the seventh century belong also two classes of pottery which are more or less connected1 and are chiefly associated with ,caere4#bbga ,the first class consists of a series of vases of red ware1 mostly large jars and 1 ornamented with designs in relief1 the lower part of the body being usually ribbed4 ,the designs take the form of bands of figures stamped round the upper part of the vase1 either in groups on the principle of the metope or in extended friezes4 ,in the former case the design was produced from a single stamp for each group2 in the latter1 it was rolled out from a cylinder resembling those in use in ,assyria for sealing documents4 ,besides the jars1 plates of this ware are not uncommon2 they may have formed either covers like those of the ,villanuova ossuaria1 or stands for the jars1 in order to hold drippings of liquid1 etc4 ,the use of the in tombs is not quite clear1 though they were doubtless in daily use for holding grain or liquids4#bbgb ,the subjects are always of an ,orientalising character1 similar to those found on ,greek vases under ,oriental influence1 and comprising animals1 monsters1 hunting scenes1 combats1 and banquets4 ,the origin of these vases is doubtful2 they may be either indigenous or imported1 as similar examples have been found in ,rhodes1 ,boeotia1 ,sicily1 and elsewhere2 but they are rare outside ,etruria4 ,the suggestion of a ,sicilian origin#bbgc has found some favour1 but it is more likely that they are native productions after ,greek models 7see ,vol4 ,i4 p4 #dif72 some are undoubtedly of local make1#bbgd and they were probably made at ,caere or in the neighbourhood4 ,their prototypes go back almost to the ,mycenaean period1 but were hardly imported before #gjj ,b4,c41 after which time the local imitations begin1 being one more instance of the invariable rule that all ,etruscan pottery is more or less imitative4 ,similar vases in metal were manufactured on the coast of ,asia ,minor1 and the of the ,lydian kings at ,delphi#bbge were probably examples of this class4#bbgf ,illustration3 ,from ,gaz4 ,arch4 ,,fig4 #ahj4 ,,painted ,,etruscan ,,pithos ,,from ,,cervetri 7,,in ,,louvre73 ,,birth ,,of ,,athena2 ,,boar-,,hunt4 ,the second class shows some affinities to the other in regard to the shape and the nature of the clay2 but the important difference is that the vases are decorated with painted subjects instead of reliefs4 ,the subjects are painted in white outline on a brick-red glazed ground1 the process being as follows3 ,the clay1 which resembles the impasto ,italico1 is first hardened by baking1 and then a mixture of wax and resin and iron oxide is applied to it1 and a lustre given to the surface by polishing4 ,the pigment1 a mixture of chalk and lime1 is then laid on4 ,the process can hardly be said to be ,greek1 and yet the subjects are purely ,greek1 being borrowed in part from the ,greek ,geometrical vases1 such as sea-fights1 and in part from later 7,ionian7 sources#bbgg2 we actually find representations of the ,birth of ,athena and the ,hunt of the ,calydonian ,boar 7,fig4 #ahj74bbgh ,the shapes of the vases again are certainly local1 as are the animal forms1 which resemble those incised on the bucchero wares4 ,the drawing is usually crude in the extreme4 ,it is interesting to note that on the vase from which ,fig4 #ahj is taken the potter has painted in white an ,etruscan inscription 7not shown in the cut74 ,another vase of the same class was found in the ,polledrara tomb 7see ,plate ,,lvi4 and p4 #cjj below74 ,the method of painting in opaque pigment on a red or black ground is1 it would seem1 an ,ionian characteristic1 being found at ,naukratis in the seventh century 7,vol4 ,i4 p4 #cdg71 and also1 as we shall see on other quasi-,ionic fabrics in ,etruria4 ,generally speaking1 the tombs a fossa are not later than the middle of the seventh century2 evidence of this is given by the absence of bucchero proper and of ,corinthian fabrics4 ,there are1 however1 traces of their lingering on even down into the sixth century1 as at ,vulci1 where ,helbig mentions a tomb found in #ahhd containing ,corinthian vases of that date4#bbgi ,at ,corneto the latest belong to the end of the seventh century4 7#d7 ,,fourth ,,period3 ,,chamber ,,tombs2 ,,oriental ,,influence ,our fourth period1 which in many respects shows a close continuity with that of the tombs a fossa1 is nevertheless clearly defined by two circumstances3 firstly1 the adoption of a new type of tomb1 doubtless developed out of the fossa1 which takes the form of a large chamber1 and is therefore known as a camera2 secondly1 the influence of ,oriental art1 concurrently with an increased influx of importations from ,greece4 ,the period covers about a century of time1 from #fej to #eej ,b4,c41 and includes several of the largest and most important tombs that have been found in ,etruria1 which will demand more or less detailed treatment4 ,in none1 however1 were any great finds of pottery made2 but one of these tombs1 the ,grotta d' ,iside or ,polledrara tomb at ,vulci1 contained several specimens of exceptional interest4 ,the simplest form of chamber-tomb consists of a narrow corridor or leading into a larger chamber2 next1 the opens into a square or rectangular vestibule1 round which various side-chambers are attached2 finally1 the tomb assumes the form of a vast subterranean edifice composed of several wings1 and used for more than one corpse--in fact1 a 8family vault40 ,while on the one hand the ceramic types of the ,villanuova period still linger on1 as in the retention of ossuaria for the receipt of ashes1 on the other the painted ,greek vases and the local bucchero wares increase more and more1 and altogether there is a great advance in the direction of variety and richness4 ,this period saw not only the general introduction of the wheel into ,etruria1 but also the introduction of the alphabet of ,western ,greece1 through ,cumae4 ,a vase of bucchero ware found at ,vetulonia bears an ,etruscan inscription1 which can hardly be much later than #gjj ,b4,c41#bbhj and we have already seen an instance on a vase from ,caere4 ,in the earlier chamber-tombs no bucchero is found1 and the pottery is of the same types as in the trench-tombs2 but with the enlarged arrangement of the tomb come the ,corinthian vases of ,orientalising style1 to be followed later by the ,ionian and later ,corinthian fabrics1 and finally by the ,athenian wares4 ,the vestibule disappears after the sixth century1 and all later tombs have the simple 4 ,the typical contents of a chamber-tomb are1 as regards local pottery1 in the earlier tombs impasto ,italico wares1 in the later bucchero4 ,the former is hand-made1 the shapes similar to those found in the trench-tombs--i4e4 pots incised with zigzags1 circles1 and other patterns1 or painted in white4 ,the latest varieties are wheel-made1 of bucchero forms4 ,the latter wares1 which are much more numerous1 are evolved from the impasto3 7#a7 by the use of the wheel2 7#b7 by the introduction of the furnace2 7#c7 by extensive imitation of ,greek ceramic and metal forms4 ,the earliest bucchero vases at ,vulci and ,corneto synchronise with ,corinthian pottery of the middle style1 about #fcj-fjj ,b4,c41 and they last down to the end of the fifth century4 ,the appearance of the alphabet seems to point to a marked incursion of ,greek influence in the early part of the seventh century4 ,the story of the arrival of ,demaratos of ,corinth1 about #ffe ,b4,c41 with the three artists whom he brought in his train1 ,diopos1 ,eucheir1 and ,eugrammos1#bbha is no doubt an echo of this4 ,the progress of ,hellenism was1 however1 momentarily arrested by the growing power of ,carthage1 which may partly account for the temporary ,orientalising of ,etruscan civilisation4 ,it is certainly to the ,carthaginian influence in ,italy that the ,phoenician objects found in the seventh century tombs1 such as the silver bowls of ,praeneste1 are due4 ,oriental influence is also seen in the large tombs at ,vulci1 ,caere1 and ,vetulonia1 but it is hardly so strong as was at one time supposed2 and of late years scholars have generally recognised that ,ionian art and commerce played a much larger part throughout in the civilisation of ,etruria#bbhb2 and1 further1 that ,oriental art found its way mainly through these channels4 ,at all events there was throughout the seventh and sixth centuries a keen struggle for supremacy in the ,western ,mediterranean1 in which the ,etruscans1 the ,phoenicians of ,carthage1 and the ,ionian and ,continental ,greeks alike shared2 and hence the diverse influences at work in ,etruria4 ,but it was not long before ,greece1 with its rising colonies of ,cumae1 ,sybaris1 and ,syracuse1 made its predominance to be felt in the ,western ,mediterranean1 and this was consummated by the final victory of ,hiero over the combined fleets of ,carthage and ,etruria off ,cumae in #dgd ,b4,c4 ,a monument of this exists to the present day in the bronze helmet dedicated by that king at ,olympia1 now in the ,british ,museum4 ,we may further define as the second great period of ,greek importations1 that extending over the sixth and fifth centuries1 a period which saw the development not only of the local bucchero fabrics1 but also of the ,greek black- and red-figured vases1 which1 heralded by the ,corinthian wares1 now pour in a continuous stream into ,etruria4 ,to this same period belong the paintings of the ,etruscan tombs4 ,the earliest influences from ,greece came1 as has been hinted1 through colonies like ,chalcidian ,cumae1 which were the chief agents in the ,hellenisation of ,etruria2 but at ,cervetri1 at any rate1 the prevailing influence was ,corinthian1 as testified by the remarkable series of ,corinthian and quasi-,corinthian vases in the ,campana collection at the ,louvre4 ,later in the sixth century came the connection with ,athens1 the chief results of which are to be seen in the contents of the tombs of ,vulci 7,vol4 ,i4 p4 #gf74 ,it extends from the time of the ,peisistratidae 7#edj-ebj ,b4,c47 down to about #dej ,b4,c41 being probably brought to an end by the ,peloponnesian ,war and the destruction of the ,athenian maritime supremacy2 but isolated instances of importations occur down to the time of ,alexander the ,great1 in the ,panathenaic amphorae of which dated examples of #ccf ,b4,c4 have been found at ,cervetri 7,vol4 ,i4 p4 #cij74 ,in sketching this outline of ,hellenic influence in ,etruria we have overstepped the limits of chronological sequence1 and must retrace our steps in order to deal first with the local products of the period from #fej ,b4,c4 onwards1 and secondly with the effects of the ,greek civilisation on the same4 99 99 99 99 99 ,polledrara ware4--,the ,grotta d' ,iside or ,polledrara tomb at ,vulci has been dated1 on the authority of a scarab of ,psammetichos ,i4 7#fef-faa ,b4,c47 which it contained1 towards the closing years of the seventh century4 ,this dating has been generally accepted1 and there seems no reason to doubt it1 although the evidence of an isolated scarab is not always as trustworthy as appears at first sight4 ,besides local bronze work and objects of ,egyptian or quasi-,egyptian character1 it contained one vase of unique character which calls for special consideration4#bbhc ,this is a hydria of somewhat peculiar1 if not unique form1 with a very wide body and rudimentary foot4 ,in some details1 especially in the treatment of the handles1 it exhibits obvious evidence of imitation of metal-work4 ,although at first sight resembling bucchero ware1 the clay is seen on examination to be of a different type1 not being grey but reddish brown in fracture1 while the lustrous black surface is produced by a thin coating or slip4 ,it is decorated with designs in three colours1 red1 blue1 and a yellowish white1 which were laid on the black and then fired4 ,the red is best preserved1 the blue fairly so1 but the white has almost entirely disappeared4#bbhd ,the designs are arranged in three friezes1 of which the lower consists only of isolated bits of key-pattern4 ,on the two upper rows are scenes from the story of ,theseus and ,ariadne1 together with ,centaurs1 ,sphinxes1 and other accessory figures4 ,on the upper row ,theseus slays the ,minotaur2 on the lower1 ,theseus and ,ariadne are seen1 firstly in a chariot1 secondly leading a dance of four other figures1 the hero playing a lyre1 while ,ariadne holds the clue4#bbhe ,the colouring scheme is most elaborate1 and cannot be detailed here2 an occasional use of incised lines may also be noted4 ,a small two-handled cup or kylix1#bbhf of a type often found at ,naukratis decorated with eyes1 was also found in this tomb1 and appears to belong to the same class4 ,the clay is similar to that of the hydria1 as is the decoration1 which however1 owing to the flaking off of the black slip1 has largely disappeared4 ,although in its technique it resembles the hydria1 the subjects and motives are probably derived from ,naukratis4 ,only a few other examples of this 8,polledrara0 ware are known3 an oinocho in ,berlin1#bbhg two vases in the ,louvre1#bbhh and a vase found at ,cervetri1 unpublished4#bbhi ,from the contents of the tomb in which the last-named was found1 it may fairly be dated early in the sixth century4 ,mr4 ,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 7see below71 the form of the vase being borrowed from an ,ionic source4#bbij ,ionic influence 7see above1 p4 #bif7 is visible in more than one respect in this vase1 as also in the reliefs decorating the bronze bust from the same tomb4 ,other details1 such as the imitation of metal-work1 are rather to be referred to a ,corinthian source2 and it is worthy of note that two ,corinthian vases were among the contents of the tomb4 ,the striving after a gaudy effect by the use of polychrome decoration1 and especially the employment of blue1 a colour otherwise unknown in vase-painting before the end of the fifth century1 finds a parallel in the sixth century poros-sculptures from the ,athenian ,acropolis1 in which even more violent effects of colour are attained1 as in the bright blue beard of the ,triton4 ,but in this case there seems little doubt that the idea is borrowed from ,egypt1 with its fondness for brightly decorated mummy-cases and bright blue images of faence and porcelain4 ,other details which betray an ,egyptian origin are the lions' masks1 the all-pervading lotos-flower1 and the seated dog or jackal4 ,the connecting link is no doubt the great trading centre of ,naukratis1 through whose agency the ,egyptian scarabs1 porcelain objects1 and ostrich eggs found in this tomb also came to ,etruria4 ,as a parallel to the ,polledrara finds should here be cited the painted terracotta panels from ,caere now in the ,british ,museum and ,louvre1 which are certainly local products1 and give a realistic representation of the ,etruscan people4 ,they are described below 7p4 #cai74 ,these again1 both in subject and style1 lead to a comparison with the large ,etruscan terracotta sarcophagi1 of which the most remarkable is that in the ,british ,museum4#bbia ,here1 as in the ,polledrara bronze bust1 the rude native attempts at sculpture in the round are combined with reliefs which successfully reflect the style of ,ionic art4 ,lastly1 we note another parallel in the paintings of animals on the walls of a tomb at ,veii4#bbib ,mr4 ,cecil ,smith sums up3 8,the ,polledrara ware was probably local ,italian1 made at ,caere under the combined influence of ,ionian and ,naukratite imports1 acting on an artistic basis principally derived from ,corinth40 ,developed pari passu with the red impasto ware 7of which a painted example was found in the ,vulci tomb71 it gradually gave way to the bucchero ware with which we deal in our next section4 ,it only remains to note that similar ware has been found in ,rhodes1#bbic where also later wares of a genuine bucchero type1 unpainted1 have come to light2 and these appear to be instances of a counter-importation from ,etruria to ,asia ,minor4 ,the only other piece of pottery from the ,polledrara tomb which calls for special comment is one to which reference has just been made1 a large pithos of the primitive impasto red ware1 made on the wheel 7,plate ,,lvi474 ,it falls into line with the painted and stamped fabrics from ,caere already described 7p4 #bib ff471 and is1 like the hydria1 painted in polychrome1 but the colours are much faded4 ,the subjects are a frieze of animals and a ship4 ,three other tombs which rival the ,polledrara in size and importance are the ,regulini-,galassi tomb at ,caere1#bbid the ,tomba del ,duce at ,vetulonia1#bbie and the ,bernardini tomb at ,praeneste4#bbif ,although the finds of pottery herein were small1 they are yet of great interest for the history of ,etruscan art in general1 especially as they afford evidence for approximate dating4 ,in the two former ,etruscan inscriptions were found4 ,the ,caere and ,praeneste tombs are probably the earliest1 about #fej ,b4,c41 and the ,del ,duce and ,polledrara tombs are not later than the end of the seventh century4 ---------------------------------------- -------------- ,,plate ,,lvi ,illustration3 ,,early ,,etruscan ,,pottery4 #a4 ,,cauldron ,,and ,,stand ,,of ,,red ,,ware ,,from ,,falerii2 #b4 ,,painted ,,amphora ,,of ,,red ,,ware 7,,polledrara ,,tomb7 7,,british ,,museum74 ---------------------------------------- -------------- ,in the ,regulini-,galassi tomb the pottery takes the form of large caldrons of red glazed ware1 which mark a transitional stage between the impasto and bucchero4 ,they are characterised by the large ,gryphons' heads projecting in relief round the sides1 to which are attached chains4 ,sometimes they are supported on high open-work stands4 ,in #ahib the ,british ,museum acquired a series of these and similar vases 7,plate ,,lvi471 including some plain specimens of bucchero ware from early tombs at ,civita ,castellana 7,falerii3 see ,vol4 ,i4 p4 #ge74 99 99 99 99 99 ,bucchero ware4--,this may be called the national pottery of ,etruria4 ,its technique is not at present perfectly known1 and analysis does not show certainly whether the black paste is natural or artificial4 ,modern experiments have been made which seem to indicate that this result may be obtained by fumigating or smoking the clay in a closed chamber after the baking1 which process blackens the clay throughout4#bbig ,but ,m4 ,pottier#bbih thinks that the black surface was obtained not by fumigation of the vase1 but by applying a slip of pounded charcoal already smoked1 which at a moderate temperature would permeate the clay4 ,the surface was then covered with wax and resin1 and polished1 like the ,polledrara hydria4 ,a combination of analyses of the paste made by ,brongniart#bbii gives the following result3 ,silica #fj-gj parts4 ,clay earth #ab-af 0 ,carbonate of lime #b-d 0 ,magnesia #a-b 0 ,water #h-aj 0 ,carbon #a -#c 0 ,the oldest bucchero vases go back to the tombs a fossa of the end of the seventh century4 ,they are small and hand-made1 ornamented1 if at all1 with geometric patterns1 incised4 ,the engraving was done by a sort of toothed wheel or a sharp tool2 more rarely1 hollowed out in grooves4 ,obviously the process is an imitation of metal engraving4 ,oriental influence soon appears1 first of all in the chalice-shaped cups found at ,cervetri1 the surface of which is covered with figures of lions1 deer1 etc41 in ,oriental style4 ,both form and decoration are derived from metallic prototypes4 ,the projecting ,gryphons' heads mentioned above are also typical of this class4 ,in tombs of #efj-ejj ,b4,c41 along with ,corinthian vases1 a different type occurs1 the vases being wheel-made1 of light and elegant forms--cups1 chalices1 pyxides1 amphorae1 and jugs4#bcjj ,the ornament is in the form of reliefs1 either stamped from a cylinder on a narrow band1 as in the red ware from ,caere 7see p4 #bib71 or composed of a series of medallions separately modelled or made from moulds and stuck on4 ,this1 again1 is an imitation of metal4 ,examples of these types are given in ,plate ,,lvii4 figs4 #a-c1 #e4 ,the subjects are not very varied4 ,they range from animals such as stags and lions1 or monsters such as ,sphinxes and ,centaurs1 to winged deities1 suppliants with offerings before deities1 and other mythological figures--,chimaera1 the ,asiatic ,artemis1 or the ,minotaur4 ,egyptian masks are also common4 ,episodes of hunts or banquets occur1#bcja and also groups of figures in meaningless juxtaposition4 ,some vases have only curvilinear patterns1 such as palmettes1 all of a vegetable rather than a geometrical type4 ,in this group the general tendency is rather ,hellenic than ,oriental1 especially towards ,ionian art4#bcjb ,this is only a temporary phase1 and is practically confined to ,cervetri1 ,veii1 and ,corneto--i4e4 the maritime region in which the ,corinthian vases are found4 ---------------------------------------- -------------- ,,plate ,,lvii ,illustration3 ,,etruscan ,,black ,,ware3 ,,hut-,,urn ,,and ,,bucchero 7,,british ,,museum74 ---------------------------------------- -------------- ,at ,chiusi an extraordinary development is manifested1 which gradually obtained a monopoly4 ,the city was far from the sea and ,hellenic influences1 and retained ,oriental traditions4 ,after the end of the sixth century all the varieties of bucchero were fused into one type1 which lasted down to the end of the fourth century4#bcjc ,the shapes include amphorae1 trefoil-mouthed oinochoae1 various forms of cups1 bowls with raised handles and ladles 7kyathi71 table-utensils1 basins imitating metal forms1 braziers1 and vases in the form of birds or fishes4 ,they are ornamented with reliefs from top to bottom1 the subjects being much the same as in the last group4 ,the tops or covers are often in the form of female or cows' heads1 or surmounted by birds 7cf4 ,plate ,,lvii4 fig4 #e74 ,the figures and ornaments are stamped in from moulds and fixed by some adhesive medium1 incised designs being inserted to fill up the spaces4 ,these reliefs are never found earlier than the period of ,attic importations4 ,the subjects are derived as before from ,greek1 ,egyptian1 and ,assyrian sources1 the ,oriental types being so much combined that they must evidently have come through the ,phoenicians4 ,among the ,greek subjects we find ,theseus and the ,minotaur1 ,perseus and the ,gorgons1 ,pegasos and the ,chimaera1 warriors1 etc4 ,the animals and the four-winged figures are ,assyrian in type1 while ,egypt supplies such types as ,ptah1 ,anubis1 and other animal-headed deities1 and the female heads on the so-called ,canopic jars4 ,there are here no signs of inventive genius4 ,the technique is purely native1 but all is founded on foreign models4#bcjd ,the shapes are those of ,ionia and the coast of ,asia or of ,athens4 ,on the other hand1 the development of the technique from the ,villanuova pottery is certainly apparent4 ,the ,greeks1 indeed1 tried to imitate it at times1 and bucchero ware is found at ,rhodes and ,naukratis4 ,we may fairly lay down that ,etruscan invention is limited to the perfecting of the technique and the combination of the borrowed elements and art-forms4 ,many of the flat reliefs seem to be copied from ivories1 and the rounded reliefs are certainly from bronze repouss work2 in some cases we find traces of gilding1 silvering1 and colour1 which have been intended to reproduce the appearance of metal4 ,again1 in many respects the bucchero vases are merely the counterparts of works in bronze1 as in the case of the braziers and the bowl with ,caryatid supports given in ,plate ,,lvii4 fig4 #b4bcje ,in short1 they reproduce for us what is wanting in our knowledge of early ,greek metal ware4#bcjf ,there seem to be some references to this early black ware in the ,roman poets1 for ,juvenal#bcjg mentions it as being in use in the time of ,numa3 8,who dared then10 he says1 8to ridicule the ladle 7simpuvium7 and black saucer of ,numa80 ,persius#bcjh styles it ,tuscum fictile1 and ,martial#bcji imagines ,porsena to have been quite content with his dinner-service of ,etruscan earthenware4 99 99 99 99 99 ,a peculiarly ,etruscan type of vase which deserves some separate attention is that known as the ,canopic jar1 resembling the so-called in which the ,egyptians placed the bowels of their mummies4#bcaj ,these ,etruscan canopi are rude representations of the human figure1 the heads1 which are often attired in ,egyptian fashion1 forming the covers4 ,the eyes are sometimes inlaid1 and the female heads have large movable earrings and other adornments4 ,in the tombs it was customary to place these vases on round chairs of wood1 bronze1 or terracotta4 ,an example may be seen in the ,etruscan ,room of the ,british ,museum1 where the chair is plated with bronze1 covered with archaic designs in repouss relief1#bcaa and another is shown in ,fig4 #aha4 ,similar chairs were discovered in the ,tomba delle ,sedie at ,cervetri2 but the ,canopic jars are almost confined to ,chiusi4 ,the type finds a parallel in the so-called 8owl-vases0 from the second city at ,hissarlik 7,vol4 ,i4 p4 #beh71 in which the same combination of the vase-form with the human figure is to be observed4 ,the lower portion of the jar was intended to receive the ashes of the dead1 like the ossuaria1 this method of placing the mortal remains of a person within a representation of himself being peculiarly ,egyptian4 ,signor ,milani#bcab has traced the origin of the ,canopic jars to the funeral masks placed over the faces of the dead1 which are sometimes found in the earliest ,etruscan tombs4 ,this practice may have been derived from ,mycenae1 where ,schliemann found gold masks in the shaft-tombs of the ,agora2 but in ,etruria the examples are all in bronze1 except a few of terracotta4#bcac ,a gradual transition can be observed from the mask1 at first placed on the corpse and then attached to the urn containing its ashes1 to the head fashioned in the round and assimilated with the cover2 while in later times a further transition may be observed from the vase with human head to the complete human figure4 ,finally1 its place was taken by the reclining effigies on the covers of the sarcophagi 7p4 #cbj74 ,the earliest jars are found in the pozzo tombs of the eighth century1 the evolution of the head modelled in the round being accomplished by the seventh century1 and the archaic types last down to about #eej ,b4,c41 when the severe perfected style comes in1 to be succeeded by the free style of the fifth century1 after which time the ,canopic jars cease to be manufactured4 ,illustration3 ,from ,mus4 di ant4 class4 ,,fig4 #aha4 ,,canopic ,,jar ,,in ,,chair ,,plated ,,with ,,bronze4 ,the types are both male and female throughout1 the latter being usually distinguished by wearing earrings and necklaces4 ,towards the end of the series the handles are gradually converted into rudimentary arms1 and finally into fully developed human arms1 sometimes holding attributes4 ,they are probably placed on chairs as emblems of the power and authority which the deceased enjoyed during his life4 ,in the ,berlin ,museum#bcad there is a remarkable example of the sixth century in which the jar is placed on a chair of the same clay1 covered with graffito ornamental designs and figures of animals4 ,the jars are always made of a plain red unglazed clay1 and are uncoloured4 ,in the ,british ,museum#bcae there are two seated female figures on detached square bases1 wearing bright red chitons and large circular earrings1 which seem to represent the period of transition from the jar to the sarcophagus1 the style in which they are modelled being that of the fifth century4 ,some of the later examples have strongly individualised features1 and seem to be genuine portraits2 it is possible that they are actually from moulds taken from the faces of the dead4 7#e7 ,,period ,,of ,,greek ,,influence2 ,,painted ,,pottery ,although the ,etruscans executed such admirable works in bronze1 exercised with such skill the art of engraving gems1 and produced such refined specimens of filagree-work in gold1 they never attained to high excellence in their pottery4 ,the vases already described belong to plastic rather than pictorial art1 and are mostly imitations of work in metal4 ,down to the end of the sixth century ,b4,c4 their attempts at painting vases have been1 as we have seen1 limited practically to two fabrics1 the ,polledrara ware and the ,caere jars with paintings in a similar technique4 ,these methods have1 however1 nothing in common with ,greek vase-paintings of the ordinary kind on a glazed surface1 a method which was never popularised in ,etruria4 ,the total failure of the ,etruscans in vase-painting finds a curious parallel in their sculpture2 all their best work is to be sought in their engraving or figures in low relief1 as in the mirrors and cistae4 ,yet the same mirrors and cistae show clearly that it was from no lack of ability in drawing that they failed2 wherefore it is the less easy to understand1 not only the absence of all originality in their painted vases1 but also the rarity of instances of their imitative tendencies in this respect4 ,apparently the red-figured vases which were imported into ,etruria in such large numbers in the fifth century served as prototypes1 not for their paintings1 but for the engraved mirrors to which we have alluded4 ,it may have been that they shrank from the task so successfully achieved by ,greek painters of suitably decorating the curved surfaces of a vase1 and preferred the flat even surfaces supplied by the circular mirrors and the sides of the cistae4 ,moreover1 the interior designs of the kylikes1 perfected by ,epiktetos1 ,euphronios1 and their contemporaries1 served as obvious models for disposing a design in a circular space2 and they had in the subjects of the vases a mythological repertory ready to hand4 ,it now remains to be seen to what extent they actually were influenced in their pottery by the imported ,greek vases4 ,for considerably over a century painted pottery1 at all times rare in ,etruria1 is practically unrepresented in the tombs except by ,greek importations1 ,corinthian1 ,ionic1 and ,attic2 the only local attempts in this direction are the ,polledrara and ,cervetri vases4 ,as we have seen1 early ,corinthian vases appear in the fossa tombs1 and later ,corinthian in the chamber tombs1 in which1 towards the middle of the sixth century1 the ,attic ,b4,f4 fabrics begin to make their appearance4 ,the latest developments of the ,corinthian wares are1 indeed1 almost unrepresented1 but their place is taken by what appear to be local imitations of the ,corinthian vases1 a large series of which was found at ,cervetri1 and now forms part of the ,campana collection in the ,louvre4 ,these are1 however1 for the most part certainly ,greek1 being presumably made by the ,greek settlers in that town--at any rate1 an ,etruscan origin cannot be proved for them4#bcaf ,we have also seen that the ,ionian fabrics exercised a great influence on ,etruscan art1 and this leads us to another series of vases found at ,cervetri1 the ,caeretan hydriae discussed in ,chapter ,,viii4 ,some years ago it was noticed by the late ,f4 ,dmmler#bcag that there were in many museums examples of a class of vases which stood in close relation to the ,caeretan hydriae1 yet were obviously a different fabric4 ,having collected and examined these vases1 he was able to demonstrate satisfactorily that they were direct imitations by the ,etruscans of the ,caeretan hydriae1#bcah thereby proving at the same time that the latter were imported from other sources 7sc4 ,ionia71 and not1 as had hitherto been supposed1 themselves of ,italian origin4 ,it is not unlikely that the ,ionic influence in ,etruria is due to the ,phocaean migration of #edd ,b4,c42 on reaching ,italy the ,ionian fugitives would naturally hand on their art-traditions there4 ---------------------------------------- -------------- ,,plate ,,lviii ,illustration3 ,,etruscan ,,imitations ,,of ,,greek ,,vases 7,,british ,,museum74 ---------------------------------------- -------------- ,these ,etruscan vases are not exclusively hydriae1 some being amphorae1 others kyathi2 but they all bear the unmistakable stamp of ,etruscan art in the drawing of the figures and other small details1 such as the treatment of the incised lines4 ,it will further be noticed that the drawing is in most cases quite free from archaism1 figures being often drawn in full face or correct profile2 and this consequently proves that they belong to a considerably later date than the fabrics which they imitate1 although the figures are always in black on a red ground4 ,the style in some cases is not unlike that of the later ,panathenaic amphorae of the fourth century1 and may also be compared with some of the bronze cistae from ,palestrina4 ,accessory pigments are rare1 and the incised lines are sketchy and careless2 great prominence is given to the bands of ornament bordering the designs1 this being a feature borrowed from the ,caeretan hydriae4 ,on a large amphora in the ,british ,museum 7,b #fd7 the characteristic ,caeretan band of lotos-flowers and palmettes is exactly reproduced1 though in black instead of polychrome4#bcai ,other typical ornaments are the maeander and chevrons2 ivy-leaves and sprigs shooting up from the ground2 lotos-buds1 and wreaths of all kinds4 ,the subjects are limited in range1 and thoroughly ,etruscan in feeling2 ,pegasi and beardless ,centaurs with human forelegs1 ,bacchic subjects1 and genre scenes1 such as athletic contests1 combats1 or funeral ceremonies 7,plate ,,lviii471 almost complete the list4 ,the turned-up shoes and the pointed tutuli worn by the women1 as well as the physiognomy of the figures1 with their receding foreheads1 are all characteristically ,etruscan1 though the two former details are borrowed from ,ionia4#bcbj ,the shapes of the vases are heavy and inartistic1 and the effect altogether unpleasing4 ,a list of the principal examples is here appended4#bcba ,when at last the imitative instincts of the ,etruscans did in course of time impel them to turn their fancy to copying the red-figured vases1 we find the same characteristics reproduced4 ,the number of such imitations is not large1 but they are unmistakable1 not only from the style1 but from the pale yellow clay1 dull black glaze1 and bizarre character of the ornamentation4 ,nevertheless1 in some cases fairly good results are obtained1 as in the ,b4,m4 kylix ,f #dgh1 which in its interior design at all events is an obvious attempt to imitate the work of the great ,athenian kylix-painters4 ,the artist seems to have learned his art from the school of ,hieron and ,brygos1 but his ,etruscan instincts are revealed in the over-elaboration and stiff mannerisms of the drawing4 ,the ,museum also possesses a very fine krater from ,falerii 7,f #dgi71 which appears to be an example of a local school1#bcbb imitating the red-figured vases of the 8fine0 period and large style4 ,but these comparatively successful imitations are exceptional4 ,the other red-figured ,etruscan vases are far inferior1 and are executed in a style which none can fail to recognise4 ,it is dry and lifeless in the extreme1 the drawing helpless1 and the whole effect repulsive and disagreeable1 as is so often the case with ,etruscan art4 ,these vases are not earlier than the third century ,b4,c41 and may be later4 ,in them we observe1 besides ,greek mythological subjects1 the introduction of local deities such as ,charun and ,ker4 ,the ,british ,museum possesses some ten examples of this class1 in addition to the two already described4 ,the most interesting is a krater 7,f #dhj ,plate ,,lviii471 with1 on one side1 the death of ,aktaeon1 designated by his ,etruscan name ,ataiun2 on the other1 ,ajax1 designated ,aifas1 throwing himself upon his sword1 after the award of the armour of ,achilles4 ,another vase of this class has for its subject the farewell of ,admetos and ,alkestis1#bcbc with ,etruscan inscriptions accompanying the figures1 and a speech issuing from the mouth of one of them4 ,behind ,admetos is one of the demons of the ,etruscan hell1 probably intended for ,hades or ,thanatos1 wearing a short tunic and holding in each hand a snake4 ,behind ,alkestis is ,charun with his mallet4 ,on another vase found at ,vulci#bcbd ,ajax is represented slaying a ,trojan prisoner in the presence of ,charun2 and on the reverse the latter appears again with ,penthesileia and two other women4 ,on a third#bcbe ,leda is represented showing ,tyndareus the egg from which ,helen and ,klytaemnestra were destined to be born2 it is inscribed ,elinai1 the ,etruscan form of ,helen4 ,the latest specimens of these fabrics1 which have been found at ,orvieto and ,orbetello1 positively degenerate into barbarism#bcbf2 the figures are carelessly and roughly painted1 and white is extensively used as an accessory1 as in the later ,apulian and ,campanian vases4 ,the subjects are usually borrowed from the infernal regions1 and the gruesome figure of ,charun is common4 ,inscriptions on ,etruscan vases are rare as compared with ,greek1 and in many cases have only been scratched in after the vase was made4 ,there are also instances of imported ,greek vases on which ,etruscan inscriptions have been incised in this manner1 as in the case of a vase in the form of a lion in the ,british ,museum 7,a #aacg1 from ,veii71 on which is incised ,f 1 felthur hathisnas4 ,the earliest known are incised on plain pots of black ware1 and several of these take the form of what are known as abecedaria1 or alphabets4 ,strictly speaking1 some of these alphabets are of ,hellenic origin1 and do not give the forms of the ,etruscan letters as they are known to us2 but as the latter are derived from the ,greek 7western group71 probably through ,cumae 7see above1 p4 #bie7 these inscriptions would naturally represent their original forms in ,etruria4 ,in #ahhb an amphora was discovered at ,formello near ,veii1#bcbg on which this ,greek alphabet is written twice from left to right1 together with a retrograde ,etruscan inscription1 and a 8syllabary0 or spelling exercise4 ,the alphabet is as follows3 1 1 1 1 1 1 1 h1 1 1 1 1 1 1 samech11 1 1 1 1 1 1 1 1 ,x1 1 4 ,this is the most complete abecedarium extant1 containing twenty-six letters and illustrating the archaic ,greek forms of the twenty-two ,phoenician letters in their ,semitic order4 ,the four additional ones are 1 ,x 7 71 1 and 7 74 ,the character ,x is the representative of samech1 and is not found in ,greek inscriptions2 is shin or san 7cf4 p4 #bdg74 ,the ,caere alphabet1 on a vase now in the ,museo ,gregoriano1 is also combined with an ,etruscan syllabary1 consisting of such forms as bi1 ba1 bu1 be1 gi1 ga1 gu1 ge1 etc4#bcbh2 the alphabet resembles that from ,formello1 except for the omission of the 1 and the san1 of the same type1 extending as far as 1 was found at ,colle near ,siena4#bcbi ,on another small black jar also found at ,caere1 and now in the ,museo ,gregoriano1#bccj is incised an ,etruscan inscription in two lines1 in which also the letters are certainly early ,greek rather than ,etruscan2 these two from ,caere must be of the same date as the ,regulini-,galassi tomb1 about #fej-fjj ,b4,c4 ,illustration3 ,,fig4 #ahb4 ,,etruscan ,,alphabet1 ,,from ,a ,,vase4 ,the two following1 however1 are genuine ,etruscan abecedaria3 one from the foot of a cup found at ,bomarzo1#bcca on which the alphabet runs 7retrograde73 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 the other in the museum at ,grosseto1#bccb in which the letters are practically the same1 but with the addition of and 4 ,in the first named the form for ,z should be noted1 and in both occur the san and two forms of 1 which in ,etruscan generally appears as ,etrusan phi4 ,among other instances of early ,etruscan inscriptions are that on the ,louvre vase from ,caere1 with white paintings on red ground 7,d #aea3 see p4 #bid71 which dates from the seventh century2 and on objects from the ,regulini-,galassi and ,del ,duce tombs 7pp4 #bie1 #cjj74 ,they are1 however1 very rare on the pottery of the next two centuries1 with the exception of those incised on the plain pottery1 which bear no essential relation to the vase itself4#bccc ,these1 as has been noted1 are also found on imported ,greek wares1 one of the best instances being the kylix of ,oltos and ,euxitheos1 at ,corneto1#bccd on the foot of which is an inscription of thirty-eight letters not divided into words4 ,occasionally also painted inscriptions are found4#bcce ,when1 however1 we come to the imitation ,greek vases of the third and second centuries1 we find a curious reversion to the old ,greek practice of inscribing the names of the figures and even sentences on the paintings themselves4 ,some of these have already been mentioned4 ,the best example is afforded by the krater with ,admetos and ,alkestis1 on which the names of the two principals are given as 1 ,atmite1 and ,c1 ,alcsti2 while by the side of the figure of ,charun is a long inscription #aedf3 #aegb3 #aeef3 #aeid3 #adif ,on the vase with ,ajax and ,penthesileia the names are given as ,f1 1 1 and ,,tyrmygas4 ,on a vase mentioned by ,gerhard1 ,nike inscribes on a shield the word 1 ,lasna4#bccf #b4 ,,etruscan ,,terracotta ,,work ,it remains to say a few words on the other uses of clay among the ,etruscans4 ,this subject has indeed been discussed to some extent in ,chapter ,,iii41 regarding the use of clay in general in classical times4 ,but there are some features of work in terracotta which are peculiar to this people4 ,for their extensive use of this material we are quite prepared by the evidence of the pottery found in their tombs1 which shows that they understood the processes of manufacture perfectly1 even if they failed in their attempts at decoration4 ,as we shall see1 they employed it constantly1 not only for finer works of art1 but for ordinary and more utilitarian purposes4 ,this we know not only from the existing remains1 but from many passages of ancient writers1 who speak of the ,etruscan preference for clay and their skill in its use4 ,pliny1 in particular1 speaks of the art of modelling in clay as 8brought to perfection in ,italy1 and especially in ,etruria40#bccg ,he attributes its introduction to the three craftsmen whom ,demaratos brought with him from ,corinth in the seventh century ,b4,c4--,eucheir1 ,eugrammos1 and ,diopos--whom he styles fictores4#bcch ,this story of its origin need not1 of course1 be implicitly believed2 nor1 on the other hand1 need the statement of ,tatian1#bcci who1 followed in modern times by ,campana and other ,italian writers1 claimed for ,italy a priority over ,greece in the art of making terracotta figures4 ,for their statues the ,etruscans certainly seem to have preferred clay to any other material4 ,although few of these have descended to us1 there are many passages in ,roman literature which imply their excellence1 and it is chiefly from these that our knowledge of ,etruscan statues in terracotta is derived4 ,the ,romans1 unable themselves to execute such works1 were obliged to employ ,etruscan artists for the decoration of their temples1 as in the notable instance of that of ,jupiter on the ,capitol4 ,a certain ,volca of ,veii#bcdj was employed by ,tarquinius ,priscus1 about #eji ,b4,c41 to make the statue of the god1 which was of colossal proportions1 and was painted vermilion1 the colour being solemnly renewed from time to time4 ,the same artist made the famous chariot on the pediment of the temple1 which1 instead of contracting in the furnace1 swelled to such an extent that the roof had to be taken off4 ,this circumstance was held to prognosticate the future greatness of ,rome4#bcda ,volca also made a figure of ,hercules in the ,forum ,boarium1 and we read that ,numa consecrated a statue of ,janus#bcdb2 but the material in the latter case is not actually specified as terracotta4 ,pliny goes on to say that such statues existed in many places even in his day4 ,he also speaks of numerous temples in ,rome and other towns with remarkable sculptured pediments and cornices2 the existing remains of some of these will presently be discussed4 ,there is no doubt that the use of terracotta for the external decoration of temples was even more general in ,etruria than in ,greece2 and1 whereas in ,greece it ceased in the fifth century1 in ,etruria it lasted down to ,roman times4 ,the use of bricks in ,etruria seems to have belonged entirely to the time when it had lost its independence1 under ,roman dominion4 ,for instance1 the brick walls of ,arretium1 which are highly spoken of by ,pliny and ,vitruvius1#bcdc do not belong to the ,etruscan1 but to the later city2 and although ,gell alleged that he saw tufa walls with a substructure of tiling at ,veii1 ,dennis sought for these in vain#bcdd2 even a pier of a bridge resting on tiles which he found there proved to be later work4 ,for buildings and for tombs the principal material seems to have been tufa1 but the tiles of the roofs were probably of terracotta1 as were sometimes those used for covering tombs4#bcde ,etruscan temples were also largely built of wood1 with a covering of terracotta slabs1 as the evidence of recent excavations shows4 ,this method of decoration1 which1 as we saw in a previous chapter 7,vol4 ,i4 p4 #ajj71 was largely practised in ,italy and ,sicily1 and even spread thence to ,greece1 as at ,olympia1 is not alluded to by ,vitruvius in his description of ,etruscan temples 7iv4 #g71 although he speaks of the wooden construction of the roofs2 but he alludes to antepagmenta fixed on the front of the temples1 which may refer to the terracotta slabs4#bcdf ,earlier restorations made after his descriptions are imperfect in this respect1 only regarding construction and not decorative effect4#bcdg ,it is at any rate clear that the roof had a pediment on the front only1 the other three sides projecting over and forming eaves1 round which hung the pendent slabs 7see below72 they were not required in front because of the portico4 ,araeostyle temples1 the same writer tells us1 had wooden architraves and pediments1 ornamented with sculpture in terracotta4 ,the cinerary urns often supply evidence as to the construction of the roofs1 with their exact imitation of tiles4 ,we have now remains of at least four temples built in this method1 or1 rather1 of their terracotta decoration3 from ,cervetri in ,berlin1 from ,civita ,lavinia in the ,british ,museum 7,plates ,,ii4-,,iii471 from ,alatri 7#ahhb71 and from ,falerii or ,civita ,castellana 7#ahhf74bcdh ,other remains of architectural terracotta work come from ,orvieto1#bcdi ,pitigliano1#bcej and ,luni 7see below71 and from ,conca or ,satricum1#bcea the latter being chiefly antefixal ornaments of the ordinary ,italian types4 ,the ,cervetri remains consist of roof-tiles1 antefixal ornaments with figures in relief in front1 and friezes with chariots and warriors4#bceb ,portions of a similar frieze from the same site are in the ,british ,museum1#bcec as are also three antefixes in the same style as one in ,berlin from ,cervetri 7,plate ,,lix474#bced ,they belong to the fifth century1 and illustrate a later development from the ordinary archaic type--idealised female heads or heads of ,satyrs with rich polychrome decoration4 ,another example in ,berlin appears to represent ,juno ,sospita4#bcee ,the friezes are a good example of the ,italo-,ionic style of the end of the sixth century1 the points of comparison with the ,chalcidian and other ,b4,f4 vases being particularly noteworthy4#bcef ,but for information on the form of the ,etruscan temple these are too fragmentary to be of any use4 ,the remains from ,alatri1 ,civita ,castellana1 and ,civita ,lavinia are much more illuminating4 ,the last-named1 of which some description has already been given 7,vol4 ,i4 p4 #aja71 are partly archaic1 partly of the fourth century1 the two former wholly of the later date2 but allowing for differences of style1 the general arrangement was in all cases practically the same4 ,the front of the temple was in the form of a pediment supported on columns1 with ornamental raking cornices1 and akroteria in the form of figures or groups4 ,along the sides and back ran gutters1 with lion-head spouts at intervals1 faced by upright cornices1 with pendent plates of terracotta1 or 8barge-boards0 hanging free and ornamented with patterns in relief4 ,these were for protection against weather1 like the edgings to the roofs of ,swiss chlets and modern railway stations4 ,the practice was quite un-,greek1 and peculiar to ,etruria4 ,the antefixal ornaments were continued along the sides above the cornice4 ,the architraves were also ornamented with terracotta slabs1 on which were palmette patterns2 and thus the whole formed a rich and continuous system of terracotta plating which completely covered the woodwork of the architraves and roof4 ,all the slabs were ornamented with coloured patterns in relief1 or simply painted on a white slip1 such as maeanders1 tongue1 scale-pattern1 lotos-flowers1 or various forms of the palmette4 99 99 99 99 99 ---------------------------------------- -------------- ,,plate ,,lix ,illustration3 #a4 ,,etruscan ,,antefix 7,,fifth ,,cent47 #b4 ,,etruscan ,,sarcophagus 7,,third ,,cent47 7,,british ,,museum74 ---------------------------------------- -------------- ,the existing remains of ,etruscan monumental sculpture in clay are1 as has been indicated1 not large4 ,some of the architectural antefixes are almost important enough to be included under this head1 especially those in the form of figures or groups modelled almost in the round4 ,these belong mostly to the fifth century ,b4,c41 and the finest example is the group in the ,berlin ,museum from the ,cervetri find already mentioned1 representing ,eos carrying off ,kephalos#bceg2 it is in the style of about #dhj ,b4,c4 ,a smaller but still very effective example is the antefix from ,civita ,lavinia in the ,british ,museum1 representing a ,satyr and ,maenad awaiting the advent of ,dionysos 7,plate ,,ii474#bceh ,with these must be reckoned the sculptured friezes from ,cervetri in the ,british and ,berlin ,museums1 and the reliefs on the ,british ,museum sarcophagus from the same site4#bcei ,in all these the same prevalence of ,ionic ,greek influence may be observed1 which is characteristic of so much ,etruscan work of the late archaic period1 both in terracotta and bronze1 as in the reliefs of the ,polledrara bust4#bcfj ,this influence1 which is due to the strong ,hellenic element in the civilisation of ,caere and the ,campanian cities1 we have also seen at work in the vase-paintings of the period4#bcfa ,one of the earliest instances1 and perhaps the most remarkable1 of ,etruscan clay modelling in the round1 for its size and execution1 is the group on the top of the famous sarcophagus in the ,british ,museum 7,fig4 #ahc74bcfb ,the figures1 a man and woman reclining on a couch1 are life-size1 of somewhat slender proportions1 with smiling features1 the drapery of the woman stiff and formal4 ,sir ,charles ,newton has described the style as 8archaic1 the treatment throughout very naturalistic1 in which a curious striving after truth in anatomical details gives animation to the group1 in spite of the extreme ungainliness of form and ungraceful composition40 ,the same difficulties that beset the sculptor of the ,polledrara bust1 in working in the round instead of relief1 are visible here2 and the contrast with the ,hellenic style of the reliefs round the lower part is very marked4 ,there are similar sarcophagi in the ,louvre1 and in the ,museo ,papa ,giulio at ,rome4#bcfc ,m4 ,martha notes in regard to the figures on the former that the faces are remarkable for individuality and precision of type1 but the limbs are stiff and rude4 ,this is not an infrequent feature of early ,greek art4#bcfd ,signor ,savignoni claims these three monuments as purely ,ionic ,greek work1 but repudiates much of the ,british ,museum sarcophagus as un-antique4 ,illustration3 ,,fig4 #ahc4 ,,archaic ,,terracotta ,,sarcophagus 7,,british ,,museum74 ,of later sculpture in terracotta the instances are comparatively few1 by far the best being the pedimental sculptures from ,luni in ,northern ,tuscany1 discovered in #ahdb1 and now at ,florence4#bcfe ,their date is about #bjj ,b4,c41 and they include figures of the ,olympian deities1 ,muses1 and a group of ,apollo and ,artemis slaying the ,niobides4 ,a few remains of similar figures were found at ,orvieto4#bcff ,illustration3 ,,fig4 #ahd4 ,,painted ,,terracotta ,,slab ,,from ,,tomb 7,,louvre74 ,it may be convenient to speak here of a small group of monuments in terracotta which illustrate in an interesting manner the achievements of ,etruscan painting in the archaic period4 ,this is a series of terracotta slabs1 which were inserted into the walls of small tombs at ,cervetri to receive the painted decoration which the ,etruscans considered such an important feature of their sepulchral arrangements4#bcfg ,two sets have been found1 one of which is in the ,louvre1 the other in the ,british ,museum2 both are of similar character1 and belong to the beginning of the sixth century1 but the style varies in some degree4 ,fig4 #ahd gives one of the slabs in the ,louvre4 ,the surface of the slabs was covered with the usual white slip or of early ,greek paintings1#bcfh on which the designs were sketched with a point and filled in with red and black outlines or washes4 ,the white ground was left for the flesh of women and for white drapery1 the flesh of the men being coloured red4 ,of the two the ,louvre slabs seem the more advanced1 and more directly under ,ionic influence1 while the others are more provincial in character4 ,the ,caeretan hydriae seem to have left some traces on the former1 and in the latter it is interesting to note the use of borders of white dots for the drapery1 such as we see on the ,daphnae vases 7,vol4 ,i4 p4 #ceb74 ,these paintings may also be compared with those in the ,grotta ,campana at ,veii 7,vol4 ,i4 p4 #ci71 which1 in spirit at any rate1 if not in date1 are the oldest examples of ,etruscan painting1 while still under ,oriental influence4 ,but not being works in terracotta1 they do not strictly concern us here4 99 99 99 99 99 ,although the more important sarcophagi of the ,etruscans were made of alabaster1 tufa1 and peperino1 a considerable number1 principally of small size1 were of terracotta4 ,all of these belong to a late stage of ,etruscan art4 ,some few were large enough to receive a body laid at full length4 ,two large sarcophagi1 from a tomb at ,vulci1 now in the ,british ,museum1 may be taken as typical4#bcfi ,the lower part1 which held the body1 is shaped like a rectangular bin or trough1 about three feet high and as many wide4 ,on the covers are recumbent ,etruscan women1 modelled at full length4 ,one has both its cover and chest divided into two portions1 probably because it was found that masses of too large a size failed in the baking4 ,the edges at the point of division are turned up1 like flange tiles4 ,these have on their fronts in one case dolphins1 in the other branches of trees1 incised with a tool in outline4 ,other sarcophagi of the same dimensions are imitations of the larger ones of stone4 ,many of the smaller sort1 which held the ashes of the dead1 are of the same shape1 the body being a small rectangular chest1 while the cover presents a figure of the deceased in a reclining posture4 ,they generally have in front a composition in relief1 freely modelled in the later style of ,etruscan art1 the subject being often of funeral import3 such as the last farewell to the dead2 combats of heroes 7,plate ,,lix471 especially that of ,eteokles and ,polyneikes2 a battle in which an unarmed hero is fighting with a ploughshare#bcgj2 the parting of ,admetos and ,alkestis in the presence of ,death and ,charun2 and the slaying of the dragon by ,kadmos at the fountain of ,ares4#bcga ,some few have a painted roof4 ,all these were painted in tempera upon a white ground1 in bright and vivid tones1 producing a gaudy effect4 ,the inscriptions were also traced in paint1 and rarely incised4 ,a good and elaborate example of the colouring of terracotta occurs in the recumbent figure on a small sarcophagus in the ,british ,museum 7,plate ,,lix474#bcgb ,here the flesh is red1 the eyes black1 the hair red1 the wreath green1 and the drapery of the figure is white1 with purple and crimson borders2 the phiale which the figure holds is yellow 7to imitate gilding71 and the cushions on which he reclines are red and blue4 ,this system of colouring is maintained to an even greater degree in the relief on the front of the sarcophagus1 the subject of which is a combat of five warriors4 ,the background is coloured indigo1 and every detail is rendered in colour1 except the nude parts1 which are covered with a white slip throughout4 ,the pigments employed are red1 yellow1 black1 green1 and purple1 and the inscription above is painted in brown on white1 all the colours being marvellously fresh and well preserved2 but the general effect is gaudy1 fantastic1 and scarcely appropriate4 ,it may also be said in regard to the whole series that the subjects are monotonous and unpleasing1 and the compositions crowded to excess4 ,by far the finest example of these terracotta sarcophagi is one found at ,cervetri not many years ago1 now in the ,british ,museum 7,plate ,,lx474#bcgc ,it is known from the inscription in front to be the last resting-place of a lady named ,seianti ,thanunia1 whose effigy1 life-size1 adorns the top--a most realistic specimen of ,etruscan portrait-sculpture1 and in splendid preservation4 ,within the lower part her skeleton is still preserved1 together with a series of silver utensils4 ,a very similar specimen1 that of ,larthia ,seianti1 is in the ,museum at ,florence1#bcgd and from the coins found therewith the date of these two may be fixed at about #aej ,b4,c4 ,the figure of the lady was cast in two halves1 the joint being below the hips2 she is represented as a middle-aged matron1 her head veiled in a mantle which she draws aside with her right hand4 ,in her left she holds a mirror in an open case2 she wears a sphendone in her hair1 and much jewellery4 ,on the right arm are bracelets1 and on the left hand six rings1 the bezels of which are painted purple to imitate sard-stones2 in her ears are pendants painted to imitate amber set in gold4 ,the nude parts are painted flesh-colour1 and colouring is freely employed throughout1 the cushions being painted in stripes4 ,the dimensions of the sarcophagus itself are #f ft4 by #b ft4 by #a ft4 #d in42 it has no reliefs on the front1 but is ornamented with pilasters1 triglyphs1 and quatrefoils4 ,for antefixal ornaments1 masks1 and the decoration of the smaller sarcophagi and other products of ordinary industry1 the clay seems to have been invariably made in the form of a mould2 but for the larger sarcophagi and the ,canopic figures a rough clay model was made by hand and itself baked4 ,probably both processes were employed concurrently--large statues1 for instance1 being made in several pieces2 in these it will generally be noted that the head and torso are modelled more carefully than the limbs4 ---------------------------------------- -------------- ,,plate ,,lx ,illustration3 ,,sarcophagus ,,of ,,seianti ,,thanunia 7,,second ,,cent4 ,b4,c47 7,,brit4 ,,mus47 ---------------------------------------- -------------- ,m4 ,martha#bcge explains the invariable colouring of ,etruscan terracottas on the supposition that the ,etruscans did not profess to make figures in this material1 but looked down on it as a common substance1 to be concealed wherever possible4 ,however this may be1 the polychromy was not only a necessary artifice1 but an admirable means of imparting life and realism to the figures4 ,in the archaic period there is much less variety1 yellow1 red1 brown1 and black being the only colours employed as a rule4#bcgf ,the dark red pigment usually applied for flesh-colour on the sarcophagi may suggest the minium with which the statue of ,jupiter ,capitolinus was smeared4 ,in later work the tints are lighter and much more varied1 as we have seen1 and this is especially noticeable on the figures from the ,luni pediments1 in which rose1 yellow1 green1 and blue are employed with the same delicate nuances that we see in the ,tanagra figures4 #c4 ,,southern ,,italy ,in dealing with the indigenous non-,hellenic people of ,southern ,italy and their pottery1 we are almost more at a disadvantage than in regard to the ,etruscans4 ,the peoples are almost unknown to us1 and are vaguely characterised as 8,iapygian10 8,messapian10 8,oscan10 and so on2 but this does not really carry us much further4 ,moreover1 this part of ,italy has never been scientifically or thoroughly excavated1 like ,etruria1 and even where finds have been made they are small and poor2 nothing of very remote date appears to have come to light1 and very few early ,greek importations4 ,hence there has been until quite recently no attempt made at a scientific study of the pottery1 or even to distinguish local from imported wares2 in ,heydemann's catalogue of the ,naples vases it is practically ignored4 ,recently1 however1 ,herr ,max ,mayer1 and ,signor ,patroni1 whose laudable investigations of the ,graeco-,italian vases have already received attention 7,chapter ,,xi471 have turned their attention to the study of the less promising indigenous fabrics4#bcgg ,the region with which the present section deals is that comprised by the three districts of ,apulia1 ,lucania1 and ,campania4 ,the barbarian races by which it was occupied in classical times were known by various names1 used with some vagueness2 but roughly we may divide them into two groups3 the ,iapygians or ,messapians and the ,peucetians1 occupying the south-east portion of the peninsula from modern ,bari to the end of the 8heel0#bcgh2 and the ,osco-,samnites1 who occupied ,campania and the mountainous district of ,samnium on its north-eastern border4 ,in ,lucania the district of ,sala ,consilina has yielded local pottery4#bcgi ,the ,osco-,samnites appear to have been more amenable to the influence of ,greek civilisation than the others1 owing to the existence in their midst of such centres of culture as ,cumae1 ,capua1 and ,poseidonia 7,paestum72 hence we find that the pottery of that region shows a much more ,hellenic character than that of ,apulia1 and is more like that of ,etruria in its attempts to imitate the ,greek imported fabrics 7see ,vol4 ,i4 p4 #dhd74 ,greek painted vases are found in ,southern ,italy as early as the seventh century ,b4,c41 though even in 8,aegean0 times they had penetrated as far as ,sicily1 and even ,marseilles 7see ,vol4 ,i4 pp4 #fi1 #hf74bchj ,at ,cumae in particular1 and also at ,nola1 8,proto-,corinthian0 and ,corinthian wares have been found2 during the sixth century ,ionic and ,attic ,b4,f4 wares make their appearance1 but never in large quantities1 as in ,etruria4 ,they1 however1 gave rise to a class of imitative fabrics found chiefly in ,campania3 small amphorae and other forms rudely painted with black silhouettes1 dating from the fifth century4 ,at ,tarentum the finds of vases have been mainly ,greek1 but even these are comparatively rare4 ,the principal examples of local wares are to be seen in the museums of ,bari1 ,lecce1 ,taranto1 and ,naples2 the ,british ,museum1 ,louvre1 and ,berlin only possess isolated specimens4#bcha ,the general scarcity of imports is due1 ,signor ,patroni thinks1 to the restricted intercourse between the colonies on the coast and the interior districts peopled by hostile local tribes4 ,after the fifth century1 when large numbers of ,greek artists were established in the towns of ,southern ,italy1 the circumstances became different1 and we have already made in ,chapter ,,xi4 a general survey of the various fabrics produced from that time in the various centres down to the total decay of the art4 ,all ,italiote pottery1 before this direct influence of ,hellenism made itself felt1 may be called 8archaic02 but it must at the same time be borne in mind that these archaic types still went on during the time of ,greek influence4 ,they formed1 in fact1 a 8domestic0 style1 as opposed to the 8high-art0 style of the ,graeco-,italian wares1 just as the early ,geometrical pottery of ,athens is thought to have been in relation to the ,mycenaean vases 7see ,vol4 ,i4 p4 #bgi74 ,they must not1 however1 be regarded--as has been done by some writers--as deliberate archaistic revivals of older fabrics4 ,it is true that they bear a remarkable resemblance in many cases to ,aegean1 ,cypriote1 and ,geometrical wares2 but this likeness is due to other causes1 being the result of development1 not of direct imitation4 ,a learned ,italian1 on first seeing some of the local pottery excavated in ,apulia1 exclaimed1 8,this is the ,mycenaean style of ,italy40 ,chronologically and ethnographically he was wrong1 but artistically he was right2 and as ,signor ,patroni has pointed out1 parallels to nearly all the ornamental motives of local ,apulian fabrics may be traced in ,mycenaean pottery4 ,there is also a favourite shape1 that of a large double-mouthed askos1 examples of which may be seen in the ,british ,museum 7,f #ejh ,fig4 #ahe1 and ,f #eji71 which is obviously derived directly from the ,mycenaean 8false-necked amphora0 7see ,vol4 ,i4 p4 #bga74 ,it is not a ,hellenic type1 although it is the forerunner of a form of askos found among the painted vases of ,apulia4#bchb ,another favourite form1 which ,signor ,patroni calls the orcio appulo1 a jar with three vertical handles round the nearly spherical body1 and wide-spreading mouth1 may similarly be derived from the ,mycenaean three-handled pyxis 7,vol4 ,i4 p4 #bgb74 ,other forms1 again1 are parallel with those of ,cyprus1 as is in some cases the system of geometrical decoration1 a figure or pattern in a panel with borders of geometrical ornament4 ,the writers above-mentioned distinguish two main classes of the local pottery of ,apulia 7including the south-eastern extremity or 8heel0 of ,italy74 ,the central portion of this district was inhabited by a tribe known as the ,peucetii1 and the extremity by ,messapians1 or1 as they are also styled1 ,iapygians4 ,the vases1 which appear to be the product of the latter race1 are found in various places--such as ,brindisi1 ,egnazia or ,fasano1 ,lecce1 ,nardo1 ,ostuni1 ,otranto1 ,putignano1 ,rugge1 ,taranto1 and ,uzento--and they may best be studied in the museum at ,bari4 ,the pottery of the ,peucetii1 which ,signor ,patroni calls ,apulian1 covers the region round ,bari1 including ,putignano on the south1 ,bitonto and ,ruvo on the north1 where the local civilisation seems to have been modified by the influence of such centres as ,canosa4 ,illustration3 ,,fig4 #ahe4 ,,askos ,,of ,,local ,,apulian ,,fabric 7,,british ,,museum74 ,the typical form of ,messapian pottery is a krater with high angular handles1 at the highest and lowest points of which are pairs of discs 7rotelle71 a spherical body1 and neck sloping inwards1 without lip4 ,the form is one which1 as we have seen in ,chapter ,,xi41 was adopted by the ,greek vase-painters in ,lucania at a later date4#bchc ,mayer states that this form is only found in the 8heel0 of ,italy1 but ,patroni seems to imply that it is typical of ,central ,apulia4#bchd ,it is painted in two colours--purple-red and dark brown or black2 but the former colour is not found in the earlier examples4 ,the decoration includes simple geometrical or vegetable patterns1 such as wreaths1 panels of lozenge-pattern1 zigzags1 and an ornament composed of two triangles point to point hourglass1 which ,mayer calls the 8hour-glass8 ornament4 ,the more developed examples have figures in panels1 ranging from rows of ducks to human figures4 ,among these are a man gathering fruit from a tree and two stags confronted4 ,lenormant published two very interesting specimens in the ,louvre1 one of which has two cocks confronted1 the other a man swimming accompanied by a dolphin4#bche ,the latter1 with others of the same class1 styled by ,lenormant 8,iapygian10 appear to be imitations of ,b4,f4 amphorae#bchf2 but if they are imitations they must be almost contemporaneous with their prototypes1 and cannot be later than the fifth century4 ,the man with the dolphin recalls the story of ,taras and the coin-types of ,tarentum2 but ,lenormant pointed out that a similar legend was current relating to ,iapys1 the eponymous hero of ,iapygia1#bchg and he may therefore be intended4 ,some of these vases have painted inscriptions1 one of which runs1 2 but they are apparently nothing more than names1 partly ,hellenised4 ,among other shapes are a kind of askos with simple decoration1 a jug or pitcher with discs attached to the handles1 also with simple patterns1 and a unique variety of the krater with four flat-topped column-handles4 ,signor ,patroni#bchh calls attention to another class of ,messapian vases from which the geometrical decorative element is absent1 the ornament being arranged in bands of equal width1 and varying between linear and natural forms4 ,a characteristic motive is a sort of chain-pattern4 ,the wave and rows of pomegranate-buds also occur1 and animals1 such as dogs and dolphins2 also human heads and figures4 ,the shapes are either the double-necked askos1 as given in ,fig4 #ahe1 with an arched handle between the mouths1 or a kind of double situla1 formed of two jars on a cylindrical stand with a vertical handle between4 ,as ,mayer has pointed out1 there cannot here be any question of a very ancient class of vases1 but rather of one of eclectic character4 ,the ,geometrical tendency appears chiefly in the north of the district1 where the influence of ,peucetia 7see below7 was felt4 ,the vegetable ornaments1 he suggests1 have affinities with those of 8,rhodian0 vases4#bchi ,the date can hardly be earlier than the fifth century4 ,illustration3 ,from ,notizie degli ,scavi4 ,,fig4 #ahf4 ,,krater ,,of 8,,peucetian0 ,,fabric ,,with ,,geometrical ,,decoration4 ,the fabrics of ,central or ,peucetian ,apulia centre1 as has been noted1 round ,bari4 ,they are all of a strongly ,geometrical type1 but the system of ornamentation is freer and more varied than in the ,messapian class4 ,they are easily recognisable by their forms and characteristic designs1 painted only in brown or black4 ,here1 again1 the typical form is a krater1 in which the handles are either arched in vertical fashion or else form flat bands4 ,it has a shallow1 spreading lip4 ,the patterns are arranged in panels and bands1 and are often executed with great care4 ,fig4 #ahf gives an example from ,sala ,consilina in ,lucania4#bcij ,the favourite motives are chequers1 zigzags1 the 8hour-glass10 hook-armed crosses1 and lozenges filled with reticulated pattern1 neatly arranged in friezes or saltire-wise4 ,round the lower part of the vase is often found what may be described as a comb-pattern1 and on some vases is a curious rudimentary form of the maeander1 arranged in triangles or diagonal crosses4 ,among the other shapes are a small askos with ring-handle on the back1 a sort of high stand like a fruit-dish1 large cups and bowls1 and the orcio already mentioned4 ,one of the finest examples is a krater from ,ruvo in the ,jatta collection1#bcia with twisted handles and a very elaborate system of ornamentation1 chiefly diaper and maeander patterns4 ,like the ,messapian1 the ,peucetian or ,apulian pottery seems to have flourished during the fifth century#bcib2 but there are some vases which seem to form connecting-links with their ,hellenic prototypes1 and probably belong to the sixth century4#bcic ,in any case1 both fabrics must be regarded as much earlier than previously supposed2 they are certainly not late archaistic work1 and time must be allowed for their disappearance when the ,hellenic fabrics of ,apulia begin4 ,in placing the majority of the products between #fjj and #dej ,b4,c41 we shall probably not be far from the truth1 although ,m4 ,pottier#bcid would throw the origin of the fabrics as far back as the eighth century4 ----- ,footnote #bbdf3 ,see especially ,pottier1 ,louvre ,cat4 ii4 p4 #bhe ff41 and ,gsell1 ,fouilles de ,vulci1 p4 #cae ff4 ,footnote #bbdg3 i4 #id4 ,footnote #bbdh3 ,sat4 i4 #f1 #a4 ,footnote #bbdi3 i4 #cj4 ,footnote #bbej3 ,op4 cit4 p4 #big4 ,footnote #bbea3 ,frag4 ,hist4 ,graec4 ed4 ,didot1 i4 p4 #de3 7the name of one of the mouths74 ,he calls them here ,pelasgians4 ,footnote #bbeb3 ,bertrand and ,reinach1 ,les ,celtes dans les valles du ,po et du ,danube1 p4 #gc ff43 cf4 ,bertrand1 ,arch4 celtique et gauloise1 p4 #bje4 ,footnote #bbec3 ,cf4 i4 #bg with vii4 #c4 ,footnote #bbed3 ,see ,helbig1 ,die ,italiker in der ,poebene1 for a full account of this period2 also ,von ,duhn in ,j4,h4,s4 xvi4 p4 #abh1 whose ethnographical views seem to differ in many details from those of other writers previously cited4 ,footnote #bbee3 ,see ,brit4 ,mus4 ,cat4 of ,bronzes1 p4 xlv4 ,footnote #bbef3 ,see ,ann4 dell' ,inst4 #ahhd1 p4 #aaa4 ,footnote #bbeg3 ,notizie degli ,scavi1 #ahha1 pl4 #e1 ,nos4 #ae1 #af4 ,footnote #bbeh3 ,il4 xi4 #fcc2 ,od4 iv4 #fae1 vi4 #bcb4 ,see ,dumont-,pottier1 i4 p4 #aeb4 ,footnote #bbei3 ,on the ornamentation of the ,villanuova period general reference may be made to ,bhlau's ,zur ,ornamentik der ,villanovaperiode 7#ahie74 ,footnote #bbfj3 ,gsell1 ,fouilles de ,vulci1 p4 #bed4 ,footnote #bbfa3 ,see ,brit4 ,mus4 ,cat4 of ,bronzes1 p4 xlv1 and references there given4 ,footnote #bbfb3 ,the objects found at ,hallstatt date from about the tenth to ninth centuries ,b4,c41 and are sometimes 8sub-,mycenaean0 in character4 ,footnote #bbfc3 ,see on the subject of hut-urns the bibliographies given in ,gsell1 ,fouilles de ,vulci1 p4 #beh2 ,bonner ,studien1 p4 #bd 7,von ,duhn72 and ,j4,h4,s4 xvi4 p4 #abg 7id474 ,footnote #bbfd3 ,j4,h4,s4 xvi4 p4 #abe4 ,footnote #bbfe3 ,see also for ,narce ,mon4 ,antichi1 iv4 pt4 #a1 p4 #aje ff4 ,footnote #bbff3 ,m4 ,pottier states that a primitive kind of wheel was used for making the impasto in the eighth century1 and ,helbig and ,martha are certainly wrong in stating that it was not introduced till the sixth 7see ,louvre ,cat4 ii4 p4 #bid74 ,footnote #bbfg3 ,bull4 dell' ,inst4 #ahhe1 p4 #aah4 ,footnote #bbfh3 ,e4g4 ,brit4 ,mus4 ,cat4 ,nos4 #cdg ff4 ,footnote #bbfi3 ,op4 cit4 p4 #cde ff4 ,footnote #bbgj3 ,notizie degli ,scavi1 #ahhd1 p4 #ahf #cch3 cf4 for the style a vase from ,tamassos1 ,cyprus1 in the ,british ,museum 7,rev4 ,arch4 ix4 #ahhg1 p4 #gg74 ,footnote #bbga3 ,see generally ,pottier1 ,louvre ,cat4 ii4 p4 #cfc ff4 ,footnote #bbgb3 ,see ,vol4 ,i4 p4 #aec1 and cf4 ,perrot1 ,hist4 de l',art1 vi4 p4 #baa1 fig4 #eg1 for examples from ,troy4 ,footnote #bbgc3 ,abeken1 ,mittelital4 p4 #cfb ff42 but see ,arch4 ,zeit4 #ahha1 p4 #da4 ,footnote #bbgd3 ,e4g4 ,ann4 dell' ,inst4 #ahhd1 pl4 ,c4 ,footnote #bbge3 ,hdt4 i4 #ad1 #be2 ,paus4 x4 #af4 ,footnote #bbgf3 ,for ,greek examples of early vases with reliefs see ,vol4 ,i4 p4 #dig1 and ,plate ,,xlvii4 ,footnote #bbgg3 ,see for specimens ,gaz4 ,arch4 #ahha1 pls4 #bh1 #bi1 #cb-c2 ,pottier1 ,vases du ,louvre1 pls4 #cc-d4 ,footnote #bbgh3 ,louvre ,d #aea4 ,footnote #bbgi3 ,bull4 dell' ,inst4 #ahhd1 p4 #afc4 ,footnote #bbhj3 ,rm4 ,mitth4 #ahhf1 p4 #ace4 ,footnote #bbha3 ,see ,pliny1 ,h4,n4 xxxv4 #aeb4 ,the names are doubtless descriptive4 ,footnote #bbhb3 ,cf4 ,b4,m4 ,cat4 of ,bronzes1 p4 xlvii1 and references there given4 ,footnote #bbhc3 ,nearly all the contents of this tomb are now in the ,british ,museum 7,etruscan ,saloon1 ,cases #abf-ce73 see ,micali1 ,mon4 ,ined4 pls4 #d-h2 ,dennis1 ,etruria#b1 i4 p4 #deg ff42 ,c4 ,smith in ,j4,h4,s4 xiv4 p4 #bjf4 ,footnote #bbhd3 ,a most trustworthy reproduction of this vase and its decoration1 made by ,mr4 ,f4 ,anderson1 is given in ,j4,h4,s4 xiv4 pls4 #f-g4 ,footnote #bbhe3 ,cf4 throughout the ,franois vase4 ,footnote #bbhf3 ,micali1 op4 cit4 pl4 #e1 fig4 #b4 ,footnote #bbhg3 ,cat4 #aedc4 ,footnote #bbhh3 ,cat4 ,c #fag-ah4 ,footnote #bbhi3 ,bull4 dell' ,inst4 #ahha1 p4 #afg1 ,no4 #bf4 ,footnote #bbij3 ,the hydria is a form of essentially ,ionic origin1 the earliest examples being found in the 8,caeretan0 and ,daphnae fabrics 7see ,chapter ,,viii474 ,footnote #bbia3 ,cat4 of ,terracottas1 ,b #fcj ,fig4 #ahc4 ,footnote #bbib3 ,micali1 ,mon4 ,ined4 pl4 #eh2 ,dennis1 ,etruria1 i4 p4 #cd ff4 ,footnote #bbic3 ,cf4 an oinocho in the ,british ,museum1 ,a #fcc2 and see ,j4,h4,s4 x4 p4 #abf4 ,footnote #bbid3 ,mus4 ,greg4 i4 pl4 #ae ff42 ,helbig1 ,fhrer1 #ahii1 ii4 p4 #cdd ff4 ,footnote #bbie3 ,notizie degli ,scavi1 #ahhg1 pls4 #ad-ah4 ,footnote #bbif3 ,bull4 dell' ,inst4 #ahgf1 p4 #aag ff41 and ,mon4 dell' ,inst4 x4 pls4 #ca-cc4 ,the art of ,praeneste1 though a ,latin town1 was wholly ,etruscan4 ,cf4 the later series of bronze cistae found here4 ,footnote #bbig3 ,martha1 ,l',art trusque1 p4 #dfb4 ,footnote #bbih3 ,louvre ,cat4 ii4 pp4 #bid1 #cae4 ,footnote #bbii3 ,trait1 i4 p4 #dad3 see ,blmner1 ,technologie1 ii4 p4 #fb4 ,it may be compared with the analysis of the clay of ,greek vases given in ,vol4 ,i4 p4 #bjc4 ,footnote #bcjj3 ,cf4 ,micali1 ,mon4 ,ined4 pls4 #bh-cj4 ,footnote #bcja3 ,micali1 op4 cit4 pls4 #bh-cb4 ,footnote #bcjb3 ,cf4 ,arch4 ,zeit4 #ahhd1 pl4 #h1 fig4 #a1 and the reliefs from ,sparta1 ,ath4 ,mitth4 #ahgg1 pls4 #bj-d4 ,footnote #bcjc3 ,cf4 ,ann4 dell' ,inst4 #ahgg1 pls4 ,u1 ,v2 ,micali1 op4 cit4 pls4 #bg-cb4 ,footnote #bcjd3 ,see ,pottier1 ,louvre ,cat4 ii4 p4 #cbd ff4 ,footnote #bcje3 ,cf4 ,b4,m4 ,a #cgi with ,bronze ,cat4 ,nos4 #che1 #dcf-cg4 ,footnote #bcjf3 ,see also on the subject generally1 ,gaz4 ,arch4 #ahgi1 p4 #ii ff42 ,pottier1 ,louvre ,cat4 ii4 p4 #cad ff42 ,martha1 ,l',art trusque1 p4 #dfb ff42 and ,gsell1 ,fouilles de ,vulci1 p4 #dde ff4 ,footnote #bcjg3 vi4 #cdc3 cf4 ,pliny1 ,h4,n4 xxxv4 #aeh-ei1 and ,chapter ,,xxi4 ,footnote #bcjh3 ii4 #fj4 ,footnote #bcji3 xiv4 #ih3 cf4 p4 #dgi4 ,footnote #bcaj3 ,see ,perrot1 ,hist4 de l',art1 i4 p4 #cjh4 ,footnote #bcaa3 ,see ,cat4 of ,bronzes1 ,no4 #fjj1 and ,cat4 of ,terracottas1 ,d #bae4 ,the bronze plates were formerly made up into the shape of a shield1 with many restorations2 but on removing these1 the true form was discovered4 ,the body of the chair is modern4 ,footnote #bcab3 ,mus4 di ,ant4 ,class4 i4 p4 #bii ff41 with many examples on pls4 #i1 #i;a1 #aa-ac4 ,fig4 #aha is from pl4 #i1 figs4 #i1 #i;a4 ,footnote #bcac3 ,h #adh in the ,british ,museum is a curious terracotta example1 covered with incised designs3 see ,benndorf1 ,gesichtshelme und ,sepuleralmasken1 pl4 #aa1 p4 #db4 ,footnote #bcad3 ,cat4 #cigf-gg4 ,footnote #bcae3 ,cat4 of ,terracottas1 ,d #bai-bbj4 ,footnote #bcaf3 ,see ,vol4 ,i4 p4 #cba4 ,footnote #bcag3 ,rm4 ,mitth4 #ahhh1 p4 #agd ff43 see also ,endt1 ,ion4 ,vasenm4 p4 #ga4 ,footnote #bcah3 ,they also show the influence of the 8,pontic0 class 7,vol4 ,i4 p4 #cei74 ,footnote #bcai3 ,it may be compared with ,b #ei in the same case 7,plate ,,xxvi474 ,footnote #bcbj3 ,see ,endt1 ,ion4 ,vasenm4 p4 #ea2 ,pottier1 ,louvre ,cat4 ii4 p4 #dac4 ,footnote #bcba3 ,b4,m4 ,b #fa-gd2 ,louvre ,e #ged-ha 7some of these do not show distinctive ,etruscan features1 although made in ,italy72 ,naples #bebb1 #bgag1 #bgeg2 ,wrzburg #ha-b2 ,micali1 ,mon4 ,ined4 #cf4 #a1 #cg1 #a1 and #dc1 #c2 id4 ,storia1 #hb1 #c2 ,dubois-,maisonneuve1 ,introd4 #cd2 ,inghirami1 ,mus4 ,chins4 #gb2 ,gsell1 ,fouilles de ,vulci1 pl4 #ah-i2 ,anzeiger1 #ahic1 p4 #hg4 ,according to ,endt1 loc4 cit41 about #bjj examples are known4 ,b #fc in the ,b4,m4 is reproduced in ,plate ,,lviii4 ,footnote #bcbb3 ,another is given in ,mon4 dell' ,inst4 x4 pl4 #ea4 ,footnote #bcbc3 ,bibl4 ,nat4 #iah ,dennis1 ,etruria1 ii4 frontispiece4 ,footnote #bcbd3 ,reinach1 i4 p4 #hh4 ,footnote #bcbe3 ,micali1 ,mon4 ,ined4 pl4 #ch4 ,footnote #bcbf3 ,cf4 ,mon4 dell' ,inst4 xi4 pls4 #d-e2 also ,inghirami1 ,vasi ,fitt4 iv4 #ceh4 ,footnote #bcbg3 ,roberts1 ,gk4 ,epigraphy1 i4 p4 #af 7q4v4 for facsimile72 ,bull4 dell' ,inst4 #ahhb1 p4 #ia4 ,footnote #bcbh3 ,roberts1 p4 #ag3 for a facsimile see ,dennis1 i4 p4 #bga4 ,footnote #bcbi3 ,roberts1 p4 #ah4 ,footnote #bccj3 ,dennis1 i4 p4 #bgc2 ,deecke1 ,etr4 ,forsch4 u4 ,stud4 iv4 7#ahhc7 p4 #ci4 ,footnote #bcca3 ,dennis1 i4 p4 #agb4 ,footnote #bccb3 ,ibid4 ii4 p4 #bbd4 ,footnote #bccc3 ,see for instances ,micali1 ,mon4 ,ined4 pl4 #ee1 #g2 ibid4 ,storia1 pl4 #aja2 ,mus4 ,greg4 ii4 pl4 #ii4 ,footnote #bccd3 ,reinach1 i4 #bjc4 ,footnote #bcce3 ,e4g4 ,fabretti1 ,c4 ,i4 ,ital4 #bfjf1 #bfji4 ,footnote #bccf3 ,ann4 dell' ,inst4 #ahca1 p4 #agf3 cf4 also ,fabretti1 ,nos4 #bbbb1 #behc4 ,footnote #bccg3 ,h4,n4 xxxv4 #aeg4 ,footnote #bcch3 ,ibid4 #aeb4 ,footnote #bcci3 ,orat4 ad ,graec4 #a4 ,footnote #bcdj3 ,pliny1 ,h4,n4 xxxv4 #aeg4 ,footnote #bcda3 ,the story is told by ,pliny1 ,h4,n4 xxviii4 #af1 and ,plutarch1 ,poplicola1 #ac4 ,see ,vol4 ,i4 p4 #aaf4 ,footnote #bcdb3 ,pliny1 ,h4,n4 xxxiv4 #cc4 ,footnote #bcdc3 ,h4,n4 xxxv4 #agc2 ,vitr4 ii4 #h1 #i4 ,footnote #bcdd3 ,etruria1 i4 p4 #ab4 ,footnote #bcde3 ,see ,durm1 ,handbuch d4 ,architektur1 #b4 ,theil1 ,bd4 #b 7,die ,baukunst der ,etrusker71 p4 #e4 ,footnote #bcdf3 ,see ,wiegand1 ,puteolanische ,bauinschr4 7,jhrb4 fr ,philol4 ,suppl4-,bd4 #bj1 p4 #gef ff472 ,borrmann in ,durm's ,handbuch1 #a4 ,theil1 ,bd4 #d1 p4 #dj4 ,footnote #bcdg3 ,for a recent restoration of an ,etruscan temple see ,anderson and ,spiers1 ,architecture of ,greece and ,rome1 p4 #abf4 ,footnote #bcdh3 ,notizie degli ,scavi1 #ahhg1 p4 #ib ff4 ,footnote #bcdi3 ,ann4 dell' ,inst4 #ahha1 p4 #dh4 ,footnote #bcej3 ,notizie1 #ahih1 p4 #dbi ff42 ,class4 ,review1 #ahii1 p4 #cbi4 ,footnote #bcea3 ,notizie1 #ahif1 p4 #cc4 ,footnote #bceb3 ,mon4 dell' ,inst4 ,suppl4 pls4 #a-c4 ,footnote #bcec3 ,cat4 of ,terracottas1 ,b #fbf4 ,footnote #bced3 ,cat4 of ,terracottas1 ,b #fba-bc3 cf4 ,arch4 ,zeit4 #ahga1 pl4 #a4 ,b #fba is illustrated in ,plate ,,lix4 ,footnote #bcee3 ,panofka1 ,terracotten des k4 ,mus4 pl4 #aj4 ,footnote #bcef3 ,see ,furtwaengler1 ,meisterwerke1 p4 #bej4 ,footnote #bceg3 ,arch4 ,zeit4 #ahhb1 pl4 #ae3 cf4 also ,martha1 ,l',art trusque1 p4 #cbd 7in ,louvre74 ,footnote #bceh3 ,j4,h4,s4 xiii4 p4 #caf4 ,footnote #bcei3 ,murray1 ,terracotta ,sarcophagi1 pls4 #i-aa4 ,footnote #bcfj3 ,b4,m4 ,cat4 of ,bronzes1 ,no4 #dcd1 and p4 xlvii4 ,footnote #bcfa3 ,see p4 #cjh1 and ,furtwaengler1 ,meisterwerke1 p4 #bej4 ,footnote #bcfb3 ,for full description of this sarcophagus see ,cat4 of ,terracottas1 ,b #fcj2 ,murray1 ,terracotta ,sarcophagi1 pls4 #i-aa1 p4 #ba4 ,it is interesting to note that the figures must be contemporaneous with the ,capitoline statues made by ,volca4 ,footnote #bcfc3 ,mon4 dell' ,inst4 vi4 pl4 #ei2 ,mon4 ,antichi1 viii4 pl4 #ac1 p4 #eba ff4 7,savignoni74 ,the latter was found in the same group of tombs as the painted slabs in the ,louvre described below4 ,footnote #bcfd3 ,cf4 ,mon4 ,antichi1 viii4 p4 #eca4 ,footnote #bcfe3 ,mus4 ,ital4 di ,ant4 ,class4 i4 p4 #hi ff41 pls4 #c-g4 ,footnote #bcff3 ,dennis1 ,etruria1 ii4 p4 #dh4 ,footnote #bcfg3 ,martha1 ,l',art trusque1 pl4 #d ,mon4 dell' ,inst4 vi4-vii4 pl4 #cj2 ,j4,h4,s4 x4 pl4 #g1 p4 #bdc ff42 ,pottier1 ,louvre ,cat4 ii4 p4 #dab4 ,footnote #bcfh3 ,cf4 the ,thermon metopes1 #ab #aijc1 pls4 #b-f 7,vol4 ,i4 p4 #ib74 ,footnote #bcfi3 ,cat4 of ,terracottas1 ,d #gii1 #hjj4 ,footnote #bcgj3 ,this subject has been interpreted as ,kadmos 7or ,jason71 contending with the armed men who sprang from the sown teeth of the dragon3 see ,dennis1 ,etruria#b1 ii4 p4 #afe4 ,footnote #bcga3 ,see generally ,brunn and ,krte1 ,i rilievi dell' urne ,etruschi1 #b vols42 ,b4,m4 ,cat4 of ,terracottas1 ,d #ghg-ih4 ,footnote #bcgb3 ,cat4 of ,terracottas1 ,d #gie4 ,footnote #bcgc3 ,martha1 ,l',art trusque1 p4 #cea2 ,ant4 ,denkm4 i4 pl4 #bj2 ,cat4 of ,terracottas1 ,d #ghf4 ,footnote #bcgd3 ,mon4 dell' ,inst4 xi4 pl4 #a4 ,footnote #bcge3 ,l',art trusque1 p4 #cjj4 ,footnote #bcgf3 ,blue occurs on the ,b4,m4 sarcophagus 7,b #fcj7 7as also on the ,polledrara hydria74 ,footnote #bcgg3 ,rm4 ,mitth4 #ahig1 p4 #bja ff41 #ahii1 p4 #ac ff42 ,patroni1 ,ceramica ,antica1 chap4 i41 and id4 in ,mon4 ,antichi1 vi4 p4 #cdi ff43 see also ,pottier1 ,louvre ,cat4 ii4 p4 #cga4 ,footnote #bcgh3 ,a line drawn across from ,taranto to ,fasano roughly divides the two districts1 the ,peucetians being on the north1 the ,messapians on the south4 ,footnote #bcgi3 ,notizie degli ,scavi1 #ahig1 p4 #afg4 ,footnote #bchj3 ,for ,marseilles see also ,dchelette1 ,vases ,cramiques de la ,gaule rom4 i4 p4 #g4 ,footnote #bcha3 ,see also ,reinach1 ii4 #bdb-dc1 for those in the ,imperial ,museum at ,vienna4 ,footnote #bchb3 ,e4g4 ,b4,m4 ,f #dad-af1 #ehd-he4 ,footnote #bchc3 ,see also ,vol4 ,i4 p4 #agb1 ,fig4 #dj4 ,footnote #bchd3 ,ceram4 ,ant4 p4 #bg4 ,footnote #bche3 ,gaz4 ,arch4 #ahha-hb1 pl4 #ai1 p4 #ajg4 ,footnote #bchf3 ,ibid4 pls4 #ai1 #ba2 ,sale ,cat4 ,htel ,drouot1 ,may #aa1 #aijc1 ,no4 #bj4 ,footnote #bchg3 ,serv4 ad ,virg4 ,aen4 iii4 #ccb4 ,footnote #bchh3 ,ceramica ,antica1 p4 #ai ff4 ,footnote #bchi3 ,cf4 ,rm4 ,mitth4 #ahig1 pl4 #aj1 p4 #bbb4 ,footnote #bcij3 ,notizie degli ,scavi1 #ahig4 p4 #afh4 ,footnote #bcia3 ,rm4 ,mitth4 #ahii1 pl4 #c1 fig4 #cb4 ,footnote #bcib3 ,patroni puts the limits of date for both fabrics at #fjj-dej ,b4,c4 ,footnote #bcic3 ,rm4 ,mitth4 #ahii1 p4 #df1 pls4 #d-e4 ,footnote #bcid3 ,louvre ,cat4 ii4 p4 #cgb4 ,,chapter ,,xix ,,terracotta ,,in ,,roman ,,architecture ,,and ,,sculpture ,clay in ,roman architecture--,use of bricks--,methods of construction--,tiles--,ornamental antefixae--,flue-tiles--,other uses--,inscriptions on bricks and tiles--,military tiles--,mural reliefs--,list of subjects--,roman sculpture in terracotta--,statuettes--,uses at ,rome--,types and subjects--,gaulish terracottas--,potters and centres of fabric--,subjects--,miscellaneous uses of terracotta--,money-boxes--,coin-moulds4 ,the uses of clay among the ,romans were1 as may be supposed1 much the same as among the ,greeks and ,etruscans1 in architecture1 in sculpture1 and for household implements4 ,the main differences are that in some cases--as in architecture--its use was more extensive at ,rome1 in others less2 and that generally the products of this material in ,roman workshops are inferior to those of the ,greeks4 ,but the technical processes are in the main identical with those employed by the ,greeks1 and consequently much that has been said in ,chap4 ,,iii4 of this work need not be here repeated4 ,i4 ,,architecture #a4 ,,bricks ,,and ,,tiles ,the ,romans divided the manufacture of objects in clay into two classes3 opus figlinum or fine ware1 made from argilla or creta figularis2 and opus doliare1 for tiles and common earthenware4#bcie ,we begin1 then1 as in the chapter on the ,greek uses of clay1 with the latter division1 including the use of this material in ,roman architecture1 and primarily in the making of bricks and tiles4 ,it must be borne in mind1 however1 that the structural use of bricks of clay1 such as we employ at the present day1 was unknown to the ,romans2 they only used what we should call tiles1 and even these were only employed structurally1 as a facing to walls and vaults of concrete2 no walls were ever built of solid brick1 and even in those of seven inches thickness the bricks are built on a core of concrete4 ,nor were the bricks allowed to appear on the outer face of the building1 at least before the second century of the ,empire2 they were always faced with a coating of marble or stucco4 ,nevertheless1 the general use of bricks or tiles was most extensive1 and they were employed as tiles for roofing houses1 as bricks for walls and vaults1 and even for columns1 as slabs for pavements1 for furnaces and for covering graves1 and in tube form for conveying water or hot air2 they are found in temples1 theatres1 and baths1 and are used for cisterns and fountains1 and in aqueducts and military fortifications4 ,they were called lateres1 because1 says ,isidorus1 8they were broad1 and made by placing round them four boards40#bcif ,the kilns were called laterariae1 and the makers laterarii2 to make bricks was lateres ducere1 fingere1#bcig or 7with reference to the baking only7 coquere4 ,the word later seems to be employed indiscriminately for sun-dried 7crudi7 and baked bricks 7coctiles71#bcih without the qualifying epithet1 but testa is also used when burnt brick is intended4#bcii ,the sun-dried bricks were the earlier and simpler form1 used for building walls and cemented together with clay or mud4#bdjj ,vitruvius in his account of brick-making 7ii4 #c7 only refers to this kind1 and apparently never mentions baked bricks except in passing allusions4 ,he describes three kinds1 to which he says the ,greeks gave the respective names of genus ,lydium1 pentadoron1 and tetradoron 7see ,vol4 ,i4 p4 #ie74 ,the two latter are exclusively ,greek1 but the first-named1 #a by #a foot in dimensions1 answers to the ,roman tegula sesquipedalis4#bdja ,a frequent arrangement1 he says1 was to employ half-bricks in alternate courses with the ordinary sizes1 which served to bind the walls together and present an effective as well as a stable appearance4 ,this information is repeated by ,pliny1 copying almost word for word4#bdjb ,among the ,romans two dimensions were in general use1 as may be inferred from the frequent mention in inscriptions or elsewhere of the sesquipedales and of bipedales1#bdjc or two-foot bricks1 as we shall have occasion to show later4 ,being very flat and thin in proportion to their size1 these bricks rather resemble tiles1 as has been already noted2 they are generally square1 or at least rectangular4 ,but there were also tegulae bessales or bricks measuring two-thirds of a foot square1 i4e4 about #h inches1 and triangular bricks1 equilateral in form1 with a length varying from #d to #ad inches4 ,the latter are the kind used in all existing ,roman walls of concrete with brick facings4 ,the thickness varies from #a to #b inches4 ,they are not always made with mechanical accuracy1 the edges being rounded and the sides not always parallel4 ,in military works they were often used alternately with flint and stone 7see below1 p4 #ccg71 as we see them in ,england1 at ,colchester1 ,dover1 ,verulam1 and many other places4#bdjd ,at ,verulam the tiles are arranged in three horizontal layers at intervals of about #d feet1 with flint and mortar between4 ,they were also used for turning the arches of doorways1 and for this purpose tegulae bipedales were cut into pieces1 so as only to tail a few inches into the concrete which they cover4 ,complete squares were introduced at intervals to improve the bonding4#bdje ,the pillars of the floors of hypocausts were formed of tegulae bessales1 and sometimes also of two semicircular bricks joined so as to form a circle1 varying from #f to #ae inches in diameter4#bdjf ,occasionally the upper bricks diminished in size1 in order to give greater solidity to the structure4 ,the bricks or tiles forming the upper floors were from #ah to #bj inches square2 in some cases1 as at ,cirencester1#bdjg these were flanged tiles 7see below74 ,the general size of ,roman bricks was1 in the case of the sesquipedales1 #a by #a ,roman foot2 but variations are found1 such as #ae by #ad inches4 ,for the bipedales ,palladius recommends #b feet by #a foot by #d inches4 ,the great building at ,trier known as the ,palace of ,constantine is built of burnt bricks1 #ae inches square by #a inch thick4#bdjh ,prof4 ,middleton notes tiles in ,rome of #ab1 #ad1 and #ah inches square1#bdji and ,marquardt#bdaj states that bricks found in ,france measure #ae by #h to #aj inches2 others 7the bessales7 #h by #h by #c inches4 ,a complete circular brick1 measuring #g inches across by #c inches thick1 and impressed with the stamp of the eleventh legion1 was found at ,dolae near ,gardun1 and is now in the museum at ,spalato4#bdaa ,vitruvius#bdab gives elaborate instructions about the preparation of the clay for sun-dried bricks1 and counsels in the first place a careful choice of earth1 avoiding that which was sandy or stony or full of loose flints1 which made the bricks too heavy1 and so liable to split and fall out when affected by rain2 it also prevented the straw from binding properly4 ,clay which was either whitish or decidedly red 7from a prevalence of ochre7 was preferred1 and that combined with coarse sand 7sabulo masculus7 made light tiles1 easily set4 ,the process of manufacture was a very simple one4 ,the clay was first carefully cleaned of foreign bodies1 and then moistened with water and kneaded with straw4 ,it was then moulded by hand or in a mould or frame of four boards1 and perhaps also pressed with the foot4#bdac ,the bricks were then dried in the sun and turned as required1 the usual process also adopted in the modern brickfield4 ,some bricks actually bear the marks of the feet of animals and birds which had passed over them while the clay was soft1 and there is one in the ,shrewsbury ,museum with the imprint of a goat's feet4 ,others at ,york and ,wiesbaden show the nails of a boy's shoes4#bdad ,these impressions of feet 7where human7 may also be referred to the practice of using the feet to knead the bricks4 ,the bricks were then ready for use1 but were kept for two years before being employed1 otherwise they were liable to contract1 which caused the stucco to break off and the walls to collapse4 ,at ,utica1 ,vitruvius tells us1 they had to be kept five years1 and then could only be used if passed by a magistrate4 ,altogether1 much care was taken in their preparation1 and it was generally considered that spring and autumn were the most favourable times for making them1 probably because they dried more slowly and were less liable to crack during the operation4 ,in summer the hot sun baked the outer surface too fast1 and this appeared dry while the interior was still moist1 so that when the inside dried the outside contracted and split4#bdae ,it was also1 of course1 advisable to avoid seasons of rain and frost4 ,but the bricks could not be properly tested until they had undergone some exposure to the weather1 and for this reason ,vitruvius recommends the employment of old roof-tiles where possible in building walls4#bdaf ,for baked bricks the processes must have been much the same1 with1 of course1 the addition of the baking in the furnace4 ,existing ,roman bricks are nearly always of well-tempered clay and well baked2 but the clay exhibits a great variety of colour--red1 yellow1 and brown4 ,the paste is remarkably hard1 breaking with an almost vitreous fracture1 and sometimes shows fragments of red brick 7pozzolana7 ground up with it to bind it together1 and prevent warping4 ,this may be seen in the ,flavian ,palace on the ,palatine1 and in an archway in the ,aurelian ,wall near the ,porta ,latina4 ,as an instance of varieties of brick found in the same building1 ,nero's ,aurea ,domus may be cited4#bdag ,the durability of ,roman tiles is ascribed to their careful preparation and seasoning1 which give them a much longer life than modern tiles2 hence they were frequently used up again in early mediaeval buildings and in ,romanesque churches in ,england1 as at ,st4 ,albans1 ,st4 ,mary-in-,castro1 ,dover1 and ,st4 ,botolph's and ,holy ,trinity1 ,colchester4#bdah ,during the period of the ,republic private houses and public buildings alike were built of unburnt brick in ,rome1 as we learn from the words of ,dio ,cassius1#bdai ,varro1#bdbj and ,cicero#bdba2 ,varro speaks of domus latericiae1 and ,cicero of 8the brick 7latere7 and concrete of which the city is constructed40 ,after the ,republican period this material was still employed outside ,rome with burnt-brick cornices1#bdbb but even this was exceptional4 ,pliny mentions walls of sun-dried bricks at ,arretium and ,mevania4#bdbc ,henceforth1 then1 burnt brick was employed more and more as ,rome grew more populous4#bdbd ,in ,vitruvius' time 7the beginning of our era7 the materials used for building were stone for substructures1 burnt brick 7structura testacea7 for the outer walls1 concrete for the party-walls1 and wood for the roofs and floors4 ,he explains the cessation of the use of unburnt brick as due to the legal regulations of his time1 which prohibited party-walls of more than #a foot in thickness1 and unburnt bricks could only support one story above them in that size4#bdbe ,baths1 either public or private1 walls and military fortifications1 were built of bricks1 the latter being thus better able to resist attacks than if they were of stone4 ,temples1 palaces1 amphitheatres1 the magnificent aqueducts and the cisterns with which they communicated1 were also usually of this material4 ,of these1 numerous remains exist in ,rome and other places1 such as ,cumae and ,pozzuoli4 ,the aqueduct made by ,nero from the ,anio to ,mons ,caelius is of brick1 that of ,trajan partly so2 the aqua ,alexandrina of ,severus ,alexander 7,a4,d4 #bbi7 and that existing at ,metz are wholly of brick1 and so are the castella or reservoirs made by ,agrippa when he constructed the ,julian conduit over the ,marcian and ,tepulan4#bdbf ,it is true that ,augustus boasted that he had found ,rome of brick and left it marble#bdbg2 but it must be remembered1 firstly1 that ,suetonius uses the term latericiam1 which may denote unburnt brick2 secondly1 that the phrase is probably to be limited to public buildings and monuments1 in which there was an increased use of marble for pillars and roofs4 ,for walls brick and concrete continued to be used1 as in private buildings1 with a covering of stucco in place of marble incrustation4 ,in the first century of the ,empire brick-making was brought to perfection1 and its use became universal for private and public buildings alike2 the mortar of the period is also of remarkable excellence4 ,the ,romans introduced brick-making wherever they went2 and even their legions when on foreign service used it for military purposes4 ,but of pure brick architecture1 as we see it1 for instance1 in the ,byzantine churches of ,northern ,italy1 there was no question until comparatively late times4 ,it was always covered over with marble or stucco until the second century of the ,empire4 ,examples of sepulchral buildings wholly in brick1 of the time of ,hadrian1 may be seen in the tomb before the ,porta ,san ,sebastiano at ,rome1 known as the temple of ,deus ,rediculus4 ,this has ,corinthian pilasters with a rich entablature1 red bricks being used for architectural members1 yellow for the walls2 the capitals are formed of layers of bricks4 ,of ,hadrian's time are also the guard-house of the seventh cohort of ,vigiles across the ,tiber1 of which a small part remains1 and the amphitheatrum castrense on the walls of ,aurelian4#bdbh ,one of the most remarkable instances of ,roman brick construction is the ,pile ,cinq-,mars1 as it is called1 a tower still standing on the right bank of the ,loire1 near ,tours4 ,it is about #ie feet high and #ac feet square1 expanding at the base1 being built of tiles to a depth of #c feet each side1 with a body of concrete2 the tiles are set in mortar composed of chalk1 sand1 and pounded tiles4 ,on one side there are eleven rectangular panels with tile-work of various patterns1 like those on the flue-tiles 7see p4 #cdh71 and as also seen on the ,roman wall at ,cologne2 the patterns include squares1 triangles1 and rosettes4 ,the history and purpose of this building are quite unknown4#bdbi ,at ,pompeii bricks are used only for corners of buildings or doorposts1 and sometimes for columns1 as in the ,basilica and the house of the ,labyrinth4#bdcj ,there are also late examples of brick columns with capitals in tiers of bricks as in the tomb mentioned above4 ,brick walls are not found1 but bricks occur as facing for rubble-work4 ,these are less than an inch thick1 triangular in form1 with the hypotenuse 7about #f inches long7 showing in the face of the wall4 ,sometimes fragments of roof-tiles are used 7cf4 p4 #ccd74 ,the earlier bricks contain sea-sand1 and have a granular surface2 the later are smooth and even in appearance4 ,later1 what is known as opus mixtum 7see below7 is used1 as in the entrance of the ,herculaneum gate2 this implies courses of stone and brick alternating1#bdca which1 as we have seen1 was common in military works1 as in the ,roman walls in ,britain4 ,in this country1 owing to the absence of good material for concrete1 the use of stones or brick throughout for building was general from the first2 hence1 too1 the bricks are always flat and rectangular in form 7bipedales74#bdcb ,the arrangement of triangular bricks 7made by dividing a medium-sized brick into four before baking71 laid flat in regular horizontal courses1 is characteristic of the earliest examples of ,roman methods4 ,it is found in the ,rostra 7#dd ,b4,c47 and in the ,regia 7#ce ,b4,c471 the earliest existing examples4#bdcc ,the back wall of the ,rostra is of concrete faced with triangular bricks #a inch thick1 the sides #aj inches long4 ,the same arrangement may be seen in the ,pantheon1 in the ,thermae of ,diocletian1 and in some of the aqueducts 7see below74 ,the brickwork in the ,pantheon was formerly thought to belong to the building of ,agrippa in #bg ,b4,c41 but has been now shown to belong to the second century4#bdcd ,at ,ostia1 in the temple of ,honos and ,virtus1 the walls are built of triangular bricks or with red and yellow bricks with moulded cornices4 ,illustration3 ,section of ,angle4 ,,fig4 #ahg4 ,,concrete ,,wall1 ,faced with 7,a7 opus incertum1 7,b7 opus reticulatum4 ,c shows the horizontal section1 similar in both4 ,illustration3 ,,fig4 #ahh4 ,,concrete ,,wall 7,,vertical ,,section71 ,,faced ,,with ,,brick4 ,about the year #hj ,b4,c4 the method known as opus reticulatum was introduced1 in which the bricks presented square faces 7about #d inches each way71 and were arranged diagonally to form a network pattern 7,fig4 #ahg74 ,at ,pompeii the opus reticulatum dates from the time of ,augustus2 it is laid on concrete1 and the bricks are small four-sided pyramids with bases #c to #d inches square4#bdce ,this method lasted down to about ,a4,d4 #acj in ,italy4 ,it should1 however1 be noted that it was commoner in stone than in brick1 the latter material not having come into general use for building at the time when it was employed4#bdcf ,but even when tufa was used for the reticulated work1 bricks or tiles were used for quoins at the angles1 and for bonding courses through the walls1 as well as for arches and vaults 7,fig4 #ahh74 ,this combination of opus reticulatum and brickwork is well illustrated in the palace of ,caligula4#bdcg ,in the case of vaults1 indeed1 the use of brick seems to have been general1 as in the baths of ,caracalla1 and many other buildings 7cf4 ,fig4 #ahi74 ,vitruvius#bdch advises the use of tegulae bipedales to protect the wooden joists over the vaults from being rotted by the steam from the hot bathrooms2 they were to be placed over the whole under-surface of the concrete vault1 supported on iron girders1 which were suspended from the concrete by iron clamps or pins4 ,over the whole was laid a coating of cement 7opus tectorium7 in which pounded pottery was the chief constituent1 and this was stuccoed4#bdci ,illustration3 ,,fig4 #ahi4 ,,concrete ,,arch2 ,,half ,,with ,,brick ,,facing ,,removed4 ,the opus mixtum 7the term is not classical7 prevailed regularly under the later ,empire1 from the fourth to the sixth century2 the earliest example which can be dated is the circus of ,maxentius4 ,it is also used in work of the time of ,theodoric4#bddj ,the method of construction is shown in ,fig4 #aij4 ,the reason for the limited use of brick in ,rome may have been the scarcity of wood for fuel for the kilns4 ,but in any case the pointed backs of the bricks made a good bonding with concrete1 and presented a large surface with a comparatively small amount of clay4 ,the secret of the wonderful durability of ,roman buildings is that each wall was one solid coherent mass1 owing to the excellence of the concrete4 ,in the ,pantheon the concrete of the dome is nearly #bj feet thick1 the brick facing only about #e inches4 ,the character of the brick facing often indicates the date of a wall1 the bricks in early work being thick and the joints thin2 later1 the reverse is the case4 ,but caution must be exercised in dating on this principle1 owing to the great variety of methods employed during the same reign1 and even in the same building4#bdda ,illustration3 ,from ,blmner4 ,,fig4 #aij4 ,,diagram ,,showing ,,construction ,,of ,,wall ,,of ,,opus ,,mixtum4 99 99 99 99 99 ,the word for a tile1 tegula1 is derived from tegere1 to cover1 or1 as ,isidorus says1 they are so called quod aedes tegant#bddb2 the curved roof-tiles were known as imbrices because they received rain-showers 7imbres74 ,the maker of roof-tiles was known as tegularius#bddc or figulus ab imbricibus4#bddd ,tegulae or flat roof-tiles were usually made with vertical flanges 7#b inches high7 down the sides1 and these flanges1 which fitted into one another longitudinally1 when placed side by side served to hold the covering-tiles placed over them4 ,there were also roof-tiles known as tegulae deliciares#bdde and colliciares1 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 the front through spouts in the form of lions' heads4#bddf ,besides the various rectangular forms we find triangular tiles used1 either equilateral or right-angled2 semicircular or curved tiles1 used for circular walls1 ovens1 tombs1 and cornices1 or other parts of buildings2 cylindrical tiles 7tubuli fictiles71#bddg which were used for drains and conduits2 and1 finally1 the rectangular hollow flue-tiles1 employed for hot air in hypocausts4#bddh ,another form was the tegula mammata1 a plain square tile with four knobs or breast-like projections 7mammae71 which was often used in party-walls with the object of keeping out damp4#bddi ,the tiles were inserted by the points of the projections into the concrete1 thus leaving a space between in which the warm air could circulate freely4 ,existing examples of tiles are composed of a compact dense clay1 less fine than that of the bricks1 and of a pale salmon or light straw colour when baked4 ,they were probably made in moulds--but these may only have been a couple of boards placed together--and after being dried in the sun were baked in kilns4 ,the flanged tiles were1 of course1 produced by turning up the edges before drying4 ,besides the arrangement described above1 it is probable that roofs were sometimes tiled in the manner prevalent in the present day1 with flat or curved tiles overlapping like scales2 and for this purpose the tiles seem to have been pierced with holes at one corner1 and so attached to one another4 ,the same method obtained in the ,roman villas in ,britain1 except that ,stonesfield slate was used in place of tiles4 ,an inscription found at ,niederbrunnen in ,germany speaks of attegia tegulicia1 or huts roofed with tiles1 erected in honour of ,mercury4#bdej ,tiles with turned-up edges or flanged tiles were principally employed1 as has been indicated1 for roofing2 but some were also placed in walls where required1 especially where a space was required for the passage of air4#bdea ,they were also employed for the floors of bath-rooms1 in which case they were laid on the pilae of the hypocaust in an inverted position1 and the cement flooring was laid upon them4 ,the flanges are generally about #b inches higher than the lower surface of the tile2 they are bevelled on the inner side in order to diminish the diameter of the imbrex1 but have no holes for nailing to the rafters4 ,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 adjoining4 ,those found in ,france are said to be distinguished by the sand and stones found in their composition4#bdeb ,there are flange tiles of red and yellow clay from the ,roman ,thermae at ,saintes in the ,museum of ,svres1 and others from ancient potteries at ,milhac de ,nontron1 as well as tiles of red clay from ,palmyra4#bdec ,in the military castra in ,england flange tiles of a red or yellow colour have been found1 the latter with fragments of red tiles mixed in the clay4 ,they are also often found in the ruins of villas4 ,a flange tile from ,boxmoor1 ,herts1 now in the ,british ,museum1 measures #ae by #ab inches1 the flange being #b inches high2 and it will be seen that these dimensions correspond roughly with the tegulae bipedales4 ,flanged tiles with holes in them appear to have been used at ,pompeii for lighting passages1 the flanges serving to keep out rain4#bded ,the imbrices or covering-tiles which held the flat tiles together1 thus rendering the roof compact1 were quite plain1 with the exception of the end ones over the gutters4 ,these were in the form of antefixal ornaments like the ,greek examples 7,vol4 ,i4 p4 #ih71 an upright semi-oval termination ornamented with a relief or painted pattern1 with an arched support at the back4 ,many examples exist at ,pompeii 7see below71 ,ostia1#bdee and elsewhere2 but artistically they are far inferior to the ,greek examples1 and of simpler design4 ,most of them have a simple palmette or acanthus pattern in low relief1 but on or below this an ideal head or the head of a deity is sometimes added1 such as ,zeus ,ammon1 ,medusa1 a ,bacchic head1 or a mask1 or even a figure of ,victory4 ,of the last-named there is a good specimen in the ,british ,museum 7,d #fij ,fig4 #aia72 she carries a trophy from the battle of ,actium1 and stands on a globe from which spring two ,capricorns 7the symbol of ,augustus74#bdef ,illustration3 ,,fig4 #aia4 ,,roman ,,terracotta ,,antefix3 ,,victory ,,with ,,trophy 7,,british ,,museum74 ,no better example of the various uses of ornamental tiles in architecture can be selected than the remains found at ,pompeii1 which are exceedingly numerous4 ,terracotta seems to have been used here especially for such parts of the decoration as were exposed to wet1 as well-mouths1 gutters1 and antefixal tiles4#bdeg ,a characteristic feature of the decoration of ,pompeian houses was the trough-like gutter which surrounded and formed an ornamental cornice to the compluvium or open skylight of the atrium and peristyle1 through and from which the rain-water was collected in the impluvium or tank sunk in the ground below4 ,these were adorned with spouts in the form of animals' heads or foreparts1#bdeh usually lions and dogs1 with borders of palmettes between2 the gutter behind was virtually a long tank of square section4 ,antefixes and gutter-cornices1 where they occur1 must always be regarded as serving ornamental rather than necessary purposes4 ,all early work in terracotta at ,pompeii is of coarse clay1 but good execution2 later1 the reverse is the case4 ,the only public building in which many remains of terracotta tiles and cornices have been preserved is the temple of ,isis2 but the ,basilica may also have had terracotta decoration4 ,many fragments also remain from private houses1 some actually in situ1 having been neglected by early explorers as unimportant4 ,in the house of ,sallust a kymation cornice from one of the garden courts has scenic masks forming the spouts2 this is not earlier than the rebuilding of the house ,a4,d4 #fc4 ,there is also much terracotta work in the house of the ,faun4#bdei ,comic masks were used both as spouts and as antefixes1 the exaggerated mouth of the mask serving admirably for the former purpose4#bdfj ,these date from the reigns of ,nero and ,vespasian1 and all seem to be from the same fabric1 although there is considerable variety in the types2 the use of masks for these purposes is not earlier than ,nero's reign 7cf4 the house of ,sallust1 above74 ,besides the ornaments above mentioned the patterns on the cornices include palmettes and floral scrolls1 dolphins and ,gryphons4 ,the roof-tiles were of the usual kinds1 flat oblong tegulae with flanges1 measuring #bd by #ai by #bj inches1#bdfa with semi-cylindrical imbrices4 ,they were laid in lines parallel to the long ridges of the roofs1 so that the water converged into the gutter-tiles at the angles1 whence it fell into the impluvium4 ,these gutters1 however1 were not confined to the angles of the openings1 but were sometimes ranged along the whole length of the sides1 as we have seen2 those at the angles only seem to be earlier in date4 ,they are not found on the exteriors of buildings4 ,the front of the gutter was usually in the form of a vertical kymation moulding1 but was sometimes simply chamfered4 ,antefixal ornaments terminating the covering or ridge-tiles are not invariable1 but are found at different periods4 ,the earliest examples are in the form of palmettes1 but the later exhibit a great variety#bdfb3 comic masks1 a head in low relief on a palmette1 or a head surmounted by a palmette4 ,of the latter class thirty-eight were found in #ahfa4 ,in the ,augustan period ideal heads of gods and demi-gods are sometimes found4#bdfc ,von ,rohden1 in summing up 7p4 #ad71 is of the opinion that terracotta roof-decoration at ,pompeii was comparatively rare4 ,in the whole record of excavations only twenty-three water-spouts are mentioned1 though it is probable that many were never registered4 ,in scarcely more than twelve private houses have as many pieces been found as would suffice for the whole of the atrium and peristyle roofs1 and nearly all of these are of late date4 ,the discovery of isolated pieces in a house seems to show that they were used up again in the restorations after the earthquake of ,a4,d4 #fc4 ,there are also some good examples of roof-tiles among those which have been found at ,ostia1 both in baths and private houses2 some of the latter came from a house of which the brickwork bore inscriptions with the names of consuls of ,hadrian's reign4 ,the arrangement of the roof-tiles is that described on p4 #cda2 the antefixal ornaments are usually in the form of palmettes or acanthus leaves1 with maeander below2 but heads of deities1 such as ,venus and ,neptune1#bdfd or of ,medusa1 and tragic masks were also found4 ,two exceptional examples had groups in relief of ,neptune drawn over the sea by hippocamps1 and of the statue of ,cybele in the ship drawn by the ,vestal ,virgin ,claudia4#bdfe 99 99 99 99 99 ,tiles of the size known as bipedales are also used for lining the walls of rooms4 ,they are found in ,roman villas in ,britain1 and are ornamented on one side with various incised patterns1 made with a tool in the wet clay4 ,on some found at ,ridgewell in ,essex the decoration consists of lozenges1 rosettes1 and other ornaments1#bdff like those on the ,pile ,cinq-,mars already described2 they are often found covered with the stucco with which the walls were plastered4 ,at ,pompeii1 ,orvieto1 and elsewhere the stucco-painted walls were constructed with tegulae mammatae placed edgewise1 and connected with the main walls by leaden cramps1 the brick lining being thus detached from the walls by a narrow interval which served as an air-cavity4#bdfg ,this was a frequent proceeding1 and was also contrived with flanged tiles2 it corresponds with the system prescribed by ,vitruvius for keeping damp from the painted walls of rooms4#bdfh ,it was also largely employed in baths and bathrooms1 the object being both to keep the walls dry and to allow hot air to circulate from the hypocausts and warm the rooms4 ,in the cold climate of ,britain the ,romans found this a universal necessity1 and instances may be observed in many of their villas2 but1 as far as can be observed1 the general method of warming was by an extensive system of pipes under the floors rather than up the walls4#bdfi ,these tiles are pierced with holes1 by means of which they were attached to the walls by plugs or nails of lead4 ,in the castrum at ,jublains a chamber is yet partly standing with one of its sides coated with tiles of this kind4#bdgj ,illustration3 ,from ,middleton4 ,,fig4 #aib4 ,,method ,,of ,,heating ,,the ,,baths ,,in ,,the ,,thermae ,,of ,,caracalla4 ,a ,a ,concrete wall1 faced with brick1 shown in vertical and horizontal sections4 ,b ,lower part of wall1 with no brick facing4 ,c ,c ,suspensura1 or upper floor of ,hypocaust1 supported by pillars4 ,d ,d ,another floor1 with support only at edges4 ,e ,e ,marble flooring4 ,f ,f ,marble plinth and wall lining4 ,g ,g ,under floor of ,hypocaust1 paved with large tiles4 ,h ,h ,horizontal and vertical sections of flue-tiles lining wall of ,calidarium4 a a ,iron hold-fasts4 ,j ,j ,socket-jointed flue-pipe of ,tepidarium4 ,k ,rain-water pipe 7in horizontal section74 ,l ,l ,vaults of crypt1 made of pumice- stone concrete4 ,more commonly1 however1 a peculiar kind of tile was used for warming the hot rooms 7sudationes7 of baths1 and in villas when required4 ,they were hollow parallelopipeds1 known as tubi1 with a hole in the side for the escape of the air which traversed them1 the usual dimensions being about #af by #f by #e inches4#bdga ,seneca speaks of pipes inserted in walls1 which allowed the warmth to circulate and warm both the upper and lower stories equally#bdgb2 and the younger ,pliny mentions the air-holes 7fenestrae7 in the pipes which warmed his bedroom1 by means of which the temperature could be regulated at pleasure4#bdgc ,sometimes1 as in the baths of ,caracalla and the house of the ,vestals1 the whole side of a wall was composed of flue-tiles covered with cement1#bdgd which was made to adhere by scoring the sides with wavy or diagonal lines1 as in the flat tiles described above1 and as is often done in modern building4 ,the whole system of heating1 which may be seen in the baths of ,caracalla1 is very instructive 7,fig4 #aib73 the walls were of concrete with brick facing1 through which a system of flues of socket-jointed tiles passes upwards from the hypocaust below1 effectually warming every part4#bdge ,illustration3 ,,fig4 #aic4 ,,flue-,,tile ,,with ,,ornamental ,,patterns4 ,the hollow tiles often assume a more ornamental appearance 7as in ,fig4 #aic71 the patterns scratched on them taking the form of lozenges and diapers1 chevrons1 chequers1 and rosettes1 as may be seen in a ,roman villa at ,hartlip in ,kent1 where other tiles are simply scored with squares4#bdgf ,this villa is remarkable for the extensive use of tiles throughout2 even the staircases are constructed with them4 ,others found in ,essex and ,surrey have dogs1 stags1 and initial letters among foliage2 one found in ,london had among the wavy lines of pattern the letters ,px ,tx#bdgg2 and another1 from ,plaxtol in ,kent1 the local maker's name1 ,,cabriabanti4#bdgh ,these hollow tiles1 which are generally of the same clay as the roof-tiles1 were also occasionally used as pillars of hypocausts1#bdgi but for this purpose columns of tegulae bessales were more usual1 as ,vitruvius implies4#bdhj ,many examples may be seen in the ,roman villas of ,britain1 as at ,cirencester1 ,chedworth1 ,lympne1 and ,wroxeter4 ,in a villa found at ,carisbrooke1 ,isle of ,wight1 the whole bath was constructed of tiles1 the floor supported by pilae of the same4#bdha ,at ,bath the hollow tiles are actually used as voussoirs for arches and vaults4#bdhb ,through these chimneys--for this is what they practically were--the hot air circulated and gave an imperfect warmth to the rooms1 the heat radiating from the walls or penetrating through the air-holes4#bdhc ,the pipes standing close to one another virtually made up the wall2 but the exact method by which the warming was accomplished1 without great inconvenience to the occupiers of the rooms1 is not quite clear4 ,it is not difficult to imagine that the tiles would have warmed rooms merely by the introduction of hot air circulating through them1 even though covered with stucco4 ,on the other hand1 the apertures for admitting the air into the rooms1 if of any size1 must also have admitted smoke from the hypocausts1 and interfered with the ventilation4 ,it may be that they were not made for this purpose at all1 but only for fastening the pipes together or to the walls4 ,another difficulty is the method in which the flues made their exit into the open air4 ,it has been suggested1 partly on the analogy of a mosaic found in ,algeria1 that they ended above in an arrangement like a chimney-stack4 ,there is1 moreover1 a terracotta roof-tile in the ,museo delle ,terme at ,rome with a circular pipe1 #h inches in diameter1 projecting from its upper surface4#bdhd ,terracotta pipes1 or tubuli1 of cylindrical form1 were sometimes employed by the ,romans for conveying or distributing water1 but the more usual material for this purpose1 especially for drinking-water1 was lead2 the latter were called fistulae4#bdhe ,the ,venafrum inscription1 an edict of the ,emperor relating to the water-supply of the town1 mentions canales1 fistulae1 and tubi4#bdhf ,vitruvius calls the canales structiles1 implying that they were of masonry4#bdhg ,pliny speaks of tubi fictiles used for conduits from fountains1#bdhh and ,vitruvius recommends the use of terracotta pipes 7tubuli fictiles7 in aqueducts4#bdhi ,examples of clay piping are preserved in the ,museo delle ,terme at ,rome4 ,at ,marzabotto1 near ,bologna1 terracotta pipes were used for carrying off the water from the roof of a house1 by means of a straight tube through the wall fitting into another which curved upwards inside4#bdij ,these date from the fifth century ,b4,c4 ,other examples have been found in ,rome and ,italy1#bdia and specimens found on the ,rhine were #ba inches long1 of which inch was inserted into the adjoining pipe1 and #c to #d inches in diameter4 ,terracotta was also used for cisterns1 as at ,taormina1#bdib and for aqueducts2 but ,lanciani has pointed out that its use in these ways was confined to irrigating purposes4 ,the ,campagna of ,rome was formerly extensively drained with these tiles1 and owed to that circumstance much of its ancient healthfulness4 ,of the use of tiles in pavements there is frequent mention in ,roman writers4#bdic ,for this purpose complete tiles were seldom used1 at any rate in ,italy2 but in ,britain it was not at all uncommon1 as in the villa at ,hartlip already mentioned4 ,on the other hand1 hypocausts were regularly paved with tiles1 as in the ,baths of ,caracalla 7,fig4 #aib above71#bdid and in an example found at ,cirencester1 where the tiles are flanged4#bdie ,but in another form tiles played a considerable part in ,roman methods of paving4 ,pliny and other writers#bdif speak of pavimentum testaceum or opus signinum as the usual pavement for rooms1 especially those liable to damp1 such as kitchens and outbuildings1 or for baths and cisterns4 ,this was made of a layer of fragments of tiles stamped and pounded into a firm solid mass1 combined with mortar4 ,it corresponds to the nucleus ex testis tunsis of ,vitruvius1 which 7to a depth of six inches7 was laid on the rudus or coarser concrete4 ,on this was laid the flooring1 consisting either of tiles or marble slabs1 or more generally of mosaic4 ,the ,baths of ,caracalla again afford a good illustration of the process4#bdig ,in the mosaics too fragments of clay were often used1 especially for producing red or black colour4#bdih ,vitruvius and other writers allude to this practice1#bdii and the former also speaks of testacea spicata1 a kind of false mosaic made with small bricks about #d inches by #a inch1 set on edge to form a herring-bone pattern4 ,in the ,guildhall ,museum is part of a tesselated pavement of concrete1 faced with small bricks about an inch square4 ,one of the most interesting uses of tiles by the ,romans is in connection with their tombs4 ,not only are they used in the construction of the more magnificent edifices 7cf4 p4 #ccf71 but they were also often employed 7as in ,greece7 for the humbler graves4 ,for the latter1 three1 or sometimes six1 tegulae bipedales were set up in the form of a prism1 one forming the floor1 the other two the gabled covering which protected the body from the superincumbent earth4 ,within this were laid the ollae or sepulchral urns which held the ashes of the dead1 and other vases4 ,a tomb found at ,litlington in ,cambridgeshire was covered with a large flanged tile1 which protected the pottery buried underneath#bejj2 and at ,eastlow ,hill in ,suffolk a tomb was found roofed with twelve rows of flanged tiles1 each side in rows of four4#beja ,in some of the tombs of ,greece belonging to the ,roman period semi-cylindrical tiles were used for this purpose4 ,in the provinces the tiles often have impressed upon them in large letters the names of the legions which garrisoned the various cities4 ,the tiles of ,roman tombs at ,york are inscribed with the names of the sixth and ninth legions which were quartered there3 as ,,leg ,,vi ,,vict ,p ,f1 legio sexta victrix pia fidelis2 ,,leg ,,ix ,,hisp 7or ,,vict71 legio nona ,hispana 7or victrix74#bejb ,at ,caerleon 7,isca ,silurum7 the bricks bear the name of the second or ,augustan legion3 ,,leg ,,ii ,,avg4#bejc ,the stations of the twentieth legion may also be traced at ,chester in this manner2 the tiles are inscribed ,,leg ,,xx ,v ,v4#bejd ,they were placed at the foot of the tomb like tombstones1 in order to indicate who was buried beneath1 the inscriptions being written across the breadth of the tile4 ,they are of very different dates1 some of those in ,britain being apparently as late as the introduction of ,christianity4 99 99 99 99 99 ,the extent to which bricks and tiles were used in ,roman buildings under the ,empire may be gauged by the number of those with inscriptions which remain2 a whole section of the ,latin ,corpus 7see below7 is devoted to those found in ,rome alone1 numbering some two thousand4 ,many of them have been removed to the museums from the principal edifices1 such as the ,pantheon1 the ,coliseum1 the ,circus ,maximus1 the ,baths of ,titus and ,caracalla1 the ,basilica of ,constantine1 and the ,praetorian ,camp4 ,other inscriptions have been found on tiles removed from such buildings and used to repair the roofs of churches in ,rome4 ,such places as ,bologna1 ,cortona1 ,tibur1 and ,ostia have also produced numerous inscribed tiles of this class4 ,the use of such stamps was to guarantee the quality of the clay4 ,to the topographer1 as will be seen1 these stamps are often of great value2 and had the custom of placing on them the names of the buildings for which they were intended been less rare1 they might often have afforded valuable evidence as to doubtful sites4 ,besides their topographical value1 the tiles also help to settle the succession of consuls1 and throw great light on the economy of the ,roman farms and the possessions of the great landed proprietors4 ,the uninterrupted series1 extending from the times of the ,caesars to the age of ,septimius ,severus1 of names of proprietors1 potters1 and estates1 tells much of the internal condition of ,italy1 and of one of the sources of revenue to the ,roman nobility4#beje ,the stamps found on bricks and tiles are of four kinds--rectangular1 semicircular1 circular1 and crescent-shaped4 ,the inscriptions are in raised letters in all cases1 but instances are also known of incised inscriptions1 written without frames across the tile4 ,after the time of ,diocletian the only forms found are square1 circular1 and octagonal2 the square stamps always have straight inscriptions4 ,on the circular stamps the inscriptions are placed in a circle1 in one or two lines1 and the beginning is determined by a small cut-out circle at the edge of the stamp1 thus #bjbborbiculus known as the orbiculus2 apart from this its object is uncertain4 ,in later stamps the inscription often reads backwards1 or certain letters are reversed4 ,the letters were cut straight in a mould and lie in the plane of the surface1 being of rectangular section1 not wedge-shaped1 as in inscriptions on marble4 ,during the ,republican period and the first century of the ,empire a plain 8block0 type is used2 then the letters become smaller and more elegant1 with bars at the ends of the hastae1 as #bjed;,e1 ,m etc4 ,finally they show a tendency about ,a4,d4 #bjj to become broader and shorter3 #bjgf;,e1 ,m1 ,s ,at and after the time of ,diocletian the forms become very varied4 ,punctuation in the best period takes the form of a #aeagtriangle afterwards the mark becomes vague in form4 ,ligatured letters are rarely found after the time of ,diocletian1 but are common in the best period2 sometimes more than two are combined4#bejf ,the stamps with which the letters were made were usually of wood or bronze1 but have not been preserved4 ,in the centre of the stamp it was customary to place an emblem or device of some kind1 perhaps in view of a law which obliged brick and tile makers to affix distinctive marks or emblems on their bricks2 but the devices are not peculiar to individual workshops1 and some potteries1 such as the ,terentian 7see below71 used several4 ,they may be compared with the countermarks or small adjuncts on the coins of the ,republic1 and the seals and stamps on the wine-amphorae of ,thasos 7,vol4 ,i4 p4 #aeh74 ,figures of gods1 such as ,mars1 ,cupid1 and ,victory1 animals1 and even groups of figures1 occur1 and after the third century ,christian emblems are often found4 ,it is most probable that they were merely ornamental and without significance1 except in certain cases of canting or punning allusions4 ,thus ,m4 ,rutilius ,lupus has a wolf2 ,flavius ,aper a boar2 ,aquilia an eagle2 ,c4 ,julius ,stephanus a wreath2 and ,aelius ,asclepiades a serpent1 with reference to the god ,asklepios4#bejg ,illustration3 ,,fig4 #aid4 ,,stamped ,,tile 7,,british ,,museum74 ,the most complete stamps have the date of the emperor or the consulship1 the name of the estates 7praedia7 which supplied the clay1 that of the pottery where it was baked 7figlinae or officina71 and that of the potter who prepared it2 sometimes even of the slave who moulded the tile1 and even its very dimensions4 ,two typical examples may be given from the ,british ,museum collection1#bejh of which the first 7,fig4 #aid7 is said to have been found in the ,catacombs at ,rome4 ,it has in the centre of the stamp a figure of ,victory1 round which is the inscription in two lines1 beginning with the outer band3 ,,opvs ,,dol7iare7 ,,de ,,figvl7inis7 ,,pvblinianis 7ex7 ,,predis ,,aemiliaes ,,severaes 8,pottery#beji from the ,publinian works1 7the clay7 from the estate of ,aemilia ,severa40 ,the other has no device1 but the last word of the inscription is in the centre3 ,,imp ,,antonino ,,ii ,e7t7 ,,balbino ,,cos ,d ,p ,q ,s ,p ,d ,o ,,arabi ,,ser7vi7 8,the ,emperor ,antoninus for the second time and ,balbinus consuls2 from the estates 7de praediis7 of ,q4 ,servilius ,pudens1 pottery 7doliare opus7 from the hand of the slave ,arabus40 ,the earlier stamps exhibit more method and precision2 the later betray comparative carelessness4 ,in the latter the name of the emperor sometimes occurs alone1 and unusual expressions are introduced4 ,contractions are invariable at all periods1 and even the consuls are sometimes only mentioned by initials2 but by comparison of examples it is possible to place them in the right order4 ,those found in ,rome cover the period from the reign of ,trajan to that of ,theodoric 7,a4,d4 #ejj71 but in other parts of ,italy they are found dating as early as #ej ,b4,c4 ,we are told that ,theodoric1 when he repaired the walls of ,rome1 made a present of twenty-five thousand tiles for the purpose1#beaj and on the tiles bearing his name he is styled 8,the good and glorious king10 with the additional exclamation1 8,happy is ,rome60#beaa ,the estates on which the clay for the tiles was produced are called possessiones2 privata 7private property72 rationes 7shares72 insulae 7blocks72 or more generally1 praedia4 ,the latter word1 indeed1 is almost invariably used down to the third century1 the others being more characteristic of the time of ,diocletian4 ,the praedia not only provided the clay1 but in some cases also contained the potteries4 ,on some tiles fundus1 which means a country farm1 is found4 ,the proprietors of these estates were imperial personages1 persons of consular dignity or equestrian rank1 and sometimes imperial freedmen4 ,many tiles give merely the name of the imperial estates1 without mentioning the reigning emperor2 in the later ones1 as in the ,basilica of ,constantine1 it is usual to find the expression ,,off ,,avgg ,,et ,,caes ,,nn1 ,officina ,augustorum 7duorum7 et ,caesarum 7duorum7 nostrorum4#beab ,several names of the ,antonines occur2 also ,annius ,verus and his wife ,domitia ,lucilla1 the parents of ,m4 ,aurelius4 ,septimius ,severus owned many praedia which supplied bricks for his palace on the ,palatine4#beac ,the ,empress ,plotina was evidently a large landed proprietor1 and we also find the names of ,aelius ,caesar 7,hadrian's adopted heir71 ,m4 ,aurelius1 ,faustina ,,ii41 and ,julia ,procula4 ,among the names of inferior proprietors1 unknown to fame1 occur ,q4 ,servilius ,pudens1 ,t4 ,statilius ,severus1 and ,l4 ,aemilius ,julianus1 priest of the sun and moon4#bead ,such names as ,q4 ,agathyrsus1 ,rutilius ,successus1 and ,sulpicius ,servandus seem to denote imperial freedmen2 the first-named styles himself ,,avg ,,lib4#beae ,a remarkable fact in connection with these inscriptions is the prevalence of feminine names1 the quantity of tiles on which these are found being enormous4 ,the causes are various1--partly the renunciation by emperors of their private fortunes in favour of their female relations2 partly the proscriptions which1 from the failure of male heirs1 caused estates to devolve upon women2 partly the gradual extinction of great families4 ,the important position held by freedmen under the ,empire is well known to the student of ,roman history4 ,the potteries of the tile-makers were of two kinds--figlinae and officinae2 but the former seems to be a wider and inclusive term--that is to say1 that one figlina included several officinae or workshops4 ,in the inscriptions1 ex figlinis is usually followed by the name of the owner1 ex officinis by the name of the potter 7officinator74 ,the former expression is by far the commoner1 and the latter 7,,of or ,,offic7 is more usually found on lamps and vases1 although after the third century it is invariable on the tiles4 ,the figlinae are always mentioned in a subordinate manner to the praedia1 when both are mentioned1 as is usually the case4 ,the potteries were mostly outside the city1 even at some distance4 ,localities are not often mentioned1 but we have the ,salarian potteries on the ,via ,salaria1#beaf and also mention of the ,via ,nomentana1#beag and such expressions as ,ad ,aureliam1 ,ad ,mercurium felicem1 or ,ad viam triumphalem4 ,stamps found in the walls along the ,appian and ,latin ways show that potteries existed in the direction of the ,alban and ,tusculan hills1 and in other parts of ,latium1 as at ,praeneste and ,ostia4 ,on the north side they extended as far as ,narnia and ,ocriculum#beah on the ,tiber4 ,they are also found in ,etruria and ,campania4 ,tiles from ,latium were exported to ,liguria1 the ,adriatic1 ,sardinia1 ,africa1 ,gaul1 and ,spain4 ,usually a descriptive epithet is associated with the word figlinae1 either of a geographical or personal character4 ,examples of the former are ,macedonianae1 ,rhodianae1 and ,oceanae4 ,the latter give either the name of an emperor1 as ,neronianae1 ,domitianae2 or a ,gentile or family name1 as ,favorianae1#beai ,furianae1 ,publinianae1 ,terentianae1 or ,voconianae4 ,one of the names which occurs most frequently is that of ,l4 ,brutidius ,augustalis1 a freedman2 others are stamped ,,ex ,,figlinis ,,primigeni ,,servi ,,dni ,,nostri ,,imp--8,from the potteries of ,primigenius1 slave of our lord the ,emperor40 ,imperial slaves owned many potteries1 and others were owned by the emperors or other wealthy proprietors1 and administered by freedmen or slaves4 ,the officinae served to distinguish the functions of the different figlinae4 ,thus the establishment of ,m4 ,publicius ,januarius1 a freedman1 is styled doliariae officinae2 or they are distinguished by separate names1 as ,claudianae1 ,domitianae1 and so on4 ,the tiles from the potteries of ,asinius ,pollio bear the name of ,c4 ,cosconius as maker1 as do those of ,julia ,procula's potteries1 being further distinguished as doliares1 bipedales1 and sesquipedales4#bebj ,it would appear that the potteries of private proprietors were under the direction of freedmen1 while those of the imperial estates were chiefly managed by slaves1 from whose labours large revenues were obtained4 ,there were many private potteries in ,gaul and ,germany4#beba ,in the neighbourhood of ,saarbrck many tiles have been found with the maker's name1 ,l4 ,valerius ,labeius4 ,others with private names have been found at ,trier1 one with the stamp of the colonia4 ,several potters with ,gaulish names are known1 and probably ,,fidenatis on a tile at ,zulpich1 ,,secvndanvs ,f7igulus or fecit7 and ,,pacatvs ,f from ,seligenstadt1 refer to craftsmen of that nationality4#bebb ,often the master's name only occurs1 of which possible instances are ,,bellicianvs on a tile from ,caerwent1 and ,,primv7s7 on another from ,colchester4#bebc ,in the ,british ,museum are tiles with the initials ,t ,p ,f ,a1 ,t ,p ,f ,c1 ,t ,p ,f ,p1 from ,rodmarton in ,gloucestershire4#bebd ,tiles found in the provinces also have the maker's name simply1 without indications of date or the owner of the pottery1 as on those from ,seligenstadt already cited4 ,the makers must in all cases have been of inferior condition1 as implied in the example already quoted of the slave ,arabus 7p4 #ced72 and other names--,daedalus1 ,peculiaris1 ,primigenius1 ,zosimus--belong to the same rank of life4 ,yet the occurrence of a single name for a private individual is everywhere very common4 ,on the other hand1 imperial slaves usually have two names given1 and freedmen three4#bebe ,on the tiles of the freedmen of the ,gens ,domitia 7dating about the reign of ,hadrian7 is frequently stamped the formula ,,valeat ,,qvi ,,fecit1 8,may he who made it prosper10 with the name of the representative of the family in the genitive4#bebf ,on other tiles we find such expressions as ,,vtamvr ,,felices1 8,may we use it and be happy0#bebg2 ,,fortvna ,,colenda1 8,fortune is to be worshipped0 7a second-century tile7#bebh2 and on others of post-,diocletian date1 ,,vrbis ,,romae1 8,the city of ,rome0#bebi2 ,,secvlo ,,constantiniano1 8,the age of ,constantine02 ,,felix ,,roma 7on the tiles of ,theodoric71 8,happy is ,rome40#becj ,even on sepulchral tiles of late ,imperial times are stamped such aspirations as1 ,,vti ,,felix ,,vivas1 8,may you live happily40#beca ,illustration3 ,,fig4 #aie4 ,,inscribed ,,tile ,,from ,,london 7,,guildhall ,,museum74 ,again1 memoranda are found incised on the tiles1 as on one at ,hooldorn in ,holland1 ,,kal ,,ivnis ,,qvartvs ,,laterclos ,n7umero7 ,,ccxiiii1 8,quartus 7made7 #bad tiles on the first of ,june02 and on another1 found in ,hesse in #ahch1 ,,stratvra ,,tertia ,,latercvli ,,capitvlares ,,nvm ,,leg ,,xxii1 8,in the third layer large tiles of the number of the twenty-second legion40#becb ,a tile found in ,hungary had scratched upon it two metrical lines in cursive writing3 ,senem severum semper esse condecet ,bene debet esse povero 7sc4 puero7 qui discit bene#becc2 and on others names such as ,tertius1 ,kandidus1 ,verna1 were incised4#becd ,idle boys in the brickfields often seem to have scratched the alphabet or other words in the soft clay1 and complete ,roman alphabets are found at ,hooldorn#bece and ,stein on the ,anger#becf2 the letters ,i ,k ,l ,m on one at ,winchester#becg2 on another at ,silchester is 444 ,e ,,pvellam4#bech ,on a tile in the ,guildhall ,museum 7,fig4 #aie71 found in ,warwick ,square1 ,e4,c41 are the words ,,avstalis ,,dibvs ,,iii ,,vagatvrsib ,,cotidim1 of which no satisfactory translation has been given1 but it has been usually regarded as the gibe of a fellow-workman at a devout individual4#beci ,on another1 now at ,madrid1 the first two lines of the ,aeneid are written in excellent cursive characters of the first century after ,christ4#bedj ,the ,roman tiles1 if rightly used1 are found very useful for judging the dates of buildings4 ,for instance1 a study of those in the ,pantheon showed that the walls were neither the original ones nor those built by ,agrippa in #bg ,b4,c41 but were restored in the second century or supplied then with new brickwork4 ,on the other hand1 the stamps from the ,flavian amphitheatre and ,thermae ,antoninianae confirm the dates of those buildings4 ,those tiles which bear the name ,m4 ,aurelius ,antoninus as consul#beda seem to be the ,emperor ,caracalla's4 ,in the time of ,diocletian the dates cannot be definitely ascertained1 but before his time the shape of the stamp is a good criterion4 ,rectangular stamps are found in the best period1 and in the first century ,b4,c4 only one line of inscription is usual4 ,two lines denote the period #ej-ajj ,a4,d4 or later2 semicircular or lunate forms came into use under ,claudius1 and lasted to the end of the first century2 perfect circles belong to the same period4 ,the type with the cut-out orbiculus came in about ,nero's reign1 and the size of the orbiculus gradually diminishes down to that of ,severus1 while the inscriptions gradually increase in length4#bedb ,a considerable number of the ,roman tiles are inscribed with the names of the consuls of the current year in which they were made1 presenting a long and interesting series1 from the consulship of ,l4 ,licinius ,sura and ,c4 ,sosius ,senecio 7,a4,d4 #ajg7 to that of ,severus ,alexander 7,a4,d4 #bbb74 ,many of these consulships do not1 however1 appear to have been recorded in the regular fasti consulares or official lists1 and they were probably suffecti1 whose names were not recorded after their temporary elevation4 ,it seems likely that the occurrence of consuls' names implies that such tiles were destined for public buildings1 and were so marked to prevent their being stolen with impunity4 ,they are fewer in number than those which have merely the names of praedia or potteries1 but are yet sufficiently numerous to be an invaluable aid in tracing the succession for upwards of sixty years4 ,inscriptions of this class are only found on opus doliare1 and chiefly in ,italy4 ,their appearance is probably due to some law passed by the ,senate about the reign of ,trajan to regulate the potteries4 ,as an example may be given a tile from ,hooldorn in the ,netherlands1 inscribed ,,svb ,,didio ,,ivliano ,,coss#bedc2 the date is ,a4,d4 #agi1 the name being that of the future emperor 7,,coss is a mistake for ,,cos74 ,the following examples are taken from ,dr4 ,dressel's scheme of the chronological order of the stamps1#bedd and show the style of inscription characteristic of the different periods3 ,i4 ,first century after ,christ4 #a4 7a7 ,with name of master only 7either of praedia or figlinae73 ,asini ,pollionis4 7b7 ,with name of officinator or potter3 ,c4 ,cosconi4 #b4 7a7 ,master and potter 7often a slave73 ,felicis ,domiti ,afri4 7b7 ,master and conductor 7lessee of the pottery71 or potter3 ,tegula ,c4 ,cosconi1 figuli ,asini ,pollionis4 #c4 7a7 ,master1 potter1 and name of pottery3 ,amoeni duorum ,domitiorum ,lucani et ,tulli1 ex figlinis ,caninianis4 7b7 ,master1 lessee or potter1 name of pottery3 ,t4 ,grei ,ianuari ex figlinis ,caninianis duorum ,domitiorum4 ,,ii4 ,second century to third century4 #a4 7a7 ,ex praedis ,l4 ,memmi ,rufi4 7b7 ,opus doliare ,l4 ,bruttidi ,augustalis4 ,l4 ,lurius ,martialis fecit4 #b4 7a7 ,ex figlinis 7vel praedis7 ,domitiae ,lucillae1 opus doliare ,terti ,domitiae ,lucillae 7vel ab ,tertio servo74 7b7 ,c4 ,comini ,proculi ex praedis ,domitiae ,lucillae4 ,ex figlinis ,q4 ,asini ,marcelli doliare opus fecit ,c4 ,nunnidius ,fortunatus4 ,opus doliare ex praedis domini n7ostri7 ex conductione ,publiciaes ,quintinae4 #c4 7a7 ,ex figlinis 7vel praedis7 ,caepionianis ,plotiae ,isauricae1 fornace ,peculiaris servi4 7b7 ,opus doliare ex praedis duorum ,augustorum nostrorum1 figlinis ,domitianis minoribus1 ,fulvi ,primitivi4 ,during the greater part of the third century chronological indications are absent1 but about the time of ,diocletian the practice of signatures is revived4 ,the inscriptions1 however1 differ now from the earlier ones1 not only in the forms of the letters and of the stamp1 but also in style2 they are less regular in form1 and present several peculiarities4 ,the expressions opus doliare and ex figlinis are now no longer found1 and in place of the latter officina is invariable4 ,many of the officinae are the same as in the former period1 but new ones1 such as the ,britannica1 ,claudia1 ,gemella1 and ,jobia1 occur1 the latter with the cognomen ,diocletiana4 ,officina is sometimes used twice over1 for the pottery and for the workshop4 ,in place of praedia we have such expressions as statio1 rationes1 or possessiones4 ,formulae are introduced in an abbreviated form which give the method of administration or character of the estates3 as ,r ,s ,p1 ratio summae patrimonii or privatae2 ,s ,p ,c1 stationis patrimonii ,caesaris2 ,s ,r for summae rei or stationis ,romanae2 ,s ,p for summae privatae or stationis patrimonii2 ,s ,r ,f for sacrae rationis fisci2 or simply ,s for stationis or summarum4#bede ,apparently several stationes might be united in one officina1 or several officinae in one administratio2 the number of the statio is given in some instances4 ,the name of the statio may be replaced by that of the potter2 or merely the administratio is given1 as ,,off ,,privata4 ,besides the names of master1 lessee1 and potter1 that of the negotiator is sometimes mentioned4 ,we also find the portus or dept in which the tegulae were stored for distribution1 as ,,portu ,,licini1#bedf or the name of the building for which they were destined1 as ,,portvs ,,avgvsti1#bedg ,,castris ,,praetori7s7 ,,avg7usti7 ,n7ostri71 ,,horreis ,,postvmianis4#bedh ,some tiles dug up in ,lambeth ,hill1 ,london1 on the site of the ,post ,office1 now in the ,british and ,guildhall ,museums1#bedi were impressed with the letters ,p ,p ,,br ,,lon or ,,pr ,,br ,,lon 7,fig4 #aif71 which have been interpreted as publicani provinciae ,britanniae ,londinienses4#beej ,illustration3 ,,fig4 #aif4 ,,inscribed ,,tile ,,from ,,london4 ,tiles made for military purposes are exceedingly common in the later period1 and the stamps probably had a double use4 ,in the first place1 they show that they were made by the soldiers1 from which we learn that in the legions1 as in a modern army1 there were many men acquainted with handicrafts4 ,secondly1 they prevented theft or removal of the tiles1 and served as a 8broad arrow0 to denote public property4 ,they are not1 of course1 found in ,rome1 where there was no necessity for the legions to make bricks or tiles2 here the camp seems to have been supplied by private individuals4 ,of special interest are the inscriptions stamped on tiles which relate to the military divisions stationed throughout the provinces of the vast empire4 ,these are found in soldiers' graves 7see above1 p4 #cea71 as well as in their camps and quarters2 they contain the names and titles of the legions1 and mark the extent of ,roman conquest4 ,thus the route of the thirty legions through ,germany has been traced2 and in ,britain an examination and comparison of such tiles shows the distribution of military force and the migrations of different legions from one quarter to another4 ,the stamps are in the form of long labels 7tesserae71 circles1 or crescents1 occasionally surrounded by a wreath1 or else in the shape of a foot1 an ivy-leaf1 or a vase2 the letters are in relief1 sharply impressed1 as if from a metal die4 ,the names and titles of the legions are given either in initials or in contractions1 as ,,leg ,,ii ,p7arthicae71 and so on 7see above1 p4 #cea72 sometimes the potter's name is added1 with ,,figvlvs or ,,fecit4#beea ,the tiles of the first legion have been found at ,mainz and ,nimeguen2 those of the second1 or ,parthian1 at ,darmstadt1 ,ems1 ,hooldorn1 ,caerleon1 and the ,lake of ,nemi#beeb2 of the third1 in ,scotland2 of the fourth1 at ,mainz2 of the fifth1 in ,scotland1 and at ,baden1 ,cleves1 ,xanten1 and ,nimeguen2 of the sixth1 at ,nimeguen1 ,neuss1 ,aix-la-,chapelle1 ,darmstadt1 and ,windisch2 the seventh1 at ,aix-la-,chapelle and ,xanten2 the eighth1 at ,mainz1 ,baden1 and elsewhere2 the ninth1 at ,baden and ,york2 the tenth1 at ,nimeguen1 ,hooldorn1 ,vienna1 and ,jerusalem2 the twentieth1 at ,chester#beec2 and so on down to the thirtieth4#beed ,at ,bonn tiles have been found of the ,legio ,cisrhenana on the left bank of the ,rhine1 and of the ,legio ,transrhenana on the right bank4 ,cohorts have also left their names on tiles3 the second ,asturian at ,acsica on the ,roman ,wall#beee2 the fourth 7,breucorum71 at ,huddersfield#beef2 the fourth ,vindelician1 at ,frankfurt1 ,mainz1 and ,wiesbaden#beeg2 the ,ulpian ,pannonian at ,buda-,pesth4#beeh ,the vexillationes1 whose main body was at ,nimeguen1 are similarly recorded2 a ,british vexillatio was attached to the army at ,hooldorn#beei and ,nismes1 and another to that of ,lower ,germany1 as instanced by tiles inscribed ,,vex ,,ex ,g ,,inf 7vexillatio exercitus ,germaniae inferioris71 found at ,utrecht and ,nimeguen in the ,netherlands1 and at ,xanten in ,germany4#befj ,tiles of the ,british fleet1 ,,cl7assis7 ,,br7itannica71 have been found at ,boulogne1 ,lympne1 and ,dover4#befa #b4 ,,terracotta ,,mural ,,reliefs ,terracotta mural decoration was largely employed by the ,romans for the interior and exterior of their buildings1 in the form of slabs1 ornamented with reliefs1 which were placed round the impluvium or on the walls4 ,sometimes they seem to have formed a sort of hanging 8curtain0 round the lower edge of the cornice1 as the open-work patterns along the edges seem to imply1 a method of decoration which we have already met with at ,civita ,lavinia 7,vol4 ,i4 p4 #aja71 where also the hanging slabs are bordered with patterns in outline or open-work4 ,but1 as also at ,civita ,lavinia1 these slabs seem to have been frequently used as antepagmenta1#befb being pierced with holes1 which imply that they were nailed against the walls4 ,in the ,casa dei ,cecilii at ,tusculum there is evidence that they were used as wall-friezes1#befc and those found at ,pompeii 7where they are very rare7 also have holes for fastening to walls4 ,it may be to the first-named variety that ,festus refers when he speaks of antefixa of fictile work which are affixed to the walls underneath the gutters4#befd ,there is also a reference to them in ,cicero1 who1 in writing to ,atticus1 says1 8,i entrust to you the bas-reliefs 7typos7 which ,i shall insert in the cornice of my little atrium40#befe ,the slabs are usually about #ah inches long by #i or more high1 and #a to #b inches thick2 they have nearly all been found at ,rome1 but specimens are also known from ,civita ,lavinia1 ,cervetri1 ,nemi1 ,pompeii1 and ,atri in ,picenum4#beff ,the ,british ,museum possesses a very fine series1 numbering1 with fragments1 one hundred and sixty1 nearly all of which were collected by ,mr4 ,charles ,towneley at ,rome#befg2 and there is an equally fine collection in the ,louvre1 which came from ,signor ,campana1 who devoted a large work to the illustration of them4#befh ,other good examples1 some of which were found in the ,baths of ,caracalla1 are in the various collections at ,rome4#befi ,the reliefs were evidently cast in moulds1 as many subjects are repeated over and over again1 or at least with only slight differences2 moreover1 the relief is low1 with sharp and definite outlines1 such as a mould would produce4 ,among the ,british ,museum examples a group of ,eros1 a ,satyr1 and a ,maenad is repeated in three cases 7,d #ebj-ebb71 with no variations except in the colouring2 another of ,dionysos and ,satyr three times 7,d #ebh-ecj71 with only one small variation4 ,it is evident that in the latter1 as in some other cases1 the relief had been retouched before baking4 ,reliefs entirely modelled are of much rarer occurrence1 but exhibit considerable artistic feeling and freedom1 as in an instance in the ,british ,museum 7,d #fea71 which represents the sleeping ,endymion2 the hair is so fine and deeply cut that it could not possibly have been produced from a mould4 ,the moulds may have been made of various materials--wood1 stone1 metal1 or gypsum1 as well as terracotta4 ,circular holes are left in the slabs for the plugs--usually of lead--by which they were attached to the woodwork or masonry4 ,the clay varies in quality and appearance1 being often coarser than that of ,greek reliefs1 and mixed with coarse sand in order to make it stronger and more durable2 in tone it varies from a pale buff to dark reddish-brown4 ,traces of colouring are often found on the slabs1#begj and the background in some cases 7as ,b4,m4 ,d #egg1 #fbc7 was coloured a bright blue2 the figures1 or more often details such as hair1 etc41 were usually painted red1 yellow1 purple1 or white4 ,these colours are not fired1 as in the earlier terracotta reliefs1 but painted in tempera1 and their use is entirely conventional4 ,the slabs are ornamented above and below with bands or cornices in the form of egg-and-tongue mouldings1 or a system of palmettes and intersecting arches2 these are sometimes in low relief on a band1 sometimes partly in outline or open-work4 ---------------------------------------- -------------- ,,plate ,,lxi ,illustration3 ,,roman ,,mural ,,reliefs4 #a4 ,,zeus ,,and ,,the ,,curetes2 #b4 ,,dionysos ,,in ,,the ,,liknon-,,cradle 7,,british ,,museum74 ---------------------------------------- -------------- ,the figures are mostly in low relief1 being usually grouped with large flat surfaces between1 in the manner of ,hellenistic art2 in some cases the design is composed in such a way that the whole surface 7except the principal figures7 is occupied by patterns of scroll-work or foliage1 more or less conventional4 ,the compositions are either in the form of narrow friezes1 usually with rows of busts or figures of ,cupids1 or square metope-like groups with two or three figures on a large scale4 ,for the narrower slabs the busts were preferred1 owing to the scope they gave for high relief1 which better suited the distance from the eye2 but this rule is not invariable4 ,the style is1 in general1 bold and vigorous1 and1 though essentially architectural1 not devoid of dignity and beauty2 but it is somewhat conventional1 and at times even archaistic4#bega ,those found at ,pompeii are usually of remarkably good style1 especially the ,nereid frieze1#begb with its rich colouring4 ,these are earlier than the earthquake of ,a4,d4 #fc1 and probably belong to the ,augustan period1 to which also the majority may be assigned4 ,on one or two names of potters are found1 such as ,annia ,arescusa7na7 and ,m4 ,antonius ,epaphras in the ,british ,museum4#begc ,the subjects on these reliefs cover a very wide field1 almost as wide as those on the painted vases1 and quite as wide as those on the ,roman lamps4 ,in many cases they are doubtless copies of well-known works of art1 and may even go back to prototypes of the fifth century1 as in the case of a figure of a girl in the ,british ,museum 7,d #fdh71 or one of ,eros1 conceived as a full-grown youth1 in the ,campana collection4#begd ,others1 again1 present points of comparison with the ,hellenistic reliefs1 as is the case with that representing the visit of ,dionysos to a mortal 7,b4,m4 ,d #eca74 ,lastly1 we find in the reliefs1 as also on the ,arretine vases 7below1 p4 #dib71 a series of types closely related to the ,new ,attic reliefs1 in which it was sought to revive an older style#bege2 among the types borrowed from these originals are ,maenads in frenzy or dancing in various attitudes1#begf and the figures of the four ,seasons4#begg ,among those which reflect the character of their time rather than the spirit of ,greek art1 we have representations of ,egyptian landscapes1 or ,egyptian deities and emblems2 scenes from the circus or gladiatorial arena2 and quasi-historical subjects1 such as triumphs over barbarian enemies4 ,of mythological subjects1 the most popular are ,dionysiac scenes or groups2 next to these1 ,apollo1 ,aphrodite1 ,eros1 and ,victory4 ,heroic legend is represented by the labours of ,theseus1 ,herakles1 ,perseus1 and ,jason1 and occasional scenes from the ,iliad and ,odyssey4 ,lastly1 there are a certain number which are purely decorative1 with a single figure of ,eros or ,victory 7treated in archaistic fashion71 or an ideal head surrounded by elaborate and graceful scrolls or acanthus foliage2 others1 again1 have conventional groups of two priestesses or canephori1 with a candelabrum or a foliated pattern between 7,plate ,,lxii471 a mask between two ,cupids1 and so on4 ,even the figures in some cases tail off into conventional patterns4#begh ,to mention a few of the more interesting subjects in detail1 it may suffice to quote examples from the two best-known collections--those of the ,british ,museum and ,louvre4 ,beginning with the ,olympian deities1 we have the infant ,zeus in the cave on ,mount ,ida1 protected by the ,curetes1 who dance above him1 wielding swords and shields 7,plate ,,lxi472 in one instance he is in his nurse's arms4#begi ,on a narrow frieze the busts of ,zeus1 ,ares1 ,hera1 and ,athena are represented#behj2 ,apollo receives a libation from ,victory1#beha or a warrior consults his oracle1 indicated by a bird in a cage#behb2 ,aphrodite is seen riding on a sea-horse or on a goose4#behc ,eros or ,cupid appears in various attitudes and combinations of figures3 flying1 embracing ,psyche1 or being embraced by a ,satyr2 accompanying ,aphrodite1 ,triton1 and the ,nereids2 a pair on either side of a mask of ,triton or ,medusa2 or a group of three struggling under the weight of a heavy garland of fruit and flowers4#behd ,busts or masks of ,demeter1#behe ,zeus ,ammon1 and ,triton are also found2 a group of ,aphrodite and ,peitho2 and the three ,eleusinian deities1 ,demeter1 ,persephone1 and ,iacchos4#behf ,the ,dionysiac scenes are very frequent1 though often of little interest1 and mere groups without definite action4 ,the best known is the reception of ,dionysos in the house of a mortal1#behg a subject formerly interpreted as his reception by ,ikarios at ,athens 7cf4 p4 #aci72 this type is remarkable for its rich and elaborate composition1 probably derived from a ,hellenistic original4 ,a very effective composition is that of a dancing ,satyr and ,maenad swinging the infant ,dionysos in a 7vannus7 or winnowing-van1 which serves as his cradle 7,plate ,,lxii474#behh ,among other scenes may be mentioned ,dionysos giving drink to a panther2 two ,satyrs standing on tiptoe to peep into a laver2 ,satyrs gathering or pressing grapes 7of which many replicas exist71 or working an oil-press2 ,ampelos 7the personified vine7 between two ,satyrs#behi2 ,bacchic processions1 sacrifices1 or ceremonies#beij2 and friezes of ,bacchic masks and masks of ,pan4#beia ,among other deities ,victory is by far the most common4 ,she is usually represented slaying a bull for sacrifice1 a subject of which there are two principal varieties1 according as she turns to right or left4 ,the motive is a well-known one1 and found in fifth- and fourth-century art1 from the balustrade of the ,nike temple at ,athens onwards4#beib ,she is also depicted flying with a wreath1 or as a conventional archaistic figure between tendrils and scrolls4#beic ,of the figures of the ,seasons we have already spoken2 they are characterised by the attributes they carry1 as a kid for ,spring1 corn for ,summer1 fruit for ,autumn1 and a hare and boar for ,winter4 ,masks of ,medusa1 ,sirens1 and ,sphinxes 7both male and female7 are found in compositions of a decorative character4 ,of heroic legends1 the rape of the ,leukippidae by ,castor and ,pollux is repeated more than once#beid2 ,herakles is seen contending with the ,nemean lion1 the hydra1 and the ,cretan bull1 and with ,apollo for the ,delphic tripod#beie2 ,theseus raises the rock which discloses his father's weapons 7,plate ,,lxi471 contends with the ,marathonian bull1 or overcomes a ,centaur2 ,jason builds the ,argo1 superintended by ,athena1 and1 assisted by ,medeia1 obtains the golden fleece2 ,perseus rescues ,andromeda1 and brings the ,medusa's head to ,athena2 ,aktaeon is slain by his hounds4#beif ,the ,homeric scenes include ,paris carrying off ,helen from ,sparta 7or1 as some interpret it1 ,pelops with ,hippodameia72 ,nestor healing the wounded ,machaon with a potion#beig2 ,priam bringing offerings to ,achilles2 ,penelope mourning for the absent ,odysseus2 ,odysseus recognised by ,eurykleia2 and ,orestes on the ,delphic omphalos4#beih ,there are also numerous semi-mythical scenes1 such as combats between ,amazons and ,gryphons1 between ,amazons and ,greeks1 or between ,arimaspi and ,gryphons4#beii ---------------------------------------- -------------- ,,plate ,,lxii ,illustration3 ,,roman ,,mural ,,reliefs4 ---------------------------------------- -------------- ,with the exception of the ,roman subjects from the circus and arena1 the remaining subjects are purely decorative1 and of little interest2 the former1 some of which have reference to the conquest of ,dacia1 admit of the dating of the reliefs in the reign of ,trajan4 ,others depict gladiators contending with lions2 chariots racing in the circus1 which is indicated by the obelisks and other adornments of the spina2 or colonnades adorned with statues of boxers and victorious athletes4#bfjj ,some of the ,egyptian subjects are interesting for their local colouring1 with their representations of the ,nile1 on which pygmies ply a boat1 among hippopotami1 crocodiles1 and lotos-flowers1 and ibises#bfja2 but these compositions are more curious than artistically effective4 ,,ii4 ,,sculpture #a4 ,,roman ,,statues ,,and ,,statuettes ,in the earlier ages of ,rome the laws and institutions1 based without doubt on the sentiments of the people1 were unfavourable to art4 ,numa was said to have prohibited the representation of the deity in human form1#bfjb and the statues of great men were not allowed to exceed three ,roman feet4 ,to women the privilege of having statues was not conceded until much later4 ,pliny constantly compares the luxury of his own day with the simplicity of early times1 to the disadvantage of the former1 dwelling fondly on the times when men could be content with plain terracotta images1 and it was not necessary or possible to make a display of silver and gold4 ,most of the ancient statues of the ,romans were of terracotta1 a fact to which constant allusion is made by their writers4 ,juvenal speaks of 8a fictile ,jove1 not spoiled by gold0#bfjc and ,propertius speaks of the early days of the golden temples1 when their gods were only of clay4#bfjd ,similarly ,pliny expresses his surprise that1 since statuary in ,italy goes back to such a remote period1 statues of clay should even in his day still be preferred in the temples4#bfje ,vitruvius alludes to the favourite ,tuscan fashion of ornamenting pediments with signa fictilia1#bfjf examples of which1 he says1 may be seen in the temple of ,ceres in the ,circus ,maximus 7see below71 and the temple of ,hercules at ,pompeii4 ,cicero speaks of a statue of ,summanus on the pediment of the ,capitoline temple 8which at that time was of terracotta10#bfjg and ,livy#bfjh tells how in #baa ,b4,c4 a figure of ,victory on the apex of the pediment of the temple of ,concord was struck by lightning and fell1 but was caught on the antefixal ornaments1 also figures of ,victory1 and there stuck fast4 ,though not stated to be of terracotta1 these figures would hardly be of any other material at that period4 ,other allusions may be found in ,ovid and ,seneca4#bfji ,in the early days of the ,republic art was clearly at a very low ebb--in fact1 ,roman art can hardly be said to have existed--and everything was either borrowed from the ,etruscans or imported from ,greece4 ,hence the statues of terracotta which adorned their temples are spoken of as signa ,tuscanica4 ,the most celebrated works in ancient ,rome were made by artists of ,veii or the ,volscian ,fregellae1 such as the famous quadriga on the pediment of the temple of ,jupiter ,capitolinus1 and the statue of the god himself1 described elsewhere 7p4 #cad71 which were made by ,veientine artists in the time of ,tarquinius ,priscus4 ,numa1 ever attentive to ,roman arts and institutions1 is said to have founded a corporation or guild of potters4#bfaj ,in #dic ,b4,c4 ,gorgasos and ,damophilos1 natives of ,himera in ,sicily1 ornamented with terracotta reliefs and figures the temple of ,ceres at ,rome 7now ,santa ,maria in ,cosmedin74#bfaa ,their work1 which is alluded to by ,vitruvius in the passage referred to above1 was probably ,greek rather than ,etruscan in style1 as we have seen to be the case generally with the archaic terracotta relief-work of ,italy 7p4 #cag74 ,in the reign of ,augustus the temple was restored1 and so 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 wood4 ,coming down to later times1 ,possis1 8who made fruit and bunches of grapes10 and ,arkesilaos are cited by ,pliny1#bfab on the authority of ,varro1 as modellers in clay4 ,the latter made for ,julius ,caesar a statue of ,venus1 which1 although unfinished1 was highly prized4 ,pliny also mentions a terracotta figure of ,felicitas made by order of ,lucullus4#bfac ,it seems probable that the extensive use of terracotta was mainly due to the absence of white marble in ,italy1 none being discovered till imperial times4 ,the siege of ,corinth1 which unfolded to the eyes of the ,romans an entirely new school of art in the quantities of ,greek masterpieces carried by ,mummius to ,rome1 as also the conquest of ,magna ,graecia and other parts of ,greece1 caused the old fashion of sculpture in terracotta to fall into contempt and neglect4 ,henceforth the temples of the gods and houses of the nobility became enriched and beautified with the spoils of ,greek art in all materials4 ,even at an earlier period 7#aie ,b4,c47 ,cato in vain protested against the invading flood of luxury1 and especially against the new taste in sculpture4 8,hateful1 believe me10 says he1 8are the statues brought from ,syracuse into this city4 ,already do ,i hear too many who praise and admire the ornaments of ,corinth and ,athens1 and deride the terracotta antefixes of the ,roman gods4 ,for my part ,i prefer these propitious gods1 and hope they will continue to be so1 if we allow them to remain in their places40#bfad ,yet up to the close of the ,republic1 and even later1 great works continued to be executed in terracotta1 and were much esteemed4#bfae ,the statue made for ,lucullus is an instance1 and existing statues in this material1 which we shall shortly discuss1 are probably of early ,imperial date4 ,few statues of any size in this material have escaped the ravages of time1 but there are some specimens to be seen in our museums4 ,in the ,vatican is a figure of ,mercury about life-size1#bfaf and in the ,british ,museum a colossal torso1#bfag to which the head and limbs had been mortised separately4 ,a head of a youth from a large statue1 found on the ,esquiline1 was exhibited in #ahhh at the ,burlington ,fine ,arts ,club4#bfah ,a series of female figures1 including a seated ,athena1 ranging from two to four feet in height1 was found in a well near the ,porta ,latina at ,rome in #agfg4bfai ,they were purchased by the sculptor ,nollekens1 who restored them and sold them to ,mr4 ,towneley1 from whom they were acquired for the ,british ,museum4 ,they are made of the same clay as the mural reliefs already described1 and are supposed to have decorated a garden4 ,some of them have been identified1 on somewhat slight authority1 as the ,muses ,ourania1 ,calliope1 and ,thaleia2 there are also two terminal busts of the bearded ,indian ,bacchus1 which show some traces of conventional archaism in their style4 ,other large figures have been found at ,nemi and ,ardea in ,latium1 the latter being now in the ,louvre4#bfbj ,at ,pompeii in #agff three pieces of colossal sculpture in terracotta were found in the temple of ,aesculapius1 representing a male and female deity and a bust of ,minerva with her shield4 ,the two former used to be identified as ,aesculapius and ,hygieia1 but it is more probable that they are ,jupiter and ,juno1 making1 with the bust1 the triad of ,capitoline deities1#bfba a subject found on lamps at ,pompeii4 ,the execution is careful1 and they seem to date from the latter half of the first century ,b4,c4 ,they formed the cult-statues of the temple4 ,other statues appear to have been employed for adorning gardens1 or for niches in private houses1 among which are a portrait of a seated physician of great originality1#bfbb a nude boy1 and two actors4#bfbc ,a figure of ,eros appears to have been attached to a wall as an ornament#bfbd2 a fragment of a colossal ,minerva found in a niche near the ,porta ,marina is an excellent example of sculpture of the first century ,b4,c4 ,figures were also employed as architectural members1 such as the ,atlantes supporting the entablature in the tepidarium of the ,thermae in the ,forum1#bfbe dating from the ,augustan period2 the former seem to be copied from originals in tufa4 ,of later date is a ,caryatid figure1 probably of the ,neronian epoch4#bfbf ,these sculptures are all of great importance for the history of art at the end of the first century ,b4,c41 and as showing the continued popularity of terracotta2 the fashion1 however1 did not outlive the reign of ,nero1 and all those in ,pompeii must be anterior to the earthquake of ,a4,d4 #fc4 ,sculptors sometimes made preliminary models in clay of the statues which they intended to execute in bronze and marble4 ,this was not a common practice with the ,greeks1 and the first sculptor who made use of it1 according to ,pliny1#bfbg was ,lysistratos1 the brother of ,lysippos4 ,but at ,rome in the time of ,augustus it became much more frequent2 ,pasiteles is said by ,pliny#bfbh never to have made a statue except in this manner4 ,these models1 known as proplasmata1 were much sought after1 as exhibiting the artist's style and powers of conception in the most free and unfettered manner1 and those of ,arkesilaos1 another artist of the period1 fetched a high price4#bfbi 99 99 99 99 99 ,terracotta statuettes1 similar in proportions and subjects to those of ,greece1 are found in houses and tombs of the ,roman period1 and also as votive objects on sacred sites4 ,they were known to the ,romans as sigilla1 and were employed as toys and presents1 or placed in the lararia or domestic shrines2 the same subjects are found applied to all these uses4 ,thus in the lararia were placed not only figures of deities1 such as ,venus1 ,mercury1 or ,bacchus1 but masks1 busts of children1 and so on4#bfcj ,sometimes they served to decorate the walls1 as in the house of ,julia ,felix at ,pompeii1 where in the wall surrounding the garden were eighteen niches1 containing alternately marble terms and terracotta figures1 one of the latter representing a woman feeding a prisoner with her own milk4#bfca ,in the ,via ,holconia forty-three terracotta figures from a workshop were found1 showing that there was a local manufacture at ,pompeii2 the types were the same as in the houses4#bfcb ,it is noteworthy that the terracottas1 of which some two hundred have been found1 were nearly all from the lower parts of the city and the inferior houses1 or in the domestic quarters of the large houses4 ,this implies that the richer ,romans preferred bronze statuettes for their shrines and household decoration4 ,comparatively few were found in tombs4 ,a few notices relating to terracotta figures are found in ,roman authors4 ,martial speaks of a statuette of ,hercules1 which he calls sigillum#bfcc2 he also alludes to a caricature of a man which was so repulsive that ,prometheus could only have made it when intoxicated at the ,saturnalia1 and to a grotesque mask of a ,batavian4#bfcd ,in another epigram he refers to the imitation of a well-known statue of a boy in terracotta4#bfce ,persius speaks of clay dolls 7pupae7 dedicated by a maiden to ,venus1#bfcf and ,achilles ,tatius of clay figures of ,marsyas made by coroplathi4#bfcg ,elagabalus1 by way of a jest1 used to place viands made of earthenware before his parasitical guests1 and force them to enjoy a ,barmecide feast4#bfch ,there is also an interesting passage in the ,satires of ,macrobius relating to the festival of the ,sigillaria1#bfci at which large numbers of terracotta masks and figures were in demand4 ,this festival took place on the twelfth to the tenth days before the ,kalends of ,january1 forming the fifth to seventh days of the ,saturnalia1 and corresponding to the #bast to #bcrd of ,december4 ,ausonius says that the festival was so named from the sigilla or figurines1#bfdj and ,macrobius more explicitly states that it was added to the ,saturnalia to extend the religious festival and time of public relaxation4#bfda ,subsequently he diverges into an excursus on the origin of the feast1 more curious than convincing4 ,epicadus is quoted by him as referring it to the story of ,hercules on his return from slaying ,geryon1 when he threw into the river from the ,pons ,sublicius images of men which represented his lost travelling-companions1 in order that they might be carried by the sea to their native shores4#bfdb ,his own view is that they represent expiatory offerings 7piacula7 to ,saturn1 each man offering an oscillum or mask on his own behalf in the chapel of that god4 ,hence1 he says1 sigilla were made by the potter and put on sale at the ,saturnalia4#bfdc ,elsewhere he states that clay oscilla were given to children as playthings at this season even before they had learned to walk4#bfdd ,the festival was indulged in by all classes of society1 who vied in making presents of statuettes and figures to one another#bfde2 and we are told that ,hadrian exchanged gifts with others1 and even sent them to those who did not expect to receive them4#bfdf ,similarly1 ,caracalla1 when a child1 gave to his tutors and clients1 as a mark of condescension1 those which he had received from his parents4#bfdg ,illustration3 ,,fig4 #aig4 ,,mask ,,of ,,satyr1 ,,with ,,name ,,of ,q4 ,,velius ,,primus 7,,brit4 ,,mus474 ,from the use of this word sigilla 7a diminutive of signum71 for terracotta figures1 the makers came to be known as sigillarii1 or figuli sigillatores1#bfdh and a street in which they lived was known as the ,via ,sigillaria4#bfdi ,there was also a market for the sale of sigilla for the feast near the ,pantheon4#bfej ,although the names of makers are constantly found on ,roman lamps and pottery1 as well as the tiles1 they are very seldom found on statuettes1 with the exception mentioned below of those found in ,gaul4 ,but the name of ,q4 ,velius ,primus1 in a sort of mixture of ,greek and ,latin1 is found in raised letters on a mask of a ,satyr in the ,british ,museum 7,d #agg ,fig4 #aig71 and other names are occasionally found on the moulds4 ,the social condition of the ,roman potter seems to have been much lower than that of the ,greek1 who was often a person of respectable position2 but this may be partly due to the fact that his clientle was drawn mainly from the poorer classes4 ,he was generally a slave1 sometimes a barbarian1 and even the masters of the potteries were only freedmen4 ,as we saw in the case of the tile-makers1 the potters often worked on the estates of wealthy or influential people1 from which their clay was obtained4 ,more details of ,roman potters will be found in the sections dealing with tiles and lamps4 ,on the technical aspect of ,roman terracotta figures little need be said4 ,the processes were practically the same as those described in ,chapter ,,iii4 when dealing with the ,greek terracottas4 ,large figures were made from models 7proplasmata7 and built up in several pieces on a wooden framework1 known as crux or stipes4#bfea ,a reference to this method may be traced in a fable of ,phaedrus1#bfeb which describes ,prometheus as having made human figures in clay in separate pieces1 and1 on returning from a supper with ,bacchus1 joined them together wrongly1 so that the sexes became confused4 ,the smaller figures were all made from moulds1 by means of which they could be repeated with but slight alterations4 ,few statuettes seem to have been made after the second century of the ,empire4 99 99 99 99 99 ,the range of subjects in ,roman terracottas is much the same as in the ,greek figures of the ,hellenistic period4 ,at ,pompeii genre figures predominate1 including such types as gladiators1 athletes in the circus1 slaves carrying bundles1 and personages in ,roman costume4#bfec ,a favourite type at ,pompeii is a mask of a youth in a ,phrygian cap4#bfed ,there is a decided preference shown for portraits and grotesques4 ,von ,rohden1#bfee in dealing with the question of the extent to which these figures represent ,greek or purely ,roman types1 considers that although the influence of the former is still strong1 yet they are marked by such wide differences that they must be ranked in the latter category4 ,he dates them in the time of ,vespasian1 in which the decadence which had begun with the later ,hellenistic age is in the ,roman fabrics still more strongly accentuated4 ,the style is negligent1 the proportions faulty1 and the art of colouring practically lost4 ,they are only redeemed from insignificance by the taste for portraiture and the interest which attaches to the reproduction of motives borrowed from contemporary life4 ,the ,pompeii figures may serve as typical ,roman terracottas1 but they are also found elsewhere in ,italy1 as well as in other parts of the ,roman ,empire2 nearly all1 however1 are of inferior merit and execution4 ,at ,praeneste in #ahgh1 on the site of the temple of ,fortuna ,primigenia1 were found genre figures and votive objects1#bfef and similar ex votos have come to light at ,gabii4#bfeg ,at ,nemi figures have been found which are obviously of ,roman date1 some of considerable size4#bfeh ,from time to time finds have been made in ,rome1 and there is a pretty little head in the ,british ,museum found in the ,tiber 7,d #chc71 which1 however1 may be of ,greek workmanship4 ,the industry also extended from ,rome to the provinces1 and even in ,britain terracotta figures are sometimes found1 as at ,richborough#bfei2 at ,caistor1 by ,norwich1 a terracotta head of ,diana1 of fairly good style1 is recorded4#bffj ,there are also in the ,guildhall ,museum some terracottas in the coarse red clay which characterises most of the ,british examples3 a ,venus on a swan2 a female head with turreted crown1 of archaistic style1 from ,finsbury2 and a large figure of ,proserpina holding a fruit1 of very fair style1 from ,liverpool ,street4#bffa ,a figure of a boy on horseback is or was in the ,museum of ,practical ,geology4#bffb #b4 ,,gaulish ,,terracottas ,in ,gaul there appear to have been very extensive manufactures of terracottas1 but not anterior to the conquest by ,julius ,caesar in #eh ,b4,c4 ,these statuettes were made for the ,roman colonists1 who introduced the types of their own religious conceptions1 but the makers were local craftsmen4 ,potteries have been unearthed at ,moulins on the banks of the ,allier1 and in ,auvergne and other parts of ,france1 and even in ,germany1 where one was discovered at ,heiligenberg in ,alsace1 and others on the ,rhine 7see below1 p4 #chd74 ,the finds on the ,allier1 made in #aheg1 give a practically complete survey of the subjects2 they are all now collected in the museums of ,moulins and ,st4 ,germain1 and were fully published at the time in a work by ,m4 ,tudot4#bffc ,the figures found here are not from tombs1 but were unearthed from the sites of the potteries and from ruins of buildings2 they are all made in a peculiar white clay1 whereas the figures of the ,gironde district are grey or black1 and those of the ,rhine ,valley reddish1 like those of ,britain4 ,the technique resembles that of the ,roman figures2 there is no vent-hole1 and they usually stand on a conical base2 the modelling is very heavy1 and the latest specimens are absolutely barbaric4 ,until recently the subject of ,gaulish terracottas had been greatly neglected2 ,tudot's plates were useful1 but his text unsatisfactory and devoid of method1 there being no proper description of the plates4 ,m4 ,pottier has given a good summary of his work1 and ,m4 ,hron de ,villefosse has also dealt with some aspects of the subject4#bffd ,but they had not been treated as a whole and in relation to the subject of ancient terracottas in general until #ahia1 when an important memoir by ,m4 ,blanchet appeared1 in which a complete survey of the ,gaulish terracottas was given4#bffe ,this must of necessity form the basis of the present account4 ,in dealing with the technical character of the terracottas found in ,gaul1 ,m4 ,blanchet points out that the white clay of which many are made 7e4g4 those from the ,allier valley7 is not universal2 some are made of red or grey clay1 which has turned white in the baking1 apparently by a process analogous to that used by the ,chinese for porcelain1 others are actually covered with a white engobe like the ,greek terracottas4 ,this appears to have been done with a view to subsequent colouring1 which in nearly all cases has quite disappeared2 but statuettes with remains of colouring1 made of purely red clay1 have recently been found in the neighbourhood of the ,moselle and in ,germany4#bfff ,m4 ,blanchet quotes an example in the ,museum at ,angers1 with the name of the maker1 ,p ,,fabi ,,niciae1 which is coated with a lead glaze like the enamelled wares described in ,chapter ,,iii4 ,he considers that the moulds from which they were made were often of bronze1 and that bronze models were used as copies2 but that they were also of terracotta is clear from the numerous examples given by ,tudot4 ,a terracotta mould for a figure of ,venus ,anadyomene1 found at ,clermont-,ferrand1 is in the ,british ,museum1 and another from ,moulins is for the back of the head of a similar figure1 with hair elaborately coiled4#bffg ,from the numerous moulds which have been found it may be seen that the figures were cast in two pieces1 longitudinally1 the arms being added afterwards1 together with the circular plinth4 ,the mould in the ,british ,museum may be cited as an example of one for the back part of a figure2 probably only the upper part was modelled4 ,potters' names are exceedingly common1 not only on the figures1 but also on the moulds1#bffh and form two distinct classes1 those on the exterior of the moulds1 and those on the figures or interior of the moulds 7which are obviously the same thing74 ,the distinction is that the former were merely for the identification of the moulds1 while the latter indicated the creator of the type and made him known to the world1 a feature which1 as will be noted in ,chapter ,,xxiii4 7p4 #eaa71 reappears in the pottery of ,westerndorff in ,germany4 ,tudot gives an example of a mould with the name ,,atilano on the exterior and ,,ioppillo on the inside4#bffi ,many of the names are identical with those of the makers of vases1#bfgj but the types and subjects are quite distinct from those on the ,gaulish terra sigillata4 ,those on the exterior of the moulds are usually in a scrawling cursive type1 whereas the other class are in capital letters#bfga2 the cursive characters resemble those in use at ,pompeii1 but are not necessarily contemporary2 they are1 however1 not later than the second century4 ,the influence of this cursive character seems to have extended to the other class2 for instance1 in the inscription given in ,fig4 #aih below1 not only are the ,g and ,s of cursive form1 but ,e appears in the form ,,ii4 ,otherwise the letters are in the ordinary ,roman alphabet 7with the exception of ,a1 which is sometimes #aead;,attic alpha the forms ,e and ,,ii seem to have been used indifferently in ,gaul at all periods4 ,the 8signature0 sometimes combines the two names1 as in the form ,,avot ,,form ,,sacrillos ,,caratri which has been taken to mean ,sacrillos fecit forma ,caratri1 8made by ,sacrillos from ,caratrius' mould40#bfgb ,among the ,roman names which occur are ,attilianus1 ,lucanus1 ,pistillus1 ,priscus1 ,taurus1 and ,tiberius2 among the ,gaulish1 ,abudinus1 ,belinus1 ,camulenus1 and ,tritoguno4 ,illustration3 ,from ,blanchet4 ,,fig4 #aih4 ,,gaulish ,,figure ,,of ,,aphrodite ,,from ,,normandy4 ,a large majority of the existing statuettes were1 as we have seen1 made in the valley of the ,allier2 these show more conspicuously than any others1 the influence of transplanted ,graeco-,roman art4 ,curiously enough none have been found at ,lezoux1 one of the chief pottery-centres of ,gaul1 although there is abundant evidence that the vases and statuettes were made in the same workshops 7see above74#bfgc ,m4 ,blanchet considers that there was a large and important manufacture in ,western ,france1 which may have been inspired by the ,allier workshops1 but mainly exhibits native characteristics2 he also notes the scarcity of these figures in ,southern ,gaul 7,narbonensis71 which may perhaps be explained by the preference there shown for bronze statuettes and vases with medallions 7p4 #ecj74bfgd ,other centres were ,cesson1 ,meaux 7where ,atilanus and ,sacrillos can be located71 ,bourbon-,lancy in ,sane-et-,loire1 and ,st4 ,rmy-en-,rollat 7see p4 #eaf71 where vases also were made of the local white clay4 ,m4 ,dchelette has been able to assign to the last-named pottery a date between ,a4,d4 #ae and #ej4 ,another fabric was in the neighbourhood of ,lige1 and in ,germany there were centres at ,salzburg1 and at ,cologne1 where the maker ,vindex can be dated in the reign of ,postumus 7,a4,d4 #bfj-bgj74bfge ,an important maker1 ,pistillus1 had a pottery at ,autun2 his statuettes are found all over ,gaul1#bfgf and the name appears on vases and coins1 and also in an inscription4#bfgg ,julius ,allusa had a workshop at ,bordeaux4 ,in ,west and ,north-,west ,france statuettes are found with the name of ,rextugenos2 they are all of peculiar and original character1 with highly-ornamented backgrounds to the figures1 and easily distinguished4 ,the specimen given in ,fig4 #aih1 representing ,venus ,genetrix1 was found at ,caudebec-les-,elbeuf in ,normandy 7,seine-,infrieure72 it bears the inscription ,,riixtvgiinossvlliasavvot1 ,rextugenos ,sullias auvot 7sc4 fecit74#bfgh ,an interesting find of terracotta figures was made at ,colchester in #ahff1bfgi consisting of thirteen figures presenting exact analogies to the ,gallo-,roman terracottas of the second period both in type and style4 ,one very poor specimen represents ,hercules with club and lion-skin2 another a bull1 and a third a bust of a boy 7perhaps a portrait of ,nero or ,britannicus72 four are recumbent figures4 ,the rest are more or less grotesque1 including caricatured seated figures holding books or rolls1 and a buffoon4 ,with them were found vases in the form of animals of yellow-glazed ware4 ,figures of suckling goddesses 7see below7 have been found in ,britain1 and similar finds of ,gallo-,roman types in white clay in ,london1 among them a ,venus holding a tress of her hair4#bfhj ,votive offerings of parts of the body and figures of the goddess ,fecunditas were found near the source of the ,seine1 in a temple of ,dea ,sequana1 the local river-deity4#bfha ,other finds have been made in ,touraine1 ,anjou1 ,la ,vende1 ,brittany1 and ,normandy1 brought by commerce from the ,allier potteries2 and in ,germany at ,heddernheim and on the ,rhine4 ,part of a group of some size in purely ,graeco-,roman style from the ,department of ,marne is now in the ,british ,museum 7,morel ,collection74 ,tudot originally classified the ,gaulish terracottas chronologically in three periods according to style1 and in this he has been followed by ,m4 ,pottier4 ,but ,m4 ,blanchet#bfhb has pointed out that the former's method was altogether unscientific1 that he trusted too much to the evidence of coin-finds1 and that he was altogether wrong in conceiving the possibility of any being anterior to the ,roman conquest4 ,on the whole the chronological data are exceedingly vague1 and can only be accepted in isolated instances1 as in the case of the finds at ,st4 ,rmy-en-,rollat 7,a4,d4 #ae-ej7 or ,cologne 7,a4,d4 #bfj-bgj71 or where a resemblance in the coiffure of the feminine figures to those of ,roman ladies can be traced4 ,some figures may probably be dated about ,a4,d4 #ajj on the latter ground1 the head-dress recalling those of ,domitia and ,julia the daughter of ,titus4 ,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 at the beginning of the ,imperial period4 ,where there is a question of decadent or barbaric style1 as is undoubtedly often the case1 it does not necessarily imply a late date1 but only that the inferior work is due to the incapacity of some local artist1 and figures of varying style must frequently be contemporaneous4#bfhc ,in dealing with the types of ,gaulish terracottas1 their origin and signification1 ,m4 ,blanchet divides the subjects into three classes1 of which the first is not only the largest but the most interesting3 divinities1 subjects from daily life1 and animals4 ,the deities are not those we should expect from ,caesar's statement#bfhd that ,mercury1 ,apollo1 ,mars1 ,jupiter1 and ,minerva represent the scale of popularity in ,gaul1 for they are mainly variants of one type1 that of ,venus4 ,many of these ,venus figures reproduce types familiar in ,greek and ,graeco-,roman art1 such as the ,anadyomene1 and the ,cnidian or ,pudica type2 but in the majority she is frankly recognised as a ,nature-goddess 7,aphrodite ,pandemos or ,venus ,genetrix71 and hence we find numerous examples in which the old ,oriental conception of the nude ,aphrodite-,astarte with pronounced sexual characteristics1 so common in the primitive terracottas of ,chaldaea1 ,phoenicia1 and ,cyprus1#bfhe once more reappears1 as in ,fig4 #aih4 ,of almost equal frequency is the seated type of the ,mother-,goddess or 1 suckling a child#bfhf2 this is not peculiar to ,gaul1 but is found in the terracottas of ,southern ,italy4#bfhg ,we may compare also the ,fecunditas types on ,roman coins4#bfhh ,blanchet thinks that the goddess ,rumina may be here intended1 but prefers to adopt the general term of ,mother-,goddess4 ,illustration3 ,from ,blanchet4 ,,fig4 #aii4 ,,gaulish ,,terracotta3 ,,the ,,goddess ,,epona4 ,among other mythological types the ,ephesian ,artemis1 ,pallas1 ,mercury1 ,epona 7,fig4 #aii71 and ,abundantia occur2 and among genre subjects the most interesting type is that of the ,spinario1 or boy extracting a thorn from his foot1 familiar in ,greek sculpture4 ,slaves1 caricatures1 and busts of ladies 7see above7 or children wearing the bulla1 vases in the form of heads1 and busts affixed to plates1 also come under the latter category4 ,many of these are exceedingly rude and barbaric2 children are transformed into coarse grotesques1 and animals look 7says ,m4 ,pottier7 as if they had come out of a ,noah's ark4 ,the artistic origin of the ,gaulish types has been discussed by ,m4 ,blanchet1#bfhi who points out that although the modern tendency is to restrict the rle played by ,alexandrine art of the ,hellenistic period in influencing that of ,rome1#bfij yet its effect on ,gaul cannot be altogether ignored4 ,that ,egyptian cults found their way into ,gaul is well known1#bfia and in the terracottas such types as ,isis and ,horus appear1 while comparisons may frequently be made with the late terracottas found in the ,faym and at ,naukratis4 ,but there was also a stream of influence from ,southern ,italy1 especially ,campania1 whence1 as we have seen1 the ,mother-,goddess types were largely derived4 ,as regards the uses for which these terracottas were made1 much that has been said on that head in ,chapter ,,iii4 will apply equally to ,gaul4 ,they have been found not only in tombs1 but in wells and rivers1 and on the sites of sanctuaries#bfib2 but they do not seem to have had any special funerary significance4 ,the majority were probably used for various domestic purposes in the houses1 the figures of animals1 for instance1 as toys1 and were then buried with their owners4 ,those found in wells or rivers may be regarded as votive offerings1 as it is well known that the ,gauls were fond of throwing votive figures into rivers or springs4 #c4 ,,miscellaneous ,,uses ,,of ,,terracotta ,it is impossible to enumerate all the purposes to which the ,romans applied terracotta1 but a few peculiar uses deserve special notice4 ,the excavations at ,pompeii have yielded several examples of its application to the decoration of a puteal1 the circular structure which protected the mouth of a well2 the core is of tufa or other hard material1 and round this are laid curved slabs of terracotta decorated with reliefs4#bfic ,they are all of comparatively early date2 one has triglyphs and bulls' heads in relief1 and is stuccoed over4 ,instances are also found at ,pompeii of its use for table-legs1 in the form of figures of kneeling ,atlantes1#bfid like those supporting the entablature in the ,thermae 7p4 #cgd71 but sculptured in the round4 ,small altars1 or stands for holding lamps or for burning incense1 supposed to have formed part of the furniture of the domestic shrines1 have also been found in this material4#bfie ,varro tells us that the dolia or large jars made by potters were used as cages for dormice which were being fattened for the palates of ,roman epicures#bfif2 and ,columella gives instructions for the use of clay tiles in making beehives4#bfig ,porphyry implies that it was customary to hive bees in kraters or amphorae of clay4#bfih ,tickets 7tesserae7 for admission to the circus or amphitheatre were also occasionally made of clay1 and on them were stamped letters or numbers referring to the position of the seat1 or representations of the animals exhibited4 ,two from ,catania in the ,british ,museum#bfii have an elephant on the obverse and the letter ,a on the reverse1 showing that they were for admission to a spectacle in which those beasts were shown4 ,there are also possible instances of tesserae frumentariae1 or tickets for the supply of cheap corn in time of necessity4#bgjj ,moulds of terracotta for making counters1 with masks or figures of ,fortune and ,isis1 have also been found2 there is an example in the ,british ,museum from ,arezzo 7,e #df74bgja ,herr ,graeven1 in a very interesting article1#bgjb has recently collected all the known examples 7numbering some fifty7 of money-boxes in terracotta used by the ,romans4 ,there is no mention of such objects in ,latin literature1 but it is probable that they were known as loculi1 and were made in imitation of the metal used for keeping money in temples4 ,of this there is a clear instance in a specimen recently found at ,priene in ,asia ,minor1#bgjc in the form of a small shrine with a slit in the top4 ,graeven states that there is evidence of their having been placed on a cornice which ran round the walls of the rooms in the houses4 ,this box has an additional hole at the back for extracting the money1 but the ,roman specimens have only one opening4 ,an example of a clay treasure-box from ,western ,europe is one in the form of a chest1 #ab inches high1 with a bust of ,apollo on the top1 found at ,vichy1 and now in the ,museum at ,moulins4#bgjd ,it may have been placed in a sacellum or chapel for the offerings of those who visited the medicinal springs4 ,of the ,roman money-boxes proper four main types may be distinguished4 ,the first1 of which examples have been found at ,pompeii1#bgje is in the form of a small chest or coffer 7arca71 and may have been known by the name arcula4 ,the second type is that of a money-box in the form of a vase4#bgjf ,the custom of hoarding money in jars 7ollae1 p4 #dgj7 was universal in ,roman times1 as we know from the ,aulularia of ,plautus1 the plot of which turns on this practice1#bgjg and from the numerous finds of coins in jars in our own day4 ,none of these have any ornamentation2 they have been found in ,germany1 and there is a small specimen in the ,british ,museum from ,lincoln1#bgjh of spherical form with a knob at the top4 ,aubrey records the finding of a similar one in ,north ,wiltshire4#bgji ,these appear to be of very late date4 ,the next two types are of much greater interest1 not only from their ornamentation1 but from their form and the inscriptions which they bear4 ,in the one the box takes a flat circular form1 closely resembling the body of a lamp 7the shape is that of ,fig4 #bjg71 with a design similarly placed in a medallion4 ,one actually has a figure of ,victory with a shield1 which reproduces the type of the ,new ,year lamps described on page #dac 7,b4,m4 ,no4 #cji71 and has a similar inscription4#bgaj ,it may be supposed that these boxes were carried round on ,new ,year's ,day to solicit contributions1 just as is done 7says ,herr ,graeven7 by boys in ,rome at the present time4 ,others have figures of ,fortune and ,hermes in a shrine1#bgaa the latter deity being of course specially associated with money-making4 ,these two examples have their respective makers' names on the back1 ,c ,,ivn ,,bit and ,,palladi1 names which are also found on ,roman lamps1#bgab another detail which shows the close connection between these two classes of objects4 ,illustration3 ,from ,jahrbuch4 ,,fig4 #bjj4 ,,terracotta ,,money-,,box4 ,the last type to be described is shaped like a bee-hive1 or1 as in ,fig4 #bjj1 like a circular temple1 forms which were found convenient for the then favourite design of a deity in a shrine4 ,among the examples quoted by ,graeven#bgac is one of the latter shape with ,fortune 7,fig4 #bjj71 now in the ,bibliothque ,nationale4 ,of the bee-hive form three may be mentioned as presenting interesting features4 ,one with ,hermes in a shrine has the maker's name1 ,,pas ,,avgv1 which also occurs on lamps#bgad2 another1 found on the ,aventine1 and now at ,gotha1#bgae has on the front the figure of a victorious charioteer1 on the reverse a slit for the coins1 and the maker's name1 ,,ael ,,max4 ,d',agincourt suggested that this type of box was carried about by victors in the games to receive donations4 ,lastly1 there is one recorded to have been found in the ,baths of ,titus in #ahab1 but now lost1 which contained coins of ,trajan1 and was inscribed ,,fisci ,,ivdaici ,,calumnia ,,svblata4 ,the evidence points to the dating of these two classes in the first century of the ,empire1 or slightly later4 ,terracotta moulds for false or debased coins of the ,imperial period have frequently been discovered in different parts of the ,empire4#bgaf ,none1 indeed1 have come to light in ,italy1 but they occur in ,egypt1 ,tunis1 ,france1 on the ,rhine1 in ,switzerland1 ,lower ,austria1 and ,britain4 ,they were first noted by ,a4 le ,pois in #aegi at ,fourvires1 where moulds were found of coins of ,septimius ,severus and his successors4 ,in #afig and #agjf more of the same period1 of local clay1 were found at ,lingwell ,gate1 near ,wakefield1#bgag in #agjd at ,lyons1 and in #agfd at ,augst1 near ,basle4 ,in #ahbi and #ahcj further finds were made at ,wakefield1 and again in #ahfi at ,duston1 ,northants4#bgah ,numbers have been noted from time to time in the museums of ,france and the ,rhenish provinces1 the most interesting find being that made in #ahbi-cj at ,damery1 near pernay1 in the ,department of ,marne4 ,in #ahei a find of #acj moulds contained in a jug was made at ,bernard2 they appear to have been hastily placed there and left by forgers4 ,at ,bordeaux in #ahhd finds were made in the ruins of a pottery1 and others more recently at ,autun and ,la ,coulouche4 ,in #ahii thirty-four moulds were found at ,susa in ,tunis4 ,the ,british ,museum has a collection of moulds of denarii from ,egypt1 mostly found at ,crocodilopolis 7,arsinoe7 in the ,faym2 they are of a deep brick-red local clay1 but a great number are burnt black4 ,nearly all these moulds fall between the reigns of ,septimius ,severus and ,diocletian1 but some of those at ,bernard go back as far as ,trajan1 and there are isolated instances of coins of ,domitian at one end1 of ,constantius ,,ii4 and ,julia ,mamaea at the other4 ,caracalla and ,elagabalus are frequently represented1 and those in the ,british ,museum include ,albinus1 ,crispus1 ,constantine1 ,galerius1 ,licinius1 and ,macrinus4 ,the ,damery find included thirty-nine moulds1 comprising types of the coins of ,caracalla1 the elder ,philip1 and ,postumus2 #b1jjj pieces of base silver coin1 chiefly of ,postumus2 #c1ijj bronzes of ,constans ,i4 and ,constantius1 all evidently made together2 chisels and remains of other tools1 and groups of moulds still containing the metal1 and also lumps of metal which had overflowed from the moulds4 ,the way in which these moulds were used is as follows4 ,the complete mould was composed of two shallow round boxes with hollow impressions respectively of the obverse and reverse1 obtained by impressing the designs from genuine coins into the soft clay4 ,the depth of the hollow was so calculated that when the two were placed together the space represented the required thickness4 ,to cast the coins1 a number of these moulds were placed one on the other1 and luted with clay to prevent the liquid metal from escaping between the two pieces of each mould2 down the side of the column formed by the pile of moulds a hollow cutting was made1 at the base of which holes were pierced corresponding to the cavities where the metal was to enter4 ,the metal was then poured into the hollow1 and ran in through the holes as required4#bgai ,sometimes the columns were joined in groups of three #bebi;image for which a single column served2 of this there is an example at ,damery1 where each rouleau contained a dozen moulds 7thirteen discs74 ,in the ,cabinet des ,mdailles at ,paris there is an example of one of these rouleaux of moulds1 found at ,lyons in #agjd 7,fig4 #bja71bgbj with the basin in which they were placed for the casting4 ,at ,susa the moulds were fitted slantwise into a bronze tube4 ,illustration3 ,,fig4 #bja4 ,,terracotta ,,coin-,,mould4 ,it is not absolutely certain whether these moulds were all used for fraudulent purposes by forgers2 the find at ,damery1 for instance1 was made on the site of ,bibe1 an important station on the road from ,rheims to ,beauvais1 which would be too prominent a place for forgers to have selected4 ,it is much more likely that in such a case they were used to make coins of inferior alloy1 perhaps in some instances for the issues of usurpers who1 being at a considerable distance from the capital1 were unable to fill their military chests except with hastily cast coins4 ,the distant parts of the ,empire in which these moulds are found lend some colour to this theory4 ,it will also be remembered that they mostly date from the time when a debased coinage was current throughout the ,empire1 beginning with the reign of ,septimius ,severus2 this was put an end to by ,diocletian in #big4 ,we may therefore suppose that they represent1 so to speak1 officially recognised forgeries1 emanating from a kind of local mint for producing coins hastily for provincial use4 ,hence the rapid spread of base money in the third century1 which was not only forced upon the ,state1 but was also readily taken advantage of by forgers4 ----- ,footnote #bcie3 ,pliny1 ,h4,n4 xxxi4 #dg2 ,columella1 ,re ,rust4 iii4 #aa1 #i4 ,footnote #bcif3 ,etym4 xv4 #h1 #af3 cf4 xix4 #aj1 #af4 ,footnote #bcig3 ,pliny1 ,h4,n4 xxxv4 #agj2 ,nonius1 p4 #dde1 #bb4 ,footnote #bcih3 ,columella1 ,re ,rust4 ix4 #a1 #b2 ,vitr4 i4 #e1 #h2 ,varro1 ,re ,rust4 i4 #ad1 #d4 ,footnote #bcii3 ,vitr4 ii4 #h1 #d2 ,varro1 ,re ,rust4 ii4 #c1 #f4 ,footnote #bdjj3 ,columella1 loc4 cit43 paries crudo latere ac luto constructus4 ,cf4 ,caesar1 ,bell4 ,civ4 ii4 #i1 of a floor1 and ii4 #ae2 also ,vitr4 ii4 #a1 #g2 ,pliny1 ,h4,n4 xviii4 #cja4 ,footnote #bdja3 ,vitr4 ii4 #c1 #c4 ,footnote #bdjb3 ,h4,n4 xxxv4 #agj ff4 ,footnote #bdjc3 ,vitr4 vii4 #a1 #g and #d1 #b2 ,pallad4 ,agric4 i4 #ai1 #a and #dj1 #b2 ,wilmanns1 ,exempla1 #bgic-id2 ,marini1 ,iscriz4 ant4 doliari1 #idb-idd4 ,footnote #bdjd3 ,cf4 ,wright1 ,celt1 ,roman1 and ,saxon#d1 p4 #ahh4 ,footnote #bdje3 ,cf4 ,middleton1 ,remains of ,ancient ,rome1 i4 p4 #ei 7cut7 ,archaeologia1 li4 pl4 #a1 fig4 #e4 ,footnote #bdjf3 ,marquardt1 ,privatalterthmer1 p4 #fah4 ,footnote #bdjg3 ,buckman and ,newmarch1 ,roman ,art in ,cirencester1 p4 #fd ff4 ,footnote #bdjh3 ,marquardt1 ,privatalterthmer1 p4 #fah2 ,roach-,smith1 ,collect4 ,antiq4 ii4 p4 #ia4 ,footnote #bdji3 ,remains of ,ancient ,rome1 i4 p4 #ab3 see also ,archaeologia1 xlix4 p4 #dbg1 where it is pointed out that measurements of bricks form no guide to their date4 ,footnote #bdaj3 ,loc4 cit4 ,footnote #bdaa3 ,jahreshefte 7,beiblatt71 i4 p4 #abc4 ,footnote #bdab3 ii4 #c1 #a4 ,footnote #bdac3 ,this may be the origin of the foot-shaped stamp so common in ,roman lamps and vases 7see ,blmner1 ,technologie1 ii4 p4 #ah74 ,footnote #bdad3 ,cf4 also ,wright1 ,celt1 ,roman1 and ,saxon#d1 p4 #ahf4 ,footnote #bdae3 ,vitr4 ii4 #c4 ,this passage with ,pallad4 ,agric4 vi4 #ab and ,isid4 ,etym4 xix4 #aj1 #af are the loci classici on the subject4 ,footnote #bdaf3 ,blmner1 ii4 p4 #bj1 points out that there are very few instances of this1 and perhaps ,vitruvius' idea was not practical4 ,footnote #bdag3 ,middleton1 ,remains of ,ancient ,rome1 i4 pp4 #ab1 #fb4 ,footnote #bdah3 ,see ,roach-,smith1 ,illustr4 ,rom4 ,london1 p4 #aab4 ,footnote #bdai3 xxxix4 #fa 7 74 ,footnote #bdbj3 ,apud ,non41 p4 #dh 7s4v4 suffundatum74 ,footnote #bdba3 ,de ,div4 ii4 #dg1 #ii4 ,footnote #bdbb3 ,vitr4 ii4 #h1 #ah4 ,footnote #bdbc3 ,h4,n4 xxxv4 #agc4 ,footnote #bdbd3 ,vitr4 ii4 #h1 #ag4 ,footnote #bdbe3 ,ibid4 ,footnote #bdbf3 ,see ,daremberg and ,saglio1 s4v4 ,aquaeductus2 ,middleton1 ,remains of ,ancient ,rome1 ii4 p4 #cbc4 ,footnote #bdbg3 ,suet4 ,aug4 #bh4 ,footnote #bdbh3 ,borrmann1 ,die ,keramik in der ,baukunst 7,durm's ,handbuch d4 ,architektur71 p4 #ea4 ,footnote #bdbi3 ,roach-,smith1 ,collect4 ,antiq4 iv4 p4 #aa1 pls4 #e-f4 ,footnote #bdcj3 ,nissen1 ,pompeian4 ,studien1 p4 #bf2 ,mau-,kelsey1 ,pompeii1 p4 #cf4 ,footnote #bdca3 ,see ,mau-,kelsey1 ,pompeii1 p4 #ch4 ,footnote #bdcb3 ,archaeologia1 lii4 p4 #ffd4 ,footnote #bdcc3 ,middleton1 ,remains of ,ancient ,rome1 i4 pp4 #bed1 #cja2 id4 in ,archaeologia1 xlix4 p4 #dbf4 ,footnote #bdcd3 ,see ,dressel in ,c4,i4,l4 xv4 p4 #i4 ,footnote #bdce3 ,mau-,kelsey1 p4 #ch3 but see ,nissen1 ,pompeian4 ,studien1 p4 #ei4 ,footnote #bdcf3 ,see ,blmner1 ,technologie1 iii4 p4 #adf1 where a good illustration is given4 ,footnote #bdcg3 ,archaeologia1 li4 pl4 #b1 fig4 #d2 ,middleton1 op4 cit4 i4 p4 #ee1 fig4 #f4 ,footnote #bdch3 v4 #aj1 #b4 ,footnote #bdci3 ,see also on this subject ,anderson and ,spiers1 ,architecture of ,greece and ,rome1 p4 #acg ff42 ,middleton1 op4 cit4 i4 p4 #ff1 ii4 p4 #abj1 fig4 #fd4 ,footnote #bddj3 ,see ,middleton1 op4 cit4 i4 p4 #fb2 ,archaeologia1 li4 pl4 #b1 fig4 #e4 ,footnote #bdda3 ,middleton1 op4 cit4 i4 pp4 #ab1 #fb4 ,footnote #bddb3 ,etym4 xv4 #h1 #ae2 xix4 #aj1 #ae4 ,footnote #bddc3 ,henzen1 ,inscr4 #fdde1 #gbgi-hj4 ,footnote #bddd3 ,orelli1 ,inscr4 #daij4 ,footnote #bdde3 ,there are tiles in existence marked ,,dol ,,delic1 i4e4 7opus7 doliare deliciare 7,marquardt1 ,privatalterthmer1 p4 #fai74 ,footnote #bddf3 ,the arrangement is well illustrated on pl4 #f of ,campana's ,ant4 opere in plastica 7from ,ostia74 ,footnote #bddg3 ,vitr4 v4 #i1 #g2 viii4 #g1 #a4 ,footnote #bddh3 ,brongniart1 ,trait1 i4 p4 #cgd2 ,marquardt1 ,privatalterthmer1 p4 #fbj4 ,footnote #bddi3 ,see ,vitr4 vii4 #d1 #b2 ,nissen1 ,pompeian4 ,studien1 p4 #fe ff4 ,footnote #bdej3 ,orelli1 #acif3 see ,sitzungsber4 d4 ,wiener ,akad4 ,gesellsch4 #aija1 pt4 #b1 p4 #ac4 ,footnote #bdea3 ,caumont1 ,cours1 ii4 p4 #ahb4 ,footnote #bdeb3 ,ibid4 p4 #ahd4 ,footnote #bdec3 ,brongniart and ,riocreux1 ,mus4 de ,svres1 i4 p4 #ah4 ,footnote #bded3 ,bull4 ,arch4 ,nap4 #ahec1 pl4 #ad1 p4 #ahe4 ,footnote #bdee3 ,campana1 ,ant4 opere in plastica1 pl4 #f4 ,footnote #bdef3 ,for references to ornamental terracotta antefixes in ,latin literature see below1 p4 #cga2 and cf4 ,livy1 xxvi4 #bc1 xxxiv4 #d4 ,footnote #bdeg3 ,see for an account of these ,von ,rohden1 ,terracotten von ,pompeii1 p4 #e2 also ,mau-,kelsey1 ,pompeii1 p4 #bea4 ,footnote #bdeh3 ,von ,rohden1 pl4 #g1 fig4 #a1 from the ,casa dei ,niobidi4 ,footnote #bdei3 ,ibid41 pls4 #e1 #b1 and #f1 #a4 ,footnote #bdfj3 ,for examples of this type see ,b4,m4 ,terracottas1 ,d #ff 7from ,corneto71 ,d #gjj 7from ,cumae71 and ,d #gjf 7from ,capua74 ,footnote #bdfa3 ,mau-,kelsey1 ,pompeii1 p4 #cf4 ,footnote #bdfb3 ,von ,rohden1 pls4 #ad-af2 #ah1 fig4 #a3 cf4 ,b4,m4 ,cat4 of ,terracottas1 ,d #fii1 from ,pompeii4 ,footnote #bdfc3 ,ibid4 pls4 #aa-ac4 ,footnote #bdfd3 ,campana1 ,ant4 opere in plastica1 pl4 #f4 ,footnote #bdfe3 ,campana1 pl4 #f3 cf4 for the story ,livy1 xxix4 #ad1 and ,preller-,jordan1 ,rm4 ,mythol4 ii4 p4 #ee4 ,footnote #bdff3 ,archaeologia1 xiv4 pl4 #ac1 p4 #fd3 cf4 ,brongniart1 ,trait1 i4 p4 #cfg4 ,footnote #bdfg3 ,middleton1 ,remains of ,ancient ,rome1 i4 p4 #aha1 ii4 p4 #aba ff4 ,footnote #bdfh3 vii4 #d1 #b4 ,footnote #bdfi3 ,see ,middleton in ,archaeologia1 lii4 p4 #ffc1 for a general discussion of the subject2 also ,roach-,smith1 ,collect4 ,antiq4 vi4 p4 #abb4 ,footnote #bdgj3 ,roach-,smith1 ,collect4 ,antiq4 iii4 pl4 #bf1 p4 #aad2 ,illustr4 ,rom4 ,london1 p4 #aae4 ,footnote #bdga3 ,marquardt1 ,privatalterthmer1 vii4 p4 #fbj4 ,footnote #bdgb3 ,ep4 #ij1 #be 7xiv4 #b74 ,footnote #bdgc3 ,ep4 ii4 #ag1 #bc4 ,footnote #bdgd3 ,so also in the ,roman villa at ,woodchester 7,wright1 ,celt1 ,roman1 and ,saxon#d1 p4 #aih74 ,footnote #bdge3 ,middleton1 op4 cit4 ii4 p4 #aac ff42 id4 in ,archaeologia1 li4 pl4 #c4 ,footnote #bdgf3 ,roach-,smith1 ,collect4 ,antiq4 ii4 p4 #ba1 pl4 #h1 figs4 #a-b4 ,footnote #bdgg3 ,c4,i4,l4 vii4 #abej2 ,roach-,smith1 ,ill4 ,rom4 ,lond4 p4 #aad1 fig4 #c4 ,footnote #bdgh3 ,c4,i4,l4 vii4 #abch4 ,footnote #bdgi3 ,archaeologia1 lii4 pl4 #bj4 ,footnote #bdhj3 vii4 #d1 #b4 ,footnote #bdha3 ,roach-,smith1 ,collect4 ,antiq4 vi4 p4 #abe4 ,cf4 ,arch4 ,journ4 viii4 p4 #cj ff4 for another example from ,hadstock1 ,essex4 ,footnote #bdhb3 ,archaeologia1 lii4 p4 #fff4 ,footnote #bdhc3 ,cf4 ,vitr4 loc4 cit4 ,footnote #bdhd3 ,middleton1 ,remains of ,ancient ,rome1 ii4 p4 #abc4 ,footnote #bdhe3 ,see ,daremberg and ,saglio1 s4v41 and cf4 ,vitr4 viii4 #g1 #a2 ,isid4 ,etym4 xv4 #h1 #ag2 xix4 #aj1 #bi4 ,footnote #bdhf3 ,c4,i4,l4 x4 #dhdb4 ,footnote #bdhg3 viii4 #g1 #a4 ,footnote #bdhh3 ,h4,n4 xxxi4 #eg4 ,footnote #bdhi3 viii4 #g1 #aj4 ,footnote #bdij3 ,mon4 ,antichi1 i4 pl4 #f1 p4 #cbf4 ,footnote #bdia3 ,see ,lanciani in ,atti dell' ,accad4 dei ,lincei1 ,ser4 #c1 iv4 7#ahgi-hj71 p4 #cii ff4 ,footnote #bdib3 ,avolio1 ,fatture di argille in ,sicilia1 p4 #h4 ,footnote #bdic3 ,see generally ,blmner1 ,technologie1 iii4 p4 #afa ff42 ,middleton1 ,remains of ,ancient ,rome1 i4 p4 #hj4 ,footnote #bdid3 ,archaeologia1 li4 pl4 #c4 ,footnote #bdie3 ,buckman and ,newmarch1 ,roman ,art in ,cirencester1 p4 #fd4 ,footnote #bdif3 ,h4,n4 xxxv4 #afe2 xxxvi4 #ahh3 cf4 ,geoponica1 ii4 #bg1 #e2 ,pallad4 i4 #i1 #d2 ,cato1 ,agric4 xviii4 #g2 ,vitr4 vii4 #a1 #d2 ,columella1 i4 #f1 #ac2 viii4 #ae1 #c1 #ag1 #a2 ix4 #a1 #b4 ,footnote #bdig3 ,middleton1 op4 cit4 ii4 p4 #aba1 fig4 #fe4 ,footnote #bdih3 ,cf4 ,buckman and ,newmarch1 ,roman ,art in ,cirencester1 p4 #di ff4 ,footnote #bdii3 ,vitr4 vii4 #a1 #d2 ,pliny1 ,h4,n4 xxxvi4 #ahd2 ,stat4 ,silv4 i4 #c1 #ed4 ,footnote #bejj3 ,archaeologia1 xxvi4 pl4 #dd1 p4 #cgj4 ,footnote #beja3 ,roach-,smith1 ,ill4 ,rom4 ,lond4 p4 #aac4 ,footnote #bejb3 ,c4,i4,l4 vii4 #abbc-bd4 ,footnote #bejc3 ,ibid4 #abbb 7in ,b4,m472 others from ,brecon and ,abergavenny4 ,footnote #bejd3 ,c4,i4,l4 vii4 #abbe4 ,footnote #beje3 ,the inscribed tiles found in ,rome have been collected and published by ,dressel in vol4 xv4 7part #a1 ,nos4 #a-baee7 of the ,corpus ,inscr4 ,lat4 ,others are published in the other volumes under the heading 8,instrumentum ,domesticum40 ,in the succeeding pages ,dressel's account has been mainly followed4 ,footnote #bejf3 ,see ,hbner1 ,exempla ,script4 ,epigr4 ,lat4 p4 lxviii4 ,footnote #bejg3 ,c4,i4,l4 xv4 #ai-bi2 #bji1 #aade2 #gji2 #abab2 #cih4 ,footnote #bejh3 ,cat4 of ,terracottas1 ,e #adh-di4 ,footnote #beji3 ,opus doliare is the invariable word for bricks or tiles in ,roman inscriptions1 figlinum being confined to pottery of the finer kind 7cf4 p4 #ccj74 ,footnote #beaj3 ,cassiodorus1 ,variar4 i4 #be3 cf4 ii4 #bc4 ,footnote #beaa3 ,c4,i4,l4 xv4 #affh-gj4 ,footnote #beab3 ,cf4 ,c4,i4,l4 xv4 p4 #bjd1 ,nos4 #afaf1 #afbg1 etc4 ,footnote #beac3 ,middleton1 ,remains of ,ancient ,rome1 i4 p4 #ac4 ,footnote #bead3 ,c4,i4,l4 xiv4 #djhi1 #g1 from ,ostia4 ,footnote #beae3 ,ibid4 #djij1 ,no4 #ad4 ,footnote #beaf3 ,c4,i4,l4 xv4 #dgh ff43 cf4 #fhc1 and ,ann4 dell' ,inst4 #ahdj1 p4 #bdj4 ,footnote #beag3 ,ibid4 #fgg-hb4 ,footnote #beah3 ,ibid4 #chi4 ,footnote #beai3 ,b4,m4 ,cat4 of ,terracottas1 ,e #aej4 ,footnote #bebj3 ,e4g4 ,wilmanns1 ,exempla ,inscr4 ,lat4 #bgic;a4 ,footnote #beba3 ,see ,blanchet1 ,mlanges ,gallo-romaines1 ii4 7#aijb71 p4 #aaj4 ,footnote #bebb3 ,see ,steiner1 ,cod4 ,inscr4 ,rom4 ,danubii et ,rheni1 i4 p4 #he1 ,no4 #aij1 ii4 p4 #ahg1 ,no4 #abca4 ,footnote #bebc3 ,c4,i4,l4 vii4 #abee1 #abeg4 ,footnote #bebd3 ,ibid4 #abdb4 ,footnote #bebe3 ,cf4 ,c4,i4,l4 xv4 p4 #bgd4 ,footnote #bebf3 ,c4,i4,l4 xv4 #ajig-aaja1 and see p4 #bge4 ,footnote #bebg3 ,marini1 ,iscriz4 ant4 doliari1 #adah4 ,footnote #bebh3 ,c4,i4,l4 xv4 #aeci4 ,footnote #bebi3 ,ibid4 #aedj1 #aedb4 ,footnote #becj3 ,ibid4 #affh-gj4 ,footnote #beca3 ,steiner1 op4 cit4 i4 p4 #beb1 ,no4 #eda 7from ,mainz72 also ,bonner ,jahrbcher1 ii4 p4 #ib4 ,footnote #becb3 ,steiner1 i4 p4 #ge1 ,no4 #aga2 ii4 p4 #bdh1 ,no4 #acgc4 ,footnote #becc3 ,c4,i4,l4 iii4 p4 #ifb2 ,wiener ,sitzungsberichte1 xiv4 7#ahee71 p4 #acc4 ,footnote #becd3 ,c4,i4,l4 ibid4 ,footnote #bece3 ,steiner1 ii4 p4 #bed1 ,no4 #acia4 ,footnote #becf3 ,now in ,pesth ,museum 7,c4,i4,l4 ibid474 ,footnote #becg3 ,c4,i4,l4 vii4 #abfj4 ,footnote #bech3 ,ibid4 #abei2 ,victoria ,county ,hist4 of ,hants1 i4 p4 #bhb 7q4v4 for other examples74 ,footnote #beci3 ,cat4 p4 #gc1 ,no4 #ef2 ,ephem4 ,epigr4 vii4 7#ahib71 p4 #cdd4 ,footnote #bedj3 ,c4,i4,l4 ii4 #difg1 #ca3 cf4 ,victoria ,county ,hist4 of ,hants1 i4 p4 #bge4 ,footnote #beda3 ,e4g4 ,b4,m4 ,e #adi3 see p4 #ced4 ,footnote #bedb3 ,see ,dressel in ,c4,i4,l4 xv4 p4 #aj4 ,footnote #bedc3 ,steiner1 ,cod4 ,inscr4 ,rom4 ,danub4 et ,rheni1 ii4 p4 #bec1 ,no4 #achi4 ,footnote #bedd3 ,c4,i4,l4 xv4 p4 #e ff4 ,for epigraphical and grammatical peculiarities see ibid4 p4 #g4 ,on p4 #bjd is given a list of emperors whose names are found on the tiles1 from ,trajan to ,septimius ,severus4 ,footnote #bede3 ,see for these abbreviations and expressions ,c4,i4,l4 xv4 p4 #chg4 ,footnote #bedf3 ,b4,m4 ,e #aeb4 ,footnote #bedg3 ,c4,i4,l4 xiv4 #djhi1 #a4 ,footnote #bedh3 ,c4,i4,l4 xv4 #c1 #d1 xiv4 #djhi1 #d4 ,footnote #bedi3 ,cat4 p4 #gc1 ,nos4 #fj-c4 ,footnote #beej3 ,c4,i4,l4 vii4 #abce2 ,roach-,smith1 ,collect4 ,antiq4 i4 p4 #adc3 see also ,journ4 ,brit4 ,arch4 ,assoc4 xxxix4 p4 #chi4 ,footnote #beea3 ,numerous examples of these legionary stamps will be found in ,steiner's ,codex ,inscr4 ,rom4 ,danubii et ,rheni 7#ahea72 they will presumably be republished in the forthcoming part of vol4 xiii4 of the ,latin ,corpus4 ,footnote #beeb3 ,c4,i4,l4 xiv4 #djij1 #b4 ,footnote #beec3 ,c4,i4,l4 vii4 #abbe4 ,footnote #beed3 ,see generally ,c4,i4,l4 iii4 ,suppl4 #a1 for ,dacia1 ,pannonia1 and the ,east2 for ,germany1 ,steiner1 op4 cit4 passim1 and ,bonner ,jahrbcher1 index to vols4 #a-fj4 ,footnote #beee3 ,c4,i4,l4 vii4 #abbh4 ,footnote #beef3 ,ibid4 #abca3 see ,roach-,smith1 ,ill4 ,rom4 ,london1 p4 #aaf4 ,footnote #beeg3 ,wilmanns1 ,exempla1 #bhjd4 ,footnote #beeh3 ,c4,i4,l4 iii4 #cgef4 ,footnote #beei3 ,steiner1 ii4 p4 #bej1 ,no4 #acgi4 ,footnote #befj3 ,marini1 ,iscriz4 ant4 doliari1 ,no4 #achb2 ,wilmanns1 ,exempla1 #bhje b4 ,footnote #befa3 ,c4,i4,l4 vii4 #abbf2 ,roach-,smith1 ,ill4 ,rom4 ,london1 p4 #aab2 ,blanchet1 ,mlanges ,gallo-romaines1 ii4 p4 #aaj4 ,footnote #befb3 ,vitr4 iv4 #f4 ,footnote #befc3 ,campana1 ,ant4 opere in plastica1 p4 #ca4 ,footnote #befd3 ,s4v4 ,antefixa or ,impluvium4 ,footnote #befe3 ,ep4 ad ,att4 i4 #aj4 ,footnote #beff3 ,b4,m4 ,d #edc1 #egf1 #eid2 ,rm4 ,mitth4 #ahhf1 p4 #agc2 ,notizie degli ,scavi1 #aija1 p4 #ahh4 ,footnote #befg3 ,cat4 #eja-ffj4 ,it has been stated1 but on what authority is unknown1 that they were found in a well near the ,porta ,latina1 together with a series of statues discussed below 7p4 #cgc74 ,footnote #befh3 ,a collective publication of these reliefs is being prepared by the ,german ,archaeological ,institute4 ,footnote #befi3 ,see ,helbig's ,fhrer#b1 ii4 pp4 #bgb1 #djh ff4 ,footnote #begj3 ,cf4 ,pliny1 ,h4,n4 xxxvi4 #ahi3 ,agrippa in thermis figulinum opus encausto pinxit3 see also ,vol4 ,i4 p4 #aai4 ,footnote #bega3 ,see ,b4,m4 ,cat4 of ,terracottas1 p4 xvii4 ,footnote #begb3 ,von ,rohden1 ,terracotten von ,pompeii1 pl4 #bj3 see also pls4 #ba1 #bc4 ,footnote #begc3 ,d #fbf-bg3 cf4 ,jahreshefte1 #aijc1 p4 #be4 ,footnote #begd3 ,ant4 opere in plastica1 pl4 #ad4 ,footnote #bege3 ,hauser1 ,neuattische ,reliefs1 pp4 #aaa1 #abh4 ,footnote #begf3 ,b4,m4 ,d #ebj1 #ebg2 ,campana1 pls4 #dg-h4 ,footnote #begg3 ,b4,m4 ,d #ehc-he2 ,campana1 pls4 #fa1 #fb3 cf4 the ,arretine krater1 ,fig4 #bai1 p4 #dhh4 ,footnote #begh3 ,b4,m4 ,d #efa2 ,campana1 pls4 #bg1 #da4 ,footnote #begi3 ,b4,m4 ,d #eja2 ,campana1 pls4 #a-b4 ,footnote #behj3 ,campana1 pl4 #c4 ,footnote #beha3 ,b4,m4 ,d #eje2 ,campana1 pl4 #ah4 ,footnote #behb3 ,b4,m4 ,d #ejg2 ,campana1 pl4 #ai4 ,footnote #behc3 ,b4,m4 ,d #ejh-i2 ,campana1 pl4 #aj4 ,footnote #behd3 ,b4,m4 ,d #eaj-bd2 ,campana1 pls4 #i-aj1 #ae1 #ec1 #hh1 #ajb-c4 ,footnote #behe3 ,helbig #adei ,overbeck1 ,kunstmythol4 ,atlas1 pl4 #af1 #h4 ,footnote #behf3 ,campana1 pls4 #g-h1 #ac1 #af-g4 ,footnote #behg3 ,b4,m4 ,d #eca3 cf4 ,campana1 pls4 #bi-cj4 ,footnote #behh3 ,b4,m4 ,d #ebe2 ,campana1 pl4 #ej3 see ,j4,h4,s4 xxiii4 p4 #bie4 ,footnote #behi3 ,see for these ,b4,m4 ,d #ebf1 #ecd-eb4 ,footnote #beij3 ,campana1 pls4 #bf1 #ca1 #ce-g1 #dc-f4 ,footnote #beia3 ,b4,m4 ,d #eec-fj4 ,footnote #beib3 ,b4,m4 ,d #efi-gi3 cf4 ,j4,h4,s4 vii4 p4 #bhd4 ,footnote #beic3 ,b4,m4 ,d #eff-fh2 ,campana1 pls4 #hf ff4 ,footnote #beid3 ,campana1 pl4 #ee2 ,helbig1 #aagi4 ,footnote #beie3 ,campana1 pls4 #bj-d2 ,helbig1 #aahj4 ,footnote #beif3 ,b4,m4 ,d #eib-fje2 ,campana1 pls4 #ef-eh1 #fc-fe1 #fh2 ,helbig1 #aahh4 ,footnote #beig3 ,otherwise interpreted1 ,helbig1 ,fhrer#b1 ii4 p4 #dah4 ,footnote #beih3 ,b4,m4 ,d #fjf-fji2 ,campana1 pls4 #ff-fg1 #ga-gc2 ,helbig1 #aaij1 #adef4 ,footnote #beii3 ,b4,m4 ,d #faa-fag2 ,campana1 pls4 #gd-ha4 ,footnote #bfjj3 ,b4,m4 ,d #fbd-fcb2 ,campana1 pls4 #hi-if2 ,helbig1 #adff2 and see ,jahreshefte1 #aijc1 p4 #af ff4 ,footnote #bfja3 ,b4,m4 ,d #fcc-fch2 ,campana1 pls4 #aad1 #aae4 ,footnote #bfjb3 ,plutarch1 ,vit4 ,num4 viii4 #h4 ,footnote #bfjc3 ,sat4 xi4 #aaf4 ,footnote #bfjd3 iv4 7v471 #a1 #e4 ,footnote #bfje3 ,h4,n4 xxxiv4 #cd2 and see xxxv4 #aeh4 ,footnote #bfjf3 iii4 #b 7#c71 #e4 ,footnote #bfjg3 ,de ,div4 i4 #aj1 #af4 ,footnote #bfjh3 xxvi4 #bc4 ,footnote #bfji3 ,ovid1 ,fast4 i4 #bjb2 ,seneca1 ,cons4 ad ,helv4 #aj1 #g3 cf4 ,ep4 #ca 7iv4 #b1 #aa74 ,footnote #bfaj3 ,pliny1 ,h4,n4 xxxv4 #aei2 ,plut4 ,vit4 ,num4 #ag4 ,footnote #bfaa3 ,pliny1 ,h4,n4 xxxv4 #aed4 ,footnote #bfab3 ,ibid4 #aee4 ,footnote #bfac3 ,ibid4 #aef4 ,footnote #bfad3 ,livy1 xxxi4 #d4 ,footnote #bfae3 ,cf4 ,pliny1 ,h4,n4 xxxv4 #aee4 ,footnote #bfaf3 ,helbig1 ,fhrer1 ii4 p4 #bgb1 ,no4 #aagg4 ,footnote #bfag3 ,cat4 ,d #dci4 ,footnote #bfah3 ,froehner's ,cat4 ,no4 #bdi4 ,footnote #bfai3 ,b4,m4 ,cat4 of ,terracottas1 ,d #dca-dcg1 and see ibid4 p4 xiii2 also ,smith1 ,nollekens and his ,times1 i4 p4 #aj4 ,footnote #bfbj3 ,pottier1 ,statuettes de ,terre ,cuit1 p4 #bcc4 ,footnote #bfba3 ,von ,rohden1 ,terracotten von ,pompeii1 pl4 #bi1 p4 #ah1 #ba2 ,pottier1 op4 cit4 p4 #bcj4 ,footnote #bfbb3 ,von ,rohden1 pl4 #cb4 ,footnote #bfbc3 ,ibid4 pls4 #cd-ce4 ,footnote #bfbd3 ,ibid4 pl4 #ai1 fig4 #b4 ,footnote #bfbe3 ,ibid4 pl4 #be3 cf4 pl4 #bf4 ,footnote #bfbf3 ,ibid4 pl4 #bd1 #b4 ,footnote #bfbg3 ,h4,n4 xxxv4 #aec4 ,footnote #bfbh3 ,ibid4 #aef4 ,footnote #bfbi3 ,ibid4 #aee3 see also on this subject ,wickhoff1 ,roman ,art1 ,english edn41 p4 #db2 ,blmner1 ,technologie1 iii4 p4 #aij2 ,gardner1 ,handbook of ,gk4 ,sculpture1 p4 #cc4 ,footnote #bfcj3 ,cf4 ,von ,rohden1 op4 cit4 p4 #bd4 ,footnote #bfca3 ,ibid43 cf4 also pls4 #ce-cf1 #da1 #dg4 ,for the subject of the feeding of the prisoner cf4 ,classical ,review1 #aija1 p4 #ic4 ,footnote #bfcb3 ,ibid4 pl4 #db1 pp4 #be1 #ec4 ,footnote #bfcc3 xiv4 #agh4 ,footnote #bfcd3 ,ibid4 #agf1 #ahb4 ,footnote #bfce3 ,ibid4 #aga4 ,footnote #bfcf3 ii4 #gj3 cf4 ,lactant1 ,div4 ,inst4 ii4 #d4 ,footnote #bfcg3 iii4 #ae4 ,footnote #bfch3 ,lampridius1 ,vit4 #be4 ,footnote #bfci3 i4 #aj1 #bc and #aa1 #df3 cf4 ,warde ,fowler1 ,roman ,festivals1 p4 #bgb4 ,footnote #bfdj3 ,de fer4 rom4 #ca 7,teubner edn4 p4 #aje72 but see ,marquardt1 ,staatsverwaltung1 iii4 p4 #efc4 ,footnote #bfda3 ,sat4 i4 #aj1 #bc4 ,footnote #bfdb3 ,cf4 the ceremony of the ,argei on the ,ides of ,may 7,preller-,jordan1 ,rm4 ,mythol4 ii4 p4 #ace74 ,footnote #bfdc3 ,sat4 i4 #aa1 #df-di3 cf4 ,preller-,jordan1 loc4 cit4 ,footnote #bfdd3 ,sat4 i4 #aa1 #a4 ,footnote #bfde3 ,cf4 ,seneca1 ,ep4 #ab 7i4 #ab1 #c71 and other references given by ,blmner1 ,technol4 ii4 p4 #abe4 ,footnote #bfdf3 ,spartianus1 ,vit4 ,hadriani1 #ag4 ,footnote #bfdg3 ,id4 ,vit4 ,carac4 #a4 ,footnote #bfdh3 ,orelli1 ,inscr4 ,lat4 #dbgi1 #daia4 ,footnote #bfdi3 ,suet4 ,claud4 #af1 ,nero #bh2 ,gellius1 ii4 #c1 #e1 v4 #d1 #a4 ,footnote #bfej3 ,dio ,cass4 lix4 #f2 ,gell4 ii4 #c1 #e4 ,footnote #bfea3 ,tert4 ,apol4 #ab and ad ,nat4 i4 #ab2 the ,greek word is 3 see ,vol4 ,i4 p4 #aaa4 ,footnote #bfeb3 iv4 #ae4 ,footnote #bfec3 ,von ,rohden1 pls4 #cf-de4 ,footnote #bfed3 ,ibid4 p4 #ba1 fig4 #ad4 ,footnote #bfee3 ,op4 cit4 p4 #bb3 see also ,pottier1 ,statuettes de ,terre ,cuite1 p4 #bce4 ,footnote #bfef3 ,fernique1 ,praeneste1 pp4 #aff1 #baa ff4 ,footnote #bfeg3 ,paris1 late1 p4 #aef4 ,footnote #bfeh3 ,rm4 ,mitth4 #ahhf1 p4 #agf3 cf4 ,archaeologia1 #a4 pls4 #h1 #i4 ,footnote #bfei3 ,wright1 ,celt1 ,roman1 and ,saxon#d1 p4 #bha4 ,footnote #bffj3 ,victoria ,county ,hist4 of ,norfolk1 p4 #bia4 ,footnote #bffa3 ,cat4 p4 #ga1 ,nos4 #ci1 #df2 p4 #gj1 ,no4 #cj4 ,footnote #bffb3 ,handbook of ,british ,pottery1 #ahic1 p4 #gg4 ,footnote #bffc3 ,figurines en ,argile 7#ahei73 see for abstracts ,roach-,smith in ,collect4 ,antiq4 vi4 p4 #dh ff41 and ,pottier1 ,statuettes de ,terre ,cuite1 p4 #bcf4 ,footnote #bffd3 ,rev4 ,arch4 xi4 7#ahhh71 p4 #ade ff4 ,footnote #bffe3 ,mmoires de la ,soc4 ,nat4 des ,antiquaires de ,france1 li4 7#ahia71 p4 #fe ff41 with a supplement in vol4 lx4 7#aija71 p4 #ahi ff4 ,footnote #bfff3 ,op4 cit4 lx4 p4 #aig4 ,footnote #bffg3 ,cat4 of ,terracottas1 ,e #dh-di3 cf4 ,tudot1 pl4 #i1 and ,roach-,smith1 ,ill4 ,rom4 ,lond4 p4 #aji4 ,footnote #bffh3 ,see the lists given by ,tudot 7p4 #fd7 and ,blanchet 7p4 #hc74 ,footnote #bffi3 ,pl4 #c3 other examples in pls4 #d-ad4 ,footnote #bfgj3 ,see ,chapter ,,xxiii4 and ,pottier1 ,statuettes de ,terre ,cuite1 p4 #bda4 ,footnote #bfga3 ,see the tables given by ,blanchet1 p4 #aae4 ,footnote #bfgb3 ,blanchet1 p4 #hi4 ,for ,,avot see also p4 #chd4 ,footnote #bfgc3 ,for a complete list of ,gaulish sites on which statuettes were made1 see ,blanchet1 ,mlanges ,gallo-romaines1 ii4 7#aijb71 p4 #ij ff4 ,footnote #bfgd3 ,op4 cit4 lx4 p4 #bjd4 ,footnote #bfge3 ,op4 cit4 lx4 pp4 #bjf1 #bcd4 ,footnote #bfgf3 ,rev4 ,arch4 xv4 7#ahij71 p4 #dbc 7from ,dijon72 for a list1 see ,blanchet1 op4 cit4 li4 p4 #if4 ,footnote #bfgg3 ,orelli1 ,inscr4 ,lat4 #bggf4 ,footnote #bfgh3 ,blanchet1 op4 cit4 plate1 fig4 #a2 ,rev4 ,arch4 xi4 7#ahhh71 p4 #aee1 pl4 #f4 ,footnote #bfgi3 ,roach-,smith1 ,collect4 ,antiq4 vi4 p4 #bbh ff41 pls4 #df-dg4 ,footnote #bfhj3 ,guildhall ,mus4 ,cat4 p4 #ga1 ,no4 #cb4 ,see also for ,britain generally1 ,cumbd4 and ,westmd4 ,ant4 ,soc4 ,trans4 xv4 p4 #eje4 ,footnote #bfha3 ,roach-,smith1 ,collect4 ,antiq4 vii4 p4 #fc2 ,ill4 ,rom4 ,lond4 p #aji4 ,footnote #bfhb3 ,op4 cit4 p4 #ajf ff4 ,footnote #bfhc3 ,see ,blanchet1 p4 #abj ff4 ,footnote #bfhd3 ,bell4 ,gall4 vi4 #ag4 ,footnote #bfhe3 ,cf4 ,heuzey1 ,figurines ant4 du ,louvre1 pls4 #b-d4 ,footnote #bfhf3 ,for a good example at ,rouen see ,blanchet1 p4 #afg4 ,footnote #bfhg3 ,cf4 ,b4,m4 ,cat4 of ,terracottas1 ,d #bbi ff4 ,footnote #bfhh3 ,see ,roscher1 s4v4 ,fecunditas4 ,footnote #bfhi3 ,op4 cit4 lx4 p4 #aih4 ,footnote #bfij3 ,see p4 #dhi4 ,footnote #bfia3 ,cf4 ,lafaye1 ,culte des divinits d',alexandrie1 p4 #afb ff4 ,footnote #bfib3 ,see ,blanchet1 op4 cit4 p4 #adc ff4 ,footnote #bfic3 ,see ,von ,rohden1 ,terracotten von ,pompeii1 pl4 #bg1 p4 #e4 ,footnote #bfid3 ,ibid4 pl4 #bf4 ,footnote #bfie3 ,daremberg and ,saglio1 s4v4 ,lucerna1 fig4 #dfjg3 see below1 p4 #cif4 ,footnote #bfif3 ,re ,rust4 iii4 #ae4 ,footnote #bfig3 ix4 #f4 ,footnote #bfih3 ,antr4 ,nymph4 #c1 #ad ff4 7,teubner74 ,footnote #bfii3 ,cat4 of ,terracottas1 ,e #abc-abd4 ,footnote #bgjj3 ,see ,journ4 ,brit4 ,arch4 ,assoc4 xxxii4 p4 #fe4 ,footnote #bgja3 ,see also ,daremberg and ,saglio1 s4v4 ,forma1 fig4 #cahf4 ,footnote #bgjb3 ,jahrbuch1 #aija1 p4 #afa ff43 see also ,daremberg and ,saglio1 s4v4 ,loculus4 ,footnote #bgjc3 ,op4 cit4 p4 #afg4 ,cf4 also for the form the at ,olympia4 ,footnote #bgjd3 ,op4 cit4 p4 #aff2 ,tudot1 ,figurines1 pl4 #dh2 ,daremberg and ,saglio1 s4v4 ,loculus1 fig4 #deab4 ,footnote #bgje3 ,jahrbuch1 #aija1 p4 #afh4 ,footnote #bgjf3 ,ibid4 p4 #agj4 ,footnote #bgjg3 ,cf4 also ,hor4 ,sat4 ii4 #f1 #aj4 ,footnote #bgjh3 ,jahrbuch1 loc4 cit4 ,footnote #bgji3 ,miscellanies1 p4 #bf4 ,footnote #bgaj3 ,jahrbuch1 #aija1 p4 #agh ,c4,i4,l4 xv4 #fjfh4 ,footnote #bgaa3 ,jahrbuch1 #aija1 p4 #agi2 fig4 #bjj4 ,footnote #bgab3 ,see below1 p4 #dbh1 and ,c4,i4,l41 xv4 #fejb1 #ffjh2 also ,b4,m4 ,nos4 #cbi1 #eed4 ,footnote #bgac3 ,op4 cit4 p4 #ahc ff4 ,footnote #bgad3 ,b4,m4 #dhh1 #dij2 ,c4,i4,l4 xv4 #ffaj4 ,footnote #bgae3 ,jahrbuch1 #aija1 p4 #ahe2 ,c4,i4,l4 xv4 #fjgc3 cf4 for the signature on lamps1 ibid4 #fbgd1 and ,b4,m4 #dgg4 ,footnote #bgaf3 ,see on this subject throughout ,babelon1 ,trait des monnaies grecques et romaines1 i4 p4 #iee 7with full bibliography74 ,footnote #bgag3 ,numism4 ,journal1 ii4 pp4 #eh1 #aie4 ,footnote #bgah3 ,hill1 ,greek and ,roman ,coins1 p4 #aeg2 ,victoria ,county ,history1 ,northants1 i4 p4 #aih4 ,footnote #bgai3 ,see ,daremberg and ,saglio1 ii4 s4v4 ,forma1 for an account of the process4 ,footnote #bgbj3 ,daremberg and ,saglio1 loc4 cit41 fig4 #cahg4 ,,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--,subjects--,deities--,mytholo gical and literary subjects--,genre subjects and animals--,inscriptions on lamps--,names of potters and their distribution--,centres of manufacture4 ,,bibliography ,bartoli1 ,le antichi lucerne sepolcrali2 ,antichit di ,ercolano1 vol4 viii42 ,kenner1 ,die antiken ,thonlampen des k4-k4 ,mnz- und ,antiken-,cabinetes zu ,wien1 #aheh2 ,wieseler in ,gttinger ,nachrichten1 #ahgj 7,kestnersche ,sammlung72 ,la ,blanchre and ,gauckler1 ,cat4 du ,muse ,alaoui1 #ahig2 ,daremberg and ,saglio1 ,dict4 des ,antiqs1 iii4 art4 ,,lucerna 7an admirable rsum by ,toutain72 ,fink in ,sitzungsber4 d4 ,mnchener ,akad4 d4 ,wissensch4 #aijj1 p4 #fhe ff42 ,c4,i4,l41 passim1 s4v4 ,instrumentum ,domesticum1 but above all vol4 xv4 pt4 #b1 p4 #ghb ff4 7,dressel74 ,lamps 7lucernae7 were often made of terracotta1 and these are in many ways of special interest4 ,originally they appear to have been called lychnus1 from the ,greek 1 and this word is used by ,ennius1 ,lucilius1 ,lucretius1 and ,virgil4#bgba ,varro#bgbb says that the word lucerna1 from lux1 was invented when the want of a ,latin word was felt1 and that previously candelae or torches had been alone in use1 there being no oil known in ,italy suitable for this purpose4 ,even in ,greece lamps were comparatively rare all through the best period 7cf4 ,vol4 ,i4 p4 #ajf74 ,the oldest lamps found in ,rome date from the third century ,b4,c41 and are thought to be of ,campanian fabric2 they were found on the ,esquiline1 and are of quite different character from the ordinary ,roman types4#bgbc ,it would appear1 therefore1 that originally the ,romans borrowed lamps from ,southern ,italy4 ,by the time of the ,empire their use had become general1 and they are found everywhere4 ,the increase in their manufacture was mainly due to growing taste in house decoration1 and also to use in funeral ceremonies and for public purposes1 such as illumination4 ,of the latter use in imperial times there is plenty of evidence 7see below1 p4 #cif74 ,the sites on which ,roman lamps have been found are far too numerous to discuss in detail1 as they embrace every part of the ,roman ,empire4 ,in ,rome and the neighbourhood they are especially plentiful1 as is implied by the fact that a large portion of the fifteenth volume of the ,latin ,corpus ,inscriptionum is devoted to those with potters' stamps alone4 ,they are found in all parts of ,italy1 in ,gaul1 ,germany1 ,britain1 ,spain1 ,north ,africa1 ,sicily1 ,greece1 ,egypt1 ,cyprus1 and ,asia ,minor4 ,the question of centres of manufacture is discussed elsewhere 7p4 #dbg7 in connection with the potters' stamps2 but it may be noted that those found on ,greek soil are often of a distinct character from those of ,western ,europe1 and the stamps on them form a distinct group1 being usually in ,greek letters 7cf4 ,vol4 ,i4 p4 #ajh74 ,of provincial sites1 ,knidos1 ,ephesos1 ,carthage1 and some of the ,german towns have proved particularly rich in this respect4 ,large numbers have been found in ,london1 mostly of the later types1 some perhaps of local fabric1 and those in the ,romano-,british collection of the ,british ,museum are nearly all from that city or from ,colchester4 ,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 subjects1 implying in the former case extensive export from one centre1 in the latter systematic commercial intercourse between the potters of different districts4 99 99 99 99 99 ,the principal parts of a ,roman lamp#bgbd are3 7#a7 the reservoir or body1 which contained the oil 7infundibulum72 7#b7 the flat circular top1 known as the discus1 sometimes with an ornamented rim 7margo72 7#c7 the nozzle1 with a hole for the insertion of the wick 7rostrum1#bgbe nasus1 myxus#bgbf2 the wick was called ellychnium72 7#d7 the handle 7ansa1 manubrium71 which was not indispensable4 ,in the discus was a filling-hole for pouring in the oil1 sometimes protected by a cover or stopper1 and sometimes a second smaller hole1 the purpose of which has been disputed 7see p4 #djf74 ,the number of nozzles was not limited1 though there is usually only one2 a lamp with two is known as bilychnis#bgbg2 one with several1 as polymyxus4 ,martial in one of his epigrams says3 8,though ,i illuminate whole banquets with my flame1 and have so many nozzles 7myxos71 ,i am known as a single lamp40#bgbh ,the wicks were made of a plant known as verbascum or thryallis1#bgbi but tow1 papyrus1 and sulphur were also employed#bgcj2 the oil was a vegetable oil of some kind4 ,sometimes the lamps were provided with a sort of snuffers or tweezers for extracting and trimming the wick1#bgca as described in a passage in the ,moretum 7#aj ff471 which speaks of drawing out the wick of a dying lamp with a needle3 ,admovet his pronam submissa fronte lucernam1 ,et producit acu stuppas humore carentes ,excitat et crebris languentem flatibus ignem4 ,the purposes for which lamps were used by the ,romans were various1 but fall under three main heads3 7#a7 for purposes of illumination in private houses1 in public buildings1 or on occasions of rejoicing2 7#b7 as offerings in temples2 7#c7 as funerary furniture4 ,in small houses they were placed either in niches in the walls or on brackets1 or were suspended by chains1 or even in some cases hung by the handle from a nail4 ,an ,etruscan terracotta lamp bears evidence of having been suspended in the last-named manner1#bgcb but there is no doubt that this was more usual with lamps of bronze1 there being few in terracotta which would have admitted of such a use4 ,sometimes the lamps were made resting on a kind of support1 as is the case with two in the ,british ,museum1 and others found in ,africa4#bgcc ,on the support a figure of a deity was usually modelled in relief4#bgcd ,combinations of a lamp and altar are not uncommon1 especially at ,rome and ,naples4#bgce ,there are numerous examples from ,pompeii and ,herculaneum illustrating their use in private life1 although lamps of clay are confined to the poorer houses or to domestic service4 ,for their use in the bedchamber at night evidence is afforded by ,martial and other writers4#bgcf ,a rough classification of the existing terracotta lamps might be made by dividing them into--7#a7 those with knobs for hanging1 7#b7 those with handles for carrying1 7#c7 those without handles for placing on tables or brackets4 ,many passages in ,latin writers afford evidence for the use of lamps in processions or for illuminations at times of public rejoicings1 such as triumphs4 ,they were thus used by ,cleopatra1 at the triumph of ,julius ,caesar1 at the return of ,nero1 and so on4#bgcg ,caligula had theatrical representations performed by lamp-light at night1 and ,domitian arranged hunts and gladiatoral combats ad lychnuchos4#bgch ,severus ,alexander lighted up the baths with oil-lamps1#bgci and ,tertullian speaks of assisting in political triumphs by defrauding the day with the light of lamps4#bgdj ,juvenal also speaks of their use in illuminations4#bgda ,many lamps1 especially those with subjects relating to the circus or games1 are inscribed with the word ,,saecvl7ares71 and it is possible that they were used in connection with the ,ludi ,saeculares1 at which illuminations took place4 ,but lamps with this inscription are not exclusively ornamented with such subjects4#bgdb ,lamps were used for burning in temples1 and were also the subject of votive offerings to the gods1 in ,greece as well as in ,italy4 ,one found at ,oenoanda in ,lycia was offered 8to the most high ,god0#bgdc2 and those which ,sir ,charles ,newton found in such large numbers at ,knidos 7,vol4 ,i4 p4 #ajh7 were also votive offerings in the temenos of ,demeter4 ,votive lamps are recorded from ,selinus1#bgdd and at ,carthage numbers were found round the altar of ,saturnus ,balcaranensis4#bgde ,to their use in the worship of ,isis1 as referred to by ,apuleius1 we allude below4 ,nearly all lamps have been found in tombs1 the custom of placing them there being one of ,asiatic1 not of ,greek1 origin2 it became quite general under the ,roman dominion4 ,christian lamps are found in the catacombs1 but not in cemeteries1 showing that the practice came to be regarded as pagan4 ,at ,avisford in ,sussex they were found placed in open bowls with handles1 on brackets along the side of a tomb4#bgdf ,the ,roman lamps found in tombs were placed there1 like the ,greek vases and the later glass1 for the use of the dead1 sometimes1 though not necessarily1 with the idea of their burning perpetually4#bgdg ,an inscription on a sepulchral cippus in the ,british ,museum#bgdh directs the heirs of the deceased to place a lighted lamp in his tomb on the ,kalends1 ,nones1 and ,ides of each month1 and similarly ,l4 ,granius ,pudens of the seventh cohort requests that his family should place oil in a lamp on his birthday4#bgdi ,another inscription in an elegiac couplet says3 8,whosoever places a lighted lamp in this tomb1 may golden earth cover his ashes40#bgej ,a fourth inscription directs the daily offering of a lamp at the public expense to the manes of a deceased person4#bgea ,in the story of the matron of ,ephesus1 told by ,petronius1 a servant-maid is described as replenishing the lamp in a tomb as often as was required4#bgeb ,two lamps in the ,athens ,museum have the subject of a bear1 and over it the inscription ,c1 8,fear02 being found in tombs1 they must have been placed there with some significance1 and as1 on the evidence of a ,cilician inscription1 ,phobos was regarded as a guardian of tombs who frightened off robbers and other evilly-disposed persons1 it may be that the terrible bear was placed on the lamp as a symbol of this protector of the dead4#bgec ,other superstitious uses of lamps1 not connected with the tomb1 were not uncommon4 ,omens were drawn from the way in which the flame burned1#bged and ,chrysostom describes a method of naming children by giving names to lamps1 which were then lighted1 and the name of the child was taken from that last extinguished4#bgee ,there are also a few other exceptional uses of lamps1 as for instance when they were given as strenae1 or ,new ,year's presents4 ,such lamps usually have a figure of ,victory holding a shield1 on which are the words ,,annvm ,,novvm ,,favstvm ,,felicem1 8,a happy and prosperous ,new ,year60#bgef ,in the field are heads of ,janus1 or cakes1 wreaths1 and other objects also probably intended for presents4 ,these all appear to date from the beginning of the first century after ,christ4#bgeg ,a lamp of the same class in the ,guildhall ,museum has on the shield ,,fiilictii1 ,felic7i7t7as74#bgeh ,it is interesting to note that the ,new ,year lamps are found in tombs#bgei2 they may1 of course1 have been preserved and buried as mementoes2 but at the same time1 it is not essential that the subject on a lamp should have any relation to its purpose1 as we have seen in the case of those inscribed ,saeculares4#bgfj ,the ,helioserapis lamp 7see p4 #djc7 and those with ,phobos as a bear may1 indeed1 be instances to the contrary1 but on the whole it would seem that the same rule would apply as in the case of the terracottas 7see ,vol4 ,i4 p4 #abb74 ,illustration3 ,,fig4 #bjb4 ,,lamp ,,from ,,the ,,esquiline4 ,the earliest ,roman lamps are of rude shape1 undecorated1 with a long projecting nozzle and circular reservoir2 they are not always provided with handles1 but are often covered with black glaze1 like the ,greek examples4 ,lamps of this type are found on the ,esquiline1 in ,north ,africa1 as at ,carthage1 and in ,sicily4#bgfa ,one of the ,esquiline examples1 dating from the second century1 has the engraved inscription ,,vevcadia 7,fig4 #bjb74bgfb ,like the ,greek lamps1 these are made on the wheel 771 not1 as later ones1 in a mould4 ,names in graffito seem to imply a reference to the person in whose tomb the lamp was found1 and such formulae as ,,ave1 ,,noli ,,me ,,tangere1 ,,nii ,,attigas ,,non ,,svm ,,tva ,m ,,svm1 ,,pone ,,fvr 78,drop it1 thief6071 which occur on the ,esquiline lamps1 also clearly refer to funeral usage4#bgfc ,illustration3 ,,fig4 #bjc4 8,,delphini- ,,form0 ,,lamp4 ,in the first century ,b4,c4 the lamps1 still mostly of black ware1 and devoid of subjects1 are distinguished by the straight-ended1 concave-sided nozzle #bjbfnozzle with a shallow groove leading to the centre1 small grooved ring-handle1 and sometimes a lateral projection like a fin1 from which some varieties are known as 8delphiniform0 7,fig4 #bjc74bgfd ,these are often found in ,north ,africa1 but are also imported into ,italy1 and some have ,greek stamps4 ,the top is sometimes covered with globules1 or with patterns of vine and ivy1 and in the later examples figure-subjects are introduced4#bgfe ,the earlier ones have large single letters or monograms underneath for potters' marks2 the later1 the name of the potter or superintendent of the pottery4 ,illustration3 ,,fig4 #bjd4 ,,lamp ,,with ,,volute-,,nozzle2 ,,first ,,century ,b4,c4 ,we now come to the ,roman lamps of the ,imperial period1 of which such large numbers exist in museums all over ,europe and the basin of the ,mediterranean4 ,they have not as yet been very systematically studied and classified2 but so far as the subject has been treated at all1 those who have investigated the development of the forms are fairly unanimous in their general conclusions4#bgff ,the last writer on the subject1 ,herr ,fink1 of ,munich1 has advanced a step further1 and by comparison of forms with potters' signatures has arrived at some interesting results1 which we need not hesitate to accept in the main4#bgfg ,he adopted as the basis of his classification the form of the nozzle in each case1 for the obvious reason that it is more essential to the character of a lamp than the handle2 if the latter is removed1 the form is in no way affected1 as it would be by the absence of the nozzle4 ,illustration3 ,,fig4 #bje4 ,,lamp ,,with ,,pointed ,,volute-,,nozzle2 ,,first ,,century ,b4,c4 ,following1 then1 on the lines of ,fink and the other writers1 we may establish--apart from abnormal forms and lamps modelled in the shape of figures--four main classes1 which are sufficient to include practically all the lamps with which we have to deal4 ,they may be summarised as follows3 7#a7 ,lamps with rounded nozzle or nozzles1 flanked on each side by a kind of double volute1 as in ,fig4 #bjd and ,b4,m4 #afg-ceb4 ,the usual number of nozzles is one1 but two are not infrequently found4 ,these belong to the first century ,b4,c41 and1 being convenient forms for a decorated top1 are ornamented with all kinds of subjects#bgfh2 the handle when present is often ornamented as in the cut4 7#b7 ,lamps of the same type as the last1 except that the nozzle ends in an obtuse-angled termination1 as ,fig4 #bje and ,b4,m4 #id-aff4 ,it is a form not adapted for more than one nozzle1 and usually has no handle4#bgfi ,illustration3 ,,fig4 #bjf4 ,,lamp ,,with ,,grooved ,,nozzle 7,,north ,,italy ,,type72 ,,first ,,century ,,after ,,christ4 7#c7 ,a small but distinct class1 almost devoid of figured decoration 7,fig4 #bjf and ,b4,m4 #cgi-cib71 but usually with a potter's name underneath2 the form is elegant1 and probably copied from bronze4#bggj ,the chief feature is the sunk centre1 in which is usually placed a ,bacchic or comic mask2 round it runs a raised rim1 through which a shallow groove passes to the somewhat elongated nozzle4 ,this dates from the first century of the ,empire or earlier1 some being found with coins of ,augustus1 others at ,pompeii2 these lamps are of red clay1 unglazed1 and have no handle4 ,on the sides are projecting knobs1 either concealing the joins of the moulds 7see p4 #dje71 or for the attachment of chains4 ,the names of the makers1 ,strobilus1 ,communis1 ,fortis1 etc41 are in good raised letters1 impressed in the mould 7see ,fig4 #baj74 ,they are found in all parts1 but rarely south of ,rome2 most of them are from ,gallia ,cispadana1#bgga and they may have been made at ,mutina4 ,illustration3 ,,fig4 #bjg4 ,,lamp ,,with ,,small ,,plain ,,nozzle2 ,,second ,,century ,,after ,,christ4 7#d7 ,in this class 7,fig4 #bjg and ,b4,m4 #cic-efg7 the nozzle is small1 and hardly projects beyond the rim of the lamp2 it is semicircular or heart-shaped in form1 and sometimes has an incised line or circles at the base4 ,fig4 #bjh represents a late development with the heart-shaped nozzle1 in which the design is always surrounded by a wreath or ornamental pattern4 ,many of these lamps1 especially those found in ,greece 7see ,vol4 ,i4 p4 #ajh71 have no handle2 there is also a somewhat late variety1 described on the same page1 which is confined to ,greece and marked by potters' signatures in ,greek letters 7,b4,m4 #fjd-fbi74 ,these lamps date from the time of ,trajan onwards2 the signatures are usually abbreviated1 and are stamped hollow1 or sometimes scratched in the wet clay2 raised letters are rare4 ,the subjects are very varied4 ,illustration3 ,,fig4 #bjh4 ,,third-,,century ,,type ,,of ,,lamp4 ,some of the larger lamps in the first class1 especially those with more than one nozzle1 have a flat vertical projection attached to the top of the handle1 triangular in form or crescent-shaped 7as in ,fig4 #bjd71 and this is often ornamented with figures in relief1 either whole subjects or busts of deities1 or such simple motives as a pair of dolphins1 a leaf1 or a palmette4 ,the figure-subjects are often quasi-,egyptian1 such as ,harpocrates and ,safekh on a ,british ,museum example 7,no4 #ccg ,plate ,,lxiii4 fig4 #c71 or a lectisternium of ,sarapis1 ,isis1 ,helios1 and ,selene4#bggb ,in a few cases this projection is replaced by a bust or even a seated figure of ,sarapis enthroned in a niche4 ,but in most cases the handle1 when present1 is of a simple form1 either a ring with shallow parallel grooves or a solid projecting piece through which a hole is pierced4 ---------------------------------------- -------------- ,,plate ,,lxiii ,illustration3 ,,roman ,,lamps ,,of ,,various ,,forms 7,,first ,,cent4 ,b4,c47 7,,british ,,museum74 ---------------------------------------- -------------- ,lamps of terracotta often assume1 like those in bronze1#bggc a more ornamental form1 being modelled partly or wholly in the form of figures1 heads1 animals1 and so on4 ,in some cases the upper part or discus only is modelled1 assuming the form of a mask--,satyric1 theatrical1 or grotesque4#bggd ,among the entire-figures which form lamps occur ,artemis1#bgge ,eros1#bggf ,victory slaying a bull1#bggg and various animals2 more common are heads of ,zeus ,ammon1#bggh ,pan1 ,seilenos1#bggi negroes1#bghj and animals such as oxen1 birds1 snails1 frogs1 or tortoises4#bgha ,a favourite shape is a lamp in the form of a foot or a pair of feet1 shod in sandals or boots1#bghb and there are two lamps in the ,british ,museum1 one of enamelled ware1 in the form of a gladiator's helmet#bghc2 others form fruit1 pine-cones or crescents4#bghd ,in the lamps which are modelled in the form of a head1 the chin usually forms the nozzle1 and the orifice for filling is on the forehead2 in those in the shape of a foot the nozzle is formed by the great toe4 ,occasionally lamps are found in the form of a ship1 recalling that which1 according to ,apuleius1 was used in the worship of ,isis3 a golden boat or cup 7cymbium1 see ,vol4 ,i4 p4 #ahf71 which shone with a clear light and sent forth a long flame4#bghe ,an interesting commentary on this use of lamps is formed by a remarkable example in the ,british ,museum 7,plate ,,lxiii4 fig4 #a71bghf which is not only in the shape of a boat1 but is decorated with subjects referring to the pseudo-,egyptian cults characteristic of ,rome in the late republican and early imperial period4 ,this lamp1 which is no less than twenty inches long and has numerous holes for wicks along the sides1 was dredged up from the sea at ,pozzuoli1 where it may originally have been in the temple of ,isis and ,sarapis4 ,on it is the inscription 1 signifying 8a prosperous voyage10 perhaps as a prayer on behalf of the donor1 and underneath are the words 1 8,receive me1 ,helioserapis10 by which the name of the vessel may be intended4 ,most lamps had only one wick1 but the light which they afforded must have been feeble1 and consequently the number was often increased4 ,when the number is not large1 or when the body is circular 7as in ,plate ,,lxiii4 fig4 #d71 they project beyond the rim of the lamp1 as in ,class ,i4 already described1 but the lamps which have a large number are usually boat-shaped or rectangular in form 7see ,plate ,,lxiii471 and the nozzles do not then project1 but are ranged along the sides1 merely indicated by separate moulding underneath4#bghg ,occasionally a conglomeration of small lamps was made in a row or group1 but even in these cases the illumination given must still have been feeble4 ,the average size of a lamp is from three to four inches in diameter across the body1 the length depending on the form of the handle and nozzle1 but averaging about an inch over the diameter1 and they are mostly about an inch in height4 ,the top of the lamp is almost always circular in form1 occasionally oval1 and rarely rectangular1#bghh and is usually slightly depressed1 being thus shaped to enable any overflow of oil to run down through the filling-hole4 ,many ,greek lamps1 and ,roman lamps from ,greek sites1 such as ,cyprus1 are convex above1 with a small moulded disc on the raised centre1 in which is the hole4 ,these are either devoid of decoration1 or only have an ornamental pattern or a frieze of figures on a small scale4 ,usually the subject is enclosed within a plain moulded rim1 but in the later examples 7,class ,,iv47 especially it is more contracted in extent1 and surrounded with a border of ornament1 such as the egg-pattern or a wreath of some kind 7see ,fig4 #bjh74 ,christian lamps1 which hardly come within the scope of this work1 vary very little in form2 they have ovoid instead of circular bodies1 a plain rounded nozzle1 and a small solid handle1 and the design is always encircled by a band of ornamental pattern or symbolical devices4#bghi 99 99 99 99 99 ,the clay of which the lamps are made is usually of a red colour1 due to the presence of red ochre 7rubrica71 but it varies both in quality and tone according to localities2 those from ,greek sites1 such as ,athens and ,corfu1 are often of a pale buff colour1 those from ,cyprus a light reddish brown1 and so on4 ,martial refers to the red clay of ,cumae1#bgij a place where lamps are sometimes found1 and those from ,naples are usually of a dull brown or yellow colour4 ,lamps found in ,france and ,england are often imported from ,italy1 and therefore of the ordinary red clay1 but those of local manufacture are of a white or yellowish tone4 ,illustration3 ,,fig4 #bji4 ,,mould ,,for ,,lamp ,,from ,,catania 7,,british ,,museum74 ,the earliest undecorated examples are made on the wheel1 as are those from the ,esquiline and from ,carthage1 in which the decoration is only incised2 but subjects in relief required a different technique4 ,occasionally they are modelled by hand1 but we find that from the first century ,b4,c4 onwards they are almost invariably made in moulds1 modelled from a pattern lamp1 in a harder and finer clay than the pattern4#bgia ,the mould was divided into two parts1 adjusted by mortices and tenons1 which1 in the opinion of some writers1 explains the lateral projections visible on certain varieties2 the lower part formed the body of the lamp1 the upper the decorated discus4 ,the two parts seem to have been marked by corresponding letters to avoid errors1 and there are two or three lower lamp-moulds in the ,british ,museum from ,ephesos and elsewhere1 marked with an ,a on the under side for this purpose4#bgib ,other examples of moulds have been found in ,greece1 ,italy1 and ,africa1#bgic and there are also specimens both for the upper and lower half in the ,guildhall ,museum4#bgid ,they were either of terracotta or plaster4 ,the clay was impressed into the mould with the fingers1 the figured decoration being applied by means of models or stamps1 as with the ,arretine ware 7see below1 p4 #dci71 and the ornamental patterns probably produced with a kind of wheel or running instrument1 as in ,roman pottery 7p4 #dda74 ,signatures in relief were taken from the mould1 those in hollow letters were impressed in the lamp itself from a stamp before baking4 ,important potteries must have possessed a large number of moulds2 for instance1 at ,rome alone ninety-one different subjects are found on the lamps of one potter 7,l4 ,caecilius ,saevus71 eighty-four on those of ,c4 ,oppius ,restitutus1 fifty-one on those of ,florentius1 and there must of course have been many more now lost4 ,it is clear that the same types were used by different potters2 the models must1 therefore1 have been handed about from one to another1 each potter merely adding his own name4 ,the two portions of the mould were joined while the clay was moist1 and pared with a tool1 and the orifice for filling was then pierced4 ,glaze1 when used1 was applied before the baking1 for which only a moderate temperature seems to have been required2 this process followed as soon as the clay was dry4 ,in some lamps a small hole or slit may be observed1 which some have thought to be for the pin with which the wick was extracted1#bgie but it is more probable that it was for a piece of wood which held the top and bottom of the mould together until the clay was united2 it was usually covered over before the baking1 and may have taken the place of the knobs already spoken of which occur in other forms4 ,the lamps were baked in batches1 placed closely together or superimposed1#bgif and it sometimes happens that a number are found united together which had coalesced firmly in the furnace1 as in ,sir ,charles ,newton's excavations at ,knidos4 ,subjects are first found on lamps in the second century ,b4,c41 though these are quite of a simple character4 ,lamps of this date from ,north ,africa#bgig have such designs as an altar and fruit1 a vase1 or a caduceus1 a head of an ibis1 or a nude incised figure of ,tanit2 others have merely a wreath round the centre1 and these apparently belong to the first century ,b4,c4#bgih ,the number of figures is generally small1 it being contrary to the principles of ancient art to crowd a work with minute figures and details4 ,the majority of lamps have only one figure1 and few beyond those of exceptional size have more than three4 ,as a rule the treatment is careless and the figures very indistinct1 but the lamps with ,greek signatures 7see ,vol4 #a4 p4 #ajh7 form a notable exception4 ,it may be imagined that the lamp-maker sought to gratify the taste of his customers by ornamenting his ware with familiar subjects4 ,purchasers of terracotta lamps were1 as has been noted1 generally persons of inferior condition1 and the subjects on the lamps are in many cases a popularising of well-known myths or even of works of art1 such as the ,venus types 7p4 #daj7 or the ,maenads of the 8new-,attic0 reliefs 7p4 #daa74 ,the types of ,victory and ,fortune are reflections of statues of the period1 and are repeated in many bronze statuettes4 ,there are also1 as we shall see1 occasional references to literature4 ,in ,rome the stage exerted little influence1 and subjects are rarely taken from the drama 7masks are an exception72 but the games of the circus and gladiatorial contests found a ready market1 and form a large proportion of the designs4 ,the subjects on the lamps1 in fact1 represent not so much the great masterpieces of art1 as do coins or gems1 but1 like the ,greek vases1 the popular art of the day1 and may be compared with the illustrations of the popular journals and magazines of our own time4 ,on the whole1 they are of great value to us as illustrating ,roman life and religion1 just as subsequently those on the ,christian lamps are of inestimable importance for the light they throw on the early ages of our own religion4 ,as the number of published lamps and catalogues of collections is so very small1 the subjects included in the following list are mostly confined to the collections in the ,british ,museum1 which are quite sufficiently comprehensive for the purpose4#bgii ,a few additional examples are given from the ,guildhall1 ,vienna1 and other collections1 from the ,antichit di ,ercolano1 ,bartoli's ,lucernae veterum sepulcrales1 the ,muse ,alaoui1 and other isolated sources4#bhjj ,references to ,passeri's work1 ,lucernae fictiles ,musei ,passerii1 have been avoided1 as it has been shown by ,dr4 ,dressel#bhja that nearly all those published by him are false4 ,we proceed to note the principal subjects in detail1 observing practically the same order that was adopted in describing the subjects on ,greek vases4 ,they may be roughly divided into eight classes3-- 7#a7 ,olympian deities4 7#b7 ,miscellaneous deities4 7#c7 ,heroic legends1 etc4 7#d7 ,historical and literary subjects4 7#e7 ,genre subjects4 7#f7 ,animals4 7#g7 ,inanimate objects4 7#h7 ,floral and decorative devices4 ,the ,olympian deities are not often represented1 some not at all1 except on a lamp in the ,kestner collection at ,gttingen1 which has busts of all the twelve#bhjb2 they are not1 however1 clearly distinguished by attributes4 ,zeus is represented with ,hera and ,athena1 the three ,capitoline deities of ,rome1 whom the ,etruscans knew as ,tinia1 ,thalna1 and ,menerfa1 the ,romans as ,jupiter1 ,juno1 and ,minerva4#bhjc ,he also appears alone1 seated on his throne1#bhjd but more commonly his bust only is represented 7,plate ,,lxiv4 fig4 #d71 accompanied by his eagle1 which perches on a thunderbolt1 sometimes conventionally rendered4#bhje ,the eagle and the thunderbolt also appear alone1#bhjf or the former with ,ganymede4#bhjg ,a bearded horned mask may be intended for ,dionysos1 but is more probably ,zeus ,ammon4#bhjh ,sarapis is sometimes enthroned1 with ,cerberus at his side#bhji2 sometimes only his bust occurs1 surmounted by the usual kalathos#bhaj2 ,cerberus is also found alone4#bhaa ,hera1 except in the instance mentioned1 does not occur4 ,a very interesting lamp from ,salamis1 ,cyprus1 now in the ,british ,museum1 represents the contest of ,athena and ,poseidon for the possession of ,attica#bhab2 it is doubtless a reminiscence of the ,parthenon west pediment1 though rough and indistinct in execution4 ,athena is also seen as a single figure1#bhac seated1 or standing in the usual ,promachos attitude1 or before an altar1 or pursuing a panther#bhad2 her head or bust are not uncommon4#bhae ,apollo is usually represented seated1 playing on his lyre1 or with the ,gryphon at his side#bhaf2 ,artemis appears as a huntress1 accompanied by her hound1 or drawing an arrow from her quiver4#bhag ,a lyre or a crescent appearing alone may be the symbols of these two deities4#bhah ,there are one or two possible instances of ,hephaistos and ,poseidon1#bhai and ,demeter may be indicated by a pair of torches#bhbj2 the latter also appears in her chariot1 seeking for ,persephone4#bhba ,ares or ,mars is found either as a single figure1#bhbb in a chariot1#bhbc or playing with ,eros1 who steals his armour4#bhbd ,hermes appears as a single figure1 or accompanied by a sheep1 goat1 or cock#bhbe2 in one instance he presents a purse to ,fortune1 who is accompanied by ,herakles4#bhbf ,a common subject is his bust1 along with his attributes of the purse and caduceus#bhbg2 the latter attribute1 accompanied by two hands joined1 may also have reference to this deity4#bhbh ,aphrodite occurs but rarely2 she is either represented accompanied by lions1#bhbi or riding on a goat1#bhcj or at the bath or toilet1#bhca or in the ,cnidian type1#bhcb all these types being probably reproductions of known works of art4 ,she is also accompanied by ,eros1 who assists in arming her2 this type is known as ,venus ,victrix1 and is seen in a group of ,aphrodite and ,eros in the ,louvre4#bhcc ,more common than all the ,olympian deities put together is ,eros or ,cupid1 who appears in all sorts of attitudes and actions1 besides those already mentioned4#bhcd ,he sits on a chair or reclines on a couch1#bhce or is represented in motion1 carrying a hare#bhcf or a bird1 a dish of fruit or a branch of vine or palm1 a cup1 situla1 or torch#bhcg2 or plays on the lyre1 flutes1 or ,pan-pipes#bhch2 or sacrifices a pig1 or pours wine into a krater4#bhci ,he rides on a donkey1#bhdj a dolphin1 or a crocodile1#bhda or sails in a boat#bhdb2 plays with a chained lion1#bhdc or is himself tied to a tree4#bhdd ,he is represented in the character of ,ares1 armed with spear and shield2 or in that of ,dionysos1 with cup and thyrsos2 or of ,herakles1 whose club he carries2 also1 probably in the character of ,herakles1 he shoots at a serpent4#bhde ,he is also associated with ,psyche1#bhdf and two ,erotes sometimes appear together1 in one instance in the character of gladiators fighting1 in another of boxers4#bhdg ,one of the most remarkable lamps in the ,museum collection 7,no4 #afh7 represents a number of diminutive ,erotes playing with the club and cup of ,herakles2 it is unfortunately fragmentary1 but another example in ,dresden gives the complete design4#bhdh ,one plunges head-foremost into the cup2 three others raise the club with difficulty from the ground1 one supporting it with his back1 and a fifth1 hovering in the air1 pulls at it with his hands4 ,in front of the last-named are the words ,,adivate ,,sodales1 8,help1 comrades60 ,dionysos is another surprisingly rare figure on the lamps1 though his followers1 the ,satyrs and ,maenads1 have their full share of representation4 ,he occurs as a single figure of youthful appearance1#bhdi and also with his panther1 to which he offers his kantharos to drink from#bhej2 his mask or head may also be recognised4#bhea ,pan is occasionally found1#bheb in one case in the form known as ,aegipan 7see p4 #fj7 in company with ,echo1#bhec in another as a grotesque bust4#bhed ,there is also an instance of ,marsyas hung up for his punishment to the branch of a tree4#bhee ,a pastoral deity playing flutes on the handle of a lamp in the ,b4,m4 7,no4 #cff7 may be either ,pan or ,marsyas4 ,satyrs are represented seizing ,maenads1#bhef dancing1 drinking1 and playing on the ,pan-pipes1#bheg or carrying cups and wine-skins1#bheh or with a goat#bhei2 both the bearded and beardless types are found1 and their masks or busts are also common4#bhfj ,the shaggy-haired ,papposeilenos is occasionally represented4#bhfa ,maenads are depicted dancing1 in frenzied attitudes1 or sacrificing kids2 the type is often that of the 8new-,attic0 reliefs1 derived originally from ,scopas1 of the ,maenad 4#bhfb ,their heads and masks also occur4#bhfc ---------------------------------------- -------------- ,,plate ,,lxiv4 ,illustration3 ,,roman ,,lamps ,,with ,,mythological ,,and ,,literary ,,subjects 7,,british ,,museum74 ---------------------------------------- -------------- ,among the minor deities we find that ,helios and ,selene 7,sol and ,luna7 are often depicted together1#bhfd or ,selene alone1#bhfe or else their busts together1#bhff or separately#bhfg2 in one case there is a simple representation of the solar disc for ,helios4#bhfh ,a curious subject in the ,british ,museum collection is apparently a combination of the ,christian 8,good ,shepherd0 with ,helios and the crescent for ,selene4#bhfi ,asklepios and ,hygieia occur in rare instances1#bhgj and there is an example of ,charon in his boat4#bhga ,of marine deities and monsters1 ,triton or ,proteus1 wearing the pileus or mariner's cap1#bhgb ,scylla1#bhgc and a ,nereid riding on a sea-monster 7,plate ,,lxiv4 fig4 #a7bhgd are found4 ,the popularity of exotic religions at ,rome is testified to by the occurrence1 on the one hand1 of ,kybele with her lions1#bhge and ,atys#bhgf2 on the other1 of ,egyptian deities such as ,sarapis1 already mentioned1 and ,harpocrates1 who is found either alone1 or with ,isis1 or with ,isis and ,anubis1#bhgg or with ,safekh 7,plate ,,lxiii4 fig4 #c7bhgh2 ,isis and ,horus1 and busts of ,hermanubis and ,isis are also found4#bhgi ,on the handle of a lamp is a lectisternium with busts of ,sarapis and ,isis1 and of ,helios and ,selene4#bhhj ,the busts of the two ,kabeiri also occasionally appear4#bhha ,among personifications or quasi-personifications we find the three ,charites or ,graces#bhhb and a ,muse with lyre#bhhc2 others are all typically ,roman1 such as a bust of ,africa on a lamp from ,carthage1#bhhd and such types as ,abundantia#bhhe 7or two cornucopiae as her symbol#bhhf71 ,vertumnus1#bhhg ,fortune with her steering-oar and cornucopia1#bhhh and ,victory4#bhhi ,many of these seem to be reflections of bronze statuettes of the ,roman period4#bhij ,the latter goddess is frequently found1 bearing a wreath1 a trophy1 or a shield1#bhia sometimes reclining or in a chariot#bhib2 or again between two ,lares#bhic2 or two ,victories are grouped together4#bhid ,of special interest are what are known as the ,new ,year lamps1 given as strenae on ,january #ast 7see p4 #cih71bhie on which ,victory is represented holding a shield1 on which is inscribed an aspiration 7see p4 #dbj7 for a happy ,new ,year1 the head of ,janus1 cakes1 coins 7stipes71 and other emblems filling in the rest of the design 7,plate ,,lxiv4 fig4 #e74bhif ,occasionally the inscription is varied1 and appears as 8,for the safety of the state0#bhig or 8,happiness0 simply4#bhih ,two ,lares confronted1 holding cornucopia1 etc41 are also found without ,victory4#bhii ,of representations of ,phobos 7,fear7 we have spoken already 7see p4 #cih74 ,there are also representations of terminal deities1#bijj as well as unidentified goddesses4#bija ,coming now to the heroes and heroic legends1 we find that they play on the whole an inconsiderable part in the list of subjects on lamps4 ,leda is represented with the swan1#bijb and the ,dioskuri sometimes appear as busts#bijc2 also ,kastor as a full figure1 accompanied by his horse4#bijd ,of the labours of ,herakles we have the ,nemean lion1#bije the ,erymanthian boar1#bijf the hydra1#bijg and the slaying of the serpent in the ,garden of the ,hesperides1#bijh as well as the combat with a ,centaur#biji and the freeing of ,prometheus4#biaj ,he is also represented as a single figure1 holding the apples of the ,hesperides1#biaa leading kids1#biab or with a jug or drinking-cup1#biac or his head alone 7both bearded and beardless types74#biad ,theseus slays the ,amazon ,andromache#biae2 ,perseus is represented carrying the ,gorgon's head#biaf2 ,bellerophon is seen fallen from his horse ,pegasos1 or leading him to drink at ,peirene#biag2 there are also possible representations of ,kadmos and ,meleager4#biah ,europa is depicted on the bull#biai2 ,endymion asleep#bibj2 ,aktaeon devoured by his hounds#biba2 ,telephos suckled by the hind#bibb2 and ,eos pursuing ,kephalos4#bibc ,icaros in his attempted flight is watched by ,minos from the walls of ,knossos 7,plate ,,lxiv4 fig4 #b74bibd ,from the ,theban legend we have only ,oedipus before the ,sphinx1#bibe a scene from the ,phoenissae of ,euripides 7see p4 #dae71 and ,amphion and ,zethos seizing the bull for the punishment of ,dirke4#bibf ,nor are scenes from the ,trojan cycle much more common2 but ,achilles and ,thetis are represented1#bibg and also ,achilles dragging the body of ,hector round the walls of ,troy#bibh2 there is a curious scene1 somewhat grotesquely treated1 of ,odysseus and ,neoptolemos stealing the bow of ,philoktetes1 who fans his wounded foot#bibi2 ,ajax is seen grieving after his madness#bicj2 and ,aeneas carries off his aged father and his son from ,troy4#bica ,odysseus appears before ,kirke1#bicb passing the ,sirens1#bicc and offering a cup to ,polyphemos1#bicd but sometimes also without the ,cyclops4 ,orestes appears at his trial before ,athena in the presence of a ,fury4#bice ,a ,centaur is seen carrying off a woman1 and in combat with a ,lapith#bicf2 also with a lion1#bicg carrying an amphora1#bich or playing flutes4#bici ,an ,amazon wounded1 standing at an altar1 and accompanied by a crane1 are also among the list of subjects4#bidj ,a single figure of ,pegasos1#bida and the ,gorgoneion or ,medusa-head1#bidb are not infrequently found4 ,combats of ,pygmies and cranes1#bidc and a ,pygmy on a crocodile1#bidd may also perhaps be included under this heading4 ,the next group of subjects includes those of a historical or literary character4 ,in the ,british ,museum there are two very interesting representations of ,diogenes in his tub or pithos 7see ,vol4 ,i4 p4 #aeb71 presumably addressing ,alexander1 as in the well-known story1#bide but the latter is not represented 7,plate ,,lxiv4 fig4 #f74 ,among portraits are busts of ,aesop1#bidf and various ,roman personages1 such as ,hadrian1 ,antonia1 ,trajan1 ,marcus ,aurelius1 ,septimius ,severus1 ,commodus1 ,julia ,domna1#bidg ,lucius ,verus1#bidh and others who cannot be identified4#bidi ,a scene from the ,phoenissae of ,euripides occurs on one lamp1 with the combat of the two brothers and the death of ,jocasta2 the name of the play is actually inscribed on the lamp4#biej ,with reference to ,virgil's first ,eclogue we find a representation of the shepherd ,tityrus on a lamp found at ,pozzuoli#biea2 the shepherd1 whose name is given1 is seated among his flocks4 ,several lamps illustrate the well-known fable of ,aesop1 of the ,fox and ,crow4#bieb ,the fox1 wearing a chlamys1 stands on his hind-legs holding up a pair of flutes to the crow1 which is perched on the top of a tree4 ,another subject1 which doubtless has reference to some fable1 is that of a stork holding in its beak a balance1 in which a mouse is weighed against an elephant4#biec ,the humour of the subject lies in the fact that the mouse is seen to weigh the elephant down4 ,these two are illustrated on ,plate ,,lxv4 figs4 #c1 #f4 ,there is also a lamp in the ,british ,museum 7,plate ,,lxiii4 fig4 #b7 with a curious subject which may either be a scene from a comedy like those on the ,south ,italian vases1 or else a parody of 8a visit to ,asklepios40#bied ,the subjects taken from ordinary life are eminently characteristic of the social life of ,rome under the ,empire4 ,an almost inordinate proportion relate to the now popular gladiatorial shows1 and many others deal with the events of the circus and arena4 ,of gladiatorial subjects there are three principal varieties1 which occur again and again on lamps of all shapes and periods with little alteration4#biee ,one class represents a single gladiator in the characteristic armour1 with visored helmet1 greaves1 and arm-guards1 sword and shield#bief2 the next represents a combat of two 7,plate ,,lxv4 fig4 #e71 in which the one is usually worsted and falls at the other's feet1 his shield on the ground beside him4#bieg ,an interesting example in the ,british ,museum 7,no4 #ebf7 shows a mirmillo or secutor in combat with a retiarius1 who fought with net and trident4 ,the third series has representations of gladiatorial armour ranged in a circle3 swords1 shields1 arm-guards1 greaves1 and helmets4#bieh ---------------------------------------- -------------- ,,plate ,,lxv4 ,illustration3 ,,roman ,,lamps ,,with ,,miscellaneous ,,subjects 7,,british ,,museum74 ---------------------------------------- -------------- ,from the circus and games we have such subjects as a naval contest in the amphitheatre#biei2 a bull-fight#bifj2 a bestiarius contending with boars#bifa2 a man leaping over a bull#bifb2 and boxers4#bifc ,a remarkable lamp in the ,british ,museum 7,no4 #afd ,plate ,,lxv4 fig4 #d7 gives a representation of a chariot-race in the circus2 we have the colonnade of latticed barriers 7carceres7 from which the chariots started1 the spina down the middle of the course1 adorned with shrines and obelisks1 and rows of seats full of spectators2 four chariots take part in the race4 ,next there are scenes such as an athlete crowning himself1 a victorious charioteer in his quadriga1 or a victory in the horse-race4#bifd ,of more miscellaneous character are such subjects as a chariot drawn by four men1 a two-horse or four-horse chariot by itself1 or a man or boy on horseback4#bife ,military subjects are at all times rare1 but a not infrequent subject is a mounted warrior charging with a spear#biff2 a soldier is also depicted with a bird1#bifg at an altar1 taking an oath1 and saluting an officer who rides past4#bifh ,there are also representations of an imperator on his triumphal car1#bifi of an eagle and standard1#bigj and of a trophy perhaps commemorating a victory over barbarians4#biga ,a representation of a ship or galley is not uncommon1 but sometimes it is not easy to distinguish these from the type of ,odysseus and the ,sirens4#bigb ,some lamps have landscapes in the style of ,alexandrine reliefs and chased metalwork1 as for instance a harbour surrounded by buildings1 in which two fishermen pursue their vocation 7,plate ,,lxv4 fig4 #a71bigc or a hunter accompanied by a porter1 with a town in the background4#bigd ,among pastoral scenes we have also1 besides the ,tityrus already mentioned1 shepherds and goatherds with their dogs1 tending sheep and goats which nibble the foliage of trees#bige2 fishermen1#bigf and hunters1 as already noted4 ,another interesting type is that of a juggler or mountebank accompanied by a dog and a cat1 which climb ladders1 jump through rings1 and perform other tricks 7,plate ,,lxv4 fig4 #b74bigg ,of a more miscellaneous character are such subjects as a butcher slaughtering animals hung from a tree#bigh2 a fuller at work#bigi2 a slave washing a dog1 and another washing a statue#bihj2 slaves carrying casks or fasces#biha2 a mule turning a mill4#bihb ,others1 again1 do not admit of any exact classification2 such are a man and woman embracing2 a woman scraping herself after the bath2 a youth with a mortar2 the sacrifice of a pig#bihc2 a man riding on a camel or elephant1#bihd or driving a camel#bihe2 a dwarf in a boat or playing on a flute#bihf2 comic actors1#bihg and comic and tragic masks#bihh innumerable2 and two skeletons dancing4#bihi ,animals form a large proportion of the representations on lamps1#biij especially on the late class without handle from ,knidos 7,vol4 ,i4 p4 #ajh71 and include ,gryphons1 elephants1 lions1 panthers1 boars1 bears1 wolves1 deer1 horses1 oxen1 sheep1 goats1 dogs1 rabbits1 eagles1 storks1 ostriches1#biia peacocks1#biib parrots1#biic cocks and hens1 and other birds2 dolphins1 sea-horses1 cuttle-fish and other kinds of fish1 scorpions1#biid frogs1 shell-fish1 and so on4 ,those mentioned so far are single figures1 merely decorative2 in others there is more definite action4 ,such are a lion attacking a bull or crocodile1 or seizing a hind or a donkey#biie2 two bears dancing#biif2 a monkey and vine#biig2 a dog on a couch1#biih fighting with a goose1 or attacking a stag1#biii hind1 or boar#cjjj2 two monkeys in a boat#cjja2 a hare or rabbit nibbling at a plant#cjjb2 a bird on a twig1 sometimes eating fruit#cjjc2 an eagle seizing a hare#cjjd2 an ibis and a serpent#cjje2 a hen with chickens1 cocks fighting1 or a cock pursuing a hen#cjjf2 dolphins twisted round a trident or anchor2 a crocodile and serpent2 a lizard or sea-monster and eel2 two serpents1 sea-horses1 or dolphins with an altar between#cjjg2 and a grasshopper eating grapes4#cjjh ,there are also a large number of lamps1 the centre of which is only ornamented with some decorative motive1 such as a carchesium 7,vol4 ,i4 p4 #ahh71 situla1 or krater1 from which spring vine-branches1 ivy1 or other plants2 an oinocho1 flask1 or drinking-cup2 palm-branches1 wreaths of ivy1 vine1 oak1 and myrtle1 sprays of flowers2 a cornucopia and caduceus1#cjji or other emblems of deities1 such as two hands joined with a caduceus behind them 7see p4 #daj72 scallop-shells2 or purely conventional patterns1 such as large four-leaved flowers1 stars1 and rosettes4 ,the latter are mostly found on lamps from ,greek sites1 especially in ,cyprus1 and at ,tarsus and ,knidos4 ,many lamps have no decoration on the discus1 but only comic masks round the edge1 or a border of foliage4 ,the ,christian lamps are as a rule easily to be distinguished from the pagan by their form1 as well as by their subjects4 ,these subjects are mainly taken from the ,old ,testament1 from the life of our ,lord1 and from the sphere of symbolism2 the ,good ,shepherd1 the seven-branched candlestick1 the cross or labarum1 and the sacred monogram1 are all favourites4#cjaj 99 99 99 99 99 ,a considerable number of ,roman lamps have inscriptions1 either impressed in relief or hollow letters from a stamp1 or engraved with a pointed instrument2 the stamps were probably of bronze4 ,potters' signatures and trade-marks are always underneath the lamp1 and those found on the top usually relate in some way to the subject4 ,sometimes1 as in lamps from ,pozzuoli and ,naples1#cjaa the inscriptions are in relief on the surface1 in small tablets4 ,they may1 however1 be classified under four headings3-- 7#a7 ,inscriptions referring to the circumstances under which or for which the lamp was made1 as1 for instance1 with reference to national events or public games1 or for religious dedications4 7#b7 ,inscriptions descriptive of the subjects4 7#c7 ,acclamations or formulae addressed by the potter to the public4 7#d7 ,signatures of potters or trade-marks2 this class is by far the most numerous4 ,to the first class belong some of the formulae to which allusion has already been made 7pp4 #cif1 #cih71 such as those on the ,new ,year lamps3 ,,annvm ,,novvm ,,favstvm ,,felicem ,,mihi ,,hic 7or ,,tibi1 or to some person whose name is given72 occasionally this is varied by formulae such as ,,fiilictii 7for ,,felicitas871 8,happiness 7to you760#cjab ,,ob ,,cives ,,serv7atos71 8,for the preservation of the state0#cjac2 ,g ,p ,r ,f1 ,genio populi ,romani feliciter#cjad2 ,,ex,s,c1 8,by the decree of the senate0#cjae2 ,,fides ,,pvblica1 8,the public trust10#cjaf and the ,,saecvli1 ,,saecvlo1 ,,saecvlares group of inscriptions1#cjag which may in a few cases refer to the ,ludi ,saeculares1 but more probably are of similar import to the ,,saec7ulum7 ,,av7reum7 ,,dom7ini71 8,the golden age of our lord18 on a lamp from ,antium4#cjah ,the last-named formula1 it should be noted1 is found both above and below the lamps4 ,,lvcer7na7 ,,pv7b7,,lica probably refers to the use of the lamp in some public illuminations 7see p4 #cif74cjai ,a lamp in the ,trier ,museum#cjbj has the names of the consuls for the year #bce 7,severus and ,quintianus74 ,among names of deities for whose sanctuaries the lamps were intended are ,venus 7,,sacrvm ,,veneri1 with a figure of the goddess71#cjba and the ,ephesian ,artemis 7 74#cjbb ,among the inscriptions relating to the subjects on the lamps are several which have already been mentioned1 such as ,,diogenes and ,,titvrvs1 and also ,,ga7ny7,,medes over a figure of the same4#cjbc ,on a lamp representing the flight of ,aeneas from ,troy are the names ,,aen7eas71 ,,anc7hises71 ,,asc7anius71 and the exclamation ,,rex ,,pie1 alluding to the former4#cjbd ,on another1 which represents the fight of ,eteokles and ,polyneikes and the death of ,jocasta1 subjects taken from the ,phoenissae of ,euripides1 occur not only the letters ,,pvl for ,polyneikes1 but also ,,pho7e7,,niss7ae71 leaving no doubt as to the source whence the scenes are taken4#cjbe ,another in the form of ,eros or a ,genius with the club and lion-skin of ,herakles1 lying asleep1 has on it the curious inscription ,,aia ,,stlacia ,,tvra ,,dormit1 ,,sternit ,,sir 4441#cjbf the import of which is not quite clear4 ,similar inscriptions often occur in scenes from the circus or amphitheatre1 giving the names of gladiators1 as ,afer1 ,helenus1 ,popillius1 or ,sabinus1#cjbg or of charioteers in the circus-races1 as ,c4 ,annius ,lacerta and the horse ,corax1 which won him a race for the white faction at the ,secular ,games#cjbh2 another lamp has the name of a horse or his driver1 ,,incitatvs1 and a third the exhortation ,,vig7i7,,la ,,prasine1#cjbi which may allude to a driver of the green faction4 ,over the figure of a warrior on a lamp from ,carthage is ,,plvs ,,fecisses ,,si ,,plvs ,,liceret1 8,you would have done more if you had had the chance40#cjcj ,in other cases there seems to be a revival of the old ,greek fashion of apostrophising the figures as ,kalos--e4g4 ,,aqvilo ,,calos1 ,,axolmvs 7c7,,alos4#cjca ,there are also inscriptions put into the mouths of figures1 as in the subject of ,cupids with the club of ,herakles1 one of whom cries ,,adiv7v7,,ate ,,sodales1 8,help1 comrades60#cjcb or the funerary ,genius weeping over an urn and saying1 ,,lvgeo1 8,i mourn40#cjcc ,to the third class belong such expressions as ,,have1 8,hail60#cjcd2 ,,vivas or ,,valeas1 8,long life602 ,,vtere1 8,use this0#cjce2 ,,ave ,,et ,,vale1 8,greeting and farewell10 on a lamp from ,cologne#cjcf2 and on another from the same site1 ,,have ,,macena ,,villis ,,have ,,lasciba ,,vale1#cjcg which seems to have a somewhat coarse significance4 ,others allude to the future purchaser1 as ,,eme ,,me1 8,buy me0#cjch2 ,,qvi ,,fecerit ,,vivat ,,et ,q7ui7 ,,emerit1 8,may the potter and purchaser flourish02 ,,emite ,,lvcernas ,,ab ,,asse ,,colatas1 8,buy lamps for an ass0#cjci2 ,,bono ,,qvi ,,eme7rit71 8,may it be for his good who shall buy it40#cjdj ,the latter class are chiefly found in ,north ,africa4 ,mention has already been made of the inscriptions on the ,esquiline lamps1 such as ,,pone ,,fvr2 these are not found on lamps of imperial times1 and appear to be peculiar to the early fabrics4 has been found on a lamp at ,athens4#cjda ,on a lamp from ,spain is inscribed ,g ,,ivlivs ,,artemidor 444 ,,lvcernas ,,ii ,d ,d1 8,c4 ,julius ,artemidorus makes a present of two lamps40#cjdb ,a very curious inscription is found written in ink on a lamp at ,rome1 to this effect3 8,helenus delivers his name to the nether world2 he carries down with him coins1 a ,new ,year's gift1 and his lamp2 let no one deliver him except us who have made them40#cjdc 99 99 99 99 99 ,potters' signatures are almost invariably to be found on the under side of the lamp1 where they are arranged on the diameter at right angles to the axis of the lamp2 sometimes they are placed in a panel or tablet1 or within the outline of a foot4 ,in rare instances they are found on the handle1 or on the top4#cjdd ,greek lamps which are not of ,roman origin are never signed1 nor are those of ,christian origin2 the oldest signatures are to be found on the ,esquiline lamps1 but they rarely appear before imperial times1 when they become fairly general4 ,among these earlier instances are ,,praese7ntis7#cjde and ,,fl7a7,,bia 7,flavia71 the latter found at ,carthage4#cjdf ,more frequently1 lamps of this kind have a single letter or monogram by way of stamp#cjdg2 a 8delphiniform0 lamp in the ,muse ,alaoui has a monogram of and 4 ,a single letter sometimes occurs above or below the inscription1 which may be regarded as a sort of trade-mark indicating the potter 7figulus71 the full name being that of the officinator or master2 on a lamp in the ,british ,museum from ,knidos 7,no4 #acb7 the name ,,romane7n7,,sis is accompanied by the letter ,x2 on another1 ,,fortis by the letter ,n4 ,on the lamps signed by ,l ,,hos ,,cri1 a ,gaulish potter1 are found the letters ,g1 ,i1 ,l1 ,m1 ,p1 ,s1 ,t1 ,v1 ,n1 ,z1 and other signs4#cjdh ,these trade-marks are not confined to letters2 ,fortis uses a wreath and palm-branch1 as in ,fig4 #baj2 ,l4 ,caecilius ,saevus a palm-branch or a foot-shaped stamp2 ,l4 ,fabricius ,masculus the letters ,h and ,x1 a wheel1 or a star4#cjdi ,other lamps have no name underneath1 but some simple pattern1 such as five circles in quincunx form1 or the favourite device of the foot-shaped stamp 7cf4 p4 #ccc74 ,these varieties of marks were probably intended to distinguish different series in the products of a single pottery4 ,illustration3 ,,fig4 #baj4 ,,under ,,side ,,of ,,lamp ,,with ,,signature ,,of ,,fortis 7,,brit4 ,,mus474 ,the signatures are usually abbreviated1 the full form being ex officina 7officinatoris71 the name being consequently in the genitive4 ,on a lamp from ,rome is ,,ex ,,of ,,aiacis1 ex officina ,aiacis4#cjej ,sometimes1 but rarely under the ,empire1 the nominative is used3 ,a4,b4 fecit1 or more commonly ,a4,b4f4 ,thus we have ,,avgendi1 ,,atimeti1 ,c 4 ,,ivli ,,nicephori1 or ,,asprenas1 ,,felix1 ,,trophimvs4 ,but where a single name occurs it is rarely full enough to show the case4 ,on a lamp at ,dresden the potter ,diomedes calls himself ,,lvcernarivs4#cjea ,from the second century down to the time of ,augustus the name may be either in the nominative or genitive1 either the praenomen and nomen1 or the nomen or cognomen only2 these signatures were all incised while the clay was moist4 ,in the period represented by the third class 7see p4 #dja7 nearly all the signatures are cognomina simply1 as ,,atimeti1 ,,commvnis1 ,,fortls1 ,,strobili1 all in the genitive4 ,in the fourth class1 or lamps of the second century1 the nominative is very rare2 the names are usually abbreviated1 and one 7cognomen71 two 7nomen and cognomen71 or three may be found4 ,potteries were1 as we have seen1 often owned by women1 hence female names are not uncommon4 ,abbreviations of a particular name vary considerably2 for instance1 ,l4 ,caecilius ,saevus appears as ,l ,,caec ,,sae1 ,l ,,cae ,,sae1 ,l ,,ca ,,sae 7see below1 p4 #dbh72 ,l4 ,fabricius ,masculus as ,l ,,fabric ,,masc1 ,l ,,fabric ,,mas1 ,l ,,fabr ,,masc1 ,,fabric ,,mas1 and so on4#cjeb ,or the praenomen may vary1 and for ,c ,,oppi ,,res we find ,l ,,oppi ,,res2 or1 again1 the cognomen1 as in the case of ,c4 ,junius1 where it may be ,alexis1 ,bitus1 or ,draco1#cjec or of ,l4 ,munatius1 found with ,adjectus1 ,restitutus1 ,successus1 ,threptus1 and ,philemo4#cjed ,the variations in the names may denote potteries in connection1 or successive holders of one business4 ,in one instance the name of a workman ,,pvlcher occurs with that of ,fabricius ,masculus1 in another that of ,,primvs with ,c4 ,oppius ,restitutus4#cjee ,greek names1 where they occur1 seem to imply that the potters were freedmen1 as in the case of ,dionysius1 ,phoetaspus1 and others4 ,the following list gives the names most frequently found1 with the localities in which they occur#cjef3-- ,annius ,serapiodorus 7,,anni ,,ser73 ,rome1 ,ostia4 ,c4 ,atilius ,vestalis 7,c ,,atili ,,vest73 ,rome1 ,italy1 ,gaul1 ,britain4 ,atimetus3 ,italy1 ,gallia ,narbonensis1 ,pannonia4 ,l4 ,caecilius ,saevus 7,l ,,cae ,,sae73 ,rome1 ,southern ,italy1 ,sicily1 ,sardinia1 ,gallia ,narbonensis1 ,britain4 ,clodius ,heliodorus 7,,clo ,,hel73 ,italy1 ,africa1 ,spain1 ,gaul4 ,c4 ,clodius ,successus 7,c ,,clo ,,svc73 ,rome1 ,gaul1 ,sardinia1 ,africa4 ,communis3 ,rome1 ,pompeii1 ,gallia ,cisalpina1 ,pannonia4 ,crescens3 ,gaul1 ,pannonia4 ,l4 ,fabricius ,masculus 7,l ,,fabr ,,masc73 ,rome1 ,gallia ,cisalpina1 ,africa4 ,florentius 7,,florent73 ,rome1 ,italy1 ,sicily1 ,tunis1 ,gaul1 ,germany1 ,britain4 ,fortis3 ,rome1 ,italy1 ,sicily1 ,dalmatia1 ,germany1 ,gaul1 ,britain4 ,gabinia3 ,italy1 ,sardinia1 ,africa1 ,gaul4 ,l4 ,hospidius ,crispus 7,l ,,hos ,,cri73 ,gaul4 ,c4 ,julius ,nicephorus 7,c ,,ivli ,,nicep73 ,italy1 ,gaul4 ,c4 ,junius ,alexis3 ,rome1 ,campania1 ,sicily1 ,sardinia1 ,africa4 ,c4 ,junius ,bito3 ,italy1 ,sicily1 ,gaul4 ,c4 ,junius ,draco3 ,rome1 ,italy1 ,sicily1 ,sardinia1 ,africa1 ,gallia ,narbonensis4 ,l4 ,mar4 ,mi43 ,rome1 ,campania1 ,sicily1 ,spain1 ,gallia ,cisalpina4 ,l4 ,munatius 7with various cognomina73 ,rome1 ,africa4 ,n4 ,naevius ,luc4 7,n ,,naev ,,lvc73 ,italy1 ,sardinia1 ,spain1 ,gaul4 ,m4 ,novius ,justus 7,m ,,nov ,,ivst73 ,rome1 ,naples1 ,sicily1 ,sardinia1 ,africa1 ,gallia ,narbonensis4 ,c4 ,oppius ,restitutus 7,c ,,oppi ,,res73 ,rome1 ,italy1 ,sicily1 ,sardinia1 ,africa1 ,gallia ,narbonensis1 ,cyprus4 ,passenus ,augurinus 7,,pas ,,avg73 ,italy1 ,gaul4 ,phoetaspus3 ,italy1 ,gaul1 ,pannonia4 ,strobilus3 ,rome1 ,italy1 ,africa1 ,pannonia1 ,dalmatia1 ,gaul1 ,britain4 ,vibianus3 ,gaul1 ,pannonia4 ,c4 ,viciri ,agathopus 7,c ,,viciri ,,agat73 ,italy1 ,sardinia1 ,gallia ,cisalpina4 ,it will be noted that nearly all are found at ,rome1 but that the others fall into geographical groups2 the same name is seldom found both in the north and south of the ,empire4 ,thus ,fortis is not found in ,africa1 ,oppius ,restitutus only rarely in ,gaul4 ,certain names are entirely localised1 as ,annius ,serapiodorus at ,rome and ,ostia1 ,l4 ,hos4 ,cri4 and ,marcellus in ,gaul1 ,q4 ,mem4 ,kar4 and ,pudens in ,sardinia4 ,the name of ,vindex1 a maker of terracotta figures at ,cologne 7see above1 p4 #chc71 is found on lamps at ,trier and ,nimeguen4#cjeg ,the distribution of the ,fortis lamps in particular is remarkable4 ,they have been found in several places in ,gallia ,cisalpina1 such as ,aquileia#cjeh2 at ,lyons1 ,aix1 ,orange1 and elsewhere in ,france#cjei2 at ,nimeguen in ,holland#cjfj2 at ,trier1 ,cologne1 ,mainz1 and ,louisendorf in ,germany#cjfa2 in ,london#cjfb2 in ,spain#cjfc2 and over the region of ,dacia1 ,pannonia1 and ,dalmatia1#cjfd as well as in ,rome and ,italy4#cjfe ,the most natural conclusion to be drawn from these results is that the majority of the lamps seem to have been made in ,italy1 and it has been thought probable that there were three principal centres of fabric whence exportation went on in different directions--,rome and its environs1 ,campania for the lamps found in ,southern ,italy1 ,africa1 and the ,mediterranean1 and ,gallia ,cisalpina for those found in ,central ,europe4#cjff ,it has also been suggested that the last-named fabric centred in ,mutina 7,modena7 and that this was the place where the lamps of ,class ,,iii4 7see p4 #dja7 were chiefly made4#cjfg ,outside ,italy there may well have been manufactures in ,north ,africa1 where lamps are so plentiful1 and in ,gallia ,narbonensis1 to which region some signatures are peculiar4 ,evidence of a lamp-manufacturer in ,africa seems to be afforded by the mention of praedia ,pullaenorum in an inscription from ,tunis1#cjfh the lamps of ,pullaenus occurring in ,sardinia and ,africa4 ,local fabrics of very poor lamps were doubtless numerous4 ,a certain number of ,roman lamps have ,greek signatures1 not differing in character but only in alphabet from the ,latin inscriptions4 ,the most curious instance is that of for ,celsi ,pompeii1 which is found on lamps in ,southern ,italy#cjfi2 is also found at ,naples1 and even and 1 which are usually associated with lamps made in ,greece 7see ,vol4 ,i4 p4 #ajh71 occur on some found in ,italy4#cjgj ,in ,sicily we find the signatures of ,apollophanes of ,tyre 7 7 at ,himera and ,proklos ,agyrios 7 7 at ,gela and ,catania#cjga2 for ,regulus occurs at ,tarentum4#cjgb ,greek names are often found in ,cyprus1#cjgc and conversely a large number of lamps found at ,knidos by ,sir ,charles ,newton bore the signature ,,romane7n7 ,,romane7n7,,sis1 in ,latin letters with the ,s reversed1 apparently suggesting that the lamps were made by a ,roman abroad4#cjgd ,greek signatures are even found in ,gaul and ,germany4#cjge ,mention must also be made here of the recent researches of ,herr ,fink#cjgf with the object of ascertaining the chronological succession and general distribution of the signatures on lamps of the ,imperial period4 ,starting with the four main classes of forms which have already been laid down as the basis#cjgg 7the distinction resting mainly on the various forms of the nozzle71 he has obtained1 by comparison chiefly of the lamps in the ,british ,museum1 ,berlin1 and ,munich collections1 the following interesting results4 ,certain stamps appear to be peculiar1 or almost peculiar1 to each class3 thus1 in ,class ,i4 only1 we find ,p4 ,cessius ,felix and ,l4 ,munatius ,successus2 in ,class ,,ii4 only1 ,l4 ,fabricius ,masculus2 in ,class ,,iii4 only1 ,atimetus1 ,fortis1 ,phoetaspus1 and other single cognomina2 in ,class ,,iv41 which contains by far the larger number of stamps1 ,clodius ,helvidius1 ,c4 ,junius ,bitus1#cjgh ,l4 ,munatius ,threptus1 and ,c4 ,cornelius ,ursus4 ,the lamps of the ,gaulish potter ,l4 ,hospidius ,crispus are all of one peculiar form1 a transition between ,fink's ,i4 and ,,iv4#cjgi ,cross-instances are very rare1 but ,c4 ,junius ,draco is found in ,classes ,i4 and ,,iv41 ,c4 ,oppius ,restitutus in ,classes ,,ii4 and ,,iv41 ,florentius and ,celsus ,pompeius in ,classes ,,iii4 and ,,iv4 ,it is also interesting to note that there are lamps in ,class ,,iv4 with the ,christian monogram and the figure of the ,good ,shepherd4 ,in ,class ,i41 generally speaking1 signatures are very rare2 in ,class ,,iii4 they are almost invariable1 but the total number of lamps is relatively small4 ,another curious result is that certain signatures1 such as ,l4 ,caecilius ,saevus1 ,bassus1 ,cerialis1 ,sextus ,egnatius ,aprilis1 and ,romanensis1 are not confined to one type of lamp1 but in these cases it is to be noted that each type has a variation of signature3 thus1 in ,class ,i41 ,l,,caec,,sae2 in ,,ii41 ,l,,cae,,sae2 in ,,iii41 ,l,,ca,,sae2 while in ,,iv41 ,l,,cae,,sae occurs no less than #adj times4 ,his conclusions are that one workshop did not necessarily set itself to produce only one form1 but that the differences in form are merely due to changes of fashion4 ,in ,class ,i4 ,greek technical instincts are still strong as regards form and choice of subjects1 but in ornament the taste of ,southern ,italy prevails2 the subjects are mainly mythological4 ,in ,class ,,ii4 the typically ,roman motives appear3 gladiators1 combats1 and hunting-scenes2 this form1 according to ,fink1 is more developed than ,class ,i4 ,evidence which has been obtained from ,regensburg shows that ,class ,,iii4 belongs to the time from ,augustus to ,hadrian1 and1 as we have seen1 it is chiefly confined to the north of the ,apennines4 ,where provincial potteries can be traced1 as at ,westerndorf and at ,westheim in ,bavaria1 the lamps are usually of this form1 but it was doubtless imitated in ,italy4 ,form ,,iv4 is essentially ,italian1 but is also found in ,central ,europe1 and is evidently of late date4 ----- ,footnote #bgba3 ,see ,macrobius1 ,sat4 vi4 #d1 #ah4 ,lucilius uses this word and lucerna in the same line4 ,footnote #bgbb3 ,l4,l4 v4 #aai4 ,footnote #bgbc3 ,ann4 dell' ,inst4 #ahhj1 p4 #bfe ff43 see below1 p4 #cii4 ,footnote #bgbd3 ,cf4 ,dressel in ,c4,i4,l4 xv4 p4 #ghd4 ,footnote #bgbe3 ,pliny1 ,h4,n4 xxviii4 #afc4 ,footnote #bgbf3 ,the corresponding ,greek word was 4 ,footnote #bgbg3 ,petronius1 ,sat4 #cj 7,teubner edn4 p4 #ba72 ,orelli1 ,inscr4 #cfgh4 ,footnote #bgbh3 xiv4 #da4 ,footnote #bgbi3 ,pliny1 ,h4,n4 xxv4 #aba4 ,footnote #bgcj3 ,moretum1 #aa2 ,pliny1 ,h4,n4 xix4 #ag1 xxviii4 #afh1 xxxv4 #age4 ,footnote #bgca3 ,la ,blanchre and ,gauckler1 ,mus4 ,alaoui1 p4 #aic1 ,nos4 #dhg-hh2 ,ant4 di ,ercolano1 viii4 pl4 #eb4 ,footnote #bgcb3 ,daremberg and ,saglio1 s4v4 ,lucerna1 p4 #acce1 fig4 #dfje4 ,footnote #bgcc3 ,no4 #cic and ,cat4 of ,terracottas1 ,c #dba 7,plate ,,iv4 fig4 #d72 ,mus4 ,alaoui1 ,no4 #dhd4 ,footnote #bgcd3 ,b4,m4 ,nos4 #b1 #cic4 ,footnote #bgce3 ,c4,i4,l4 xv4 #ffji-aj2 ,daremberg and ,saglio1 fig4 #dfjg2 ,ant4 di ,ercol4 viii4 pl4 #ab3 see also p4 #chg4 ,footnote #bgcf3 ,epigr4 xiv4 #ci2 ,moretum4 #aj ff4 ,footnote #bgcg3 ,plutarch1 ,ant4 #bf2 ,suetonius1 ,vit4 ,caes4 #cg2 ,dio ,cass4 #fc1 #d4 ,footnote #bgch3 ,suet4 ,calig4 #ah2 ,domit4 #d4 ,footnote #bgci3 ,lampridius1 ,vit4 #bd4 ,footnote #bgdj3 ,apol4 #ce3 cf4 ad uxorem1 ii4 #f4 ,footnote #bgda3 xii4 #ib4 ,footnote #bgdb3 ,cf4 ,c4,i4,l4 xv4 #fbba2 and ,b4,m4 ,nos4 #dgf1 #ejf1 #ejg1 #ecd1 #ece4 ,footnote #bgdc3 1 ,boeckh1 ,c4,i4,gr4 iii4 p4 #aafi1 ,no4 #dchj n#b4 ,footnote #bgdd3 ,notizie degli ,scavi1 #ahid1 p4 #bje4 ,footnote #bgde3 ,mlanges de l'cole fran4 de ,rome1 xii4 7#ahib71 p4 #aaf ff4 ,footnote #bgdf3 ,roach-,smith1 ,collect4 ,antiq4 i4 pl4 #dd1 p4 #abc4 ,footnote #bgdg3 ,cf4 ,roach-,smith1 ,ill4 ,rom4 ,lond4 p4 #aaa1 and ,c4,i4,l4 vi4 pt4 #d1 ,no4 #cjajb 7semper vigilet lucerna nardo74 ,footnote #bgdh3 ,ellis1 ,townley ,gallery1 ii4 p4 #bej4 ,footnote #bgdi3 ,orelli1 #ddaf4 ,footnote #bgej3 ,c4,i4,l4 x4 #fcc 7from ,salerno74 ,footnote #bgea3 ,ibid4 ii4 #bajb4 ,footnote #bgeb3 ,sat4 #aaa 7,teubner ed4 p4 #gg74 ,footnote #bgec3 ,see ,athen4 ,mitth4 #aijb1 p4 #beg ff42 and cf4 ,amer4 ,journ4 of ,arch4 #aijc1 p4 #cdd4 ,footnote #bged3 ,virg4 ,georg4 i4 #cij2 ,apul4 ,metam4 ii4 #bh4 ,footnote #bgee3 ,homil4 in ,ep4 ad ,cor4 i4 #ab 7,pusey's ,library of the ,fathers1 p4 #afd74 ,footnote #bgef3 ,cf4 ,c4,i4,l4 ii4 #difi1 #c2 x4 #hjec1 #e2 xv4 #faif-baj3 see also pp4 #dac1 #dbj1 and ,plate ,,lxiv4 fig4 #e4 ,footnote #bgeg3 ,ibid4 xv4 p4 #ghe4 ,footnote #bgeh3 ,cat4 p4 #dg1 ,no4 #bf4 ,footnote #bgei3 ,cf4 ,c4,i4,l4 ix4 #fjha1 #a4 ,footnote #bgfj3 ,see also the lamps from the altar of ,saturnus ,balcaranensis 7,daremberg and ,saglio1 iii4 p4 #acci74 ,footnote #bgfa3 ,b4,m4 #bg-cj1 #fg1 #fh2 ,ann4 dell' ,inst4 #ahhj1 pl4 ,o2 ,mus4 ,alaoui1 pl4 #cd1 ,nos4 #f-ab1 pp4 #adg-dh4 ,footnote #bgfb3 ,see ,ann4 dell' ,inst4 #ahhj1 p4 #bge4 ,footnote #bgfc3 ,c4,i4,l4 xv4 #ffca1 #fijj ff42 ,ann4 dell' ,inst4 #ahhj1 p4 #cae4 ,footnote #bgfd3 ,b4,m4 #be-bf2 ,c4,i4,l4 xv4 part #b1 plate1 ,no4 #b2 ,daremberg and ,saglio1 s4v4 ,lucerna1 p4 #acbc4 ,footnote #bgfe3 ,cf4 ,mus4 ,alaoui1 pl4 #cd1 p4 #adi1 ,nos4 #ag-h3 see also ,b4,m4 #fi-hb4 ,footnote #bgff3 ,see ,dressel in ,c4,i4,l4 xv4 p4 #ghb ff42 ,toutain in ,daremberg and ,saglio1 art4 ,lucerna2 ,fink1 ,formen u4 ,stempel rm4 ,thonlampen1 in ,sitzungsberichte d4 ,mnchener ,akad4 #aijj1 p4 #fhe ff4 ,footnote #bgfg3 ,on the evidence yielded by the potters' signatures see also below1 p4 #dbh4 ,footnote #bgfh3 ,see the examples given on ,plates ,,lxiv4-,,lxv4 ,footnote #bgfi3 ,i am inclined to agree with ,dr4 ,dressel in placing this type earlier than ,fink's ,class ,i4 ,it seems to be intermediate in form between the delphiniform and other types with blunt nozzles1 and the type given in ,fig4 #bjd4 ,cf4 ,c4,i4,l4 xv4 pl4 #c4 ,footnote #bggj3 ,cf4 ,c4,i4,l4 xv4 pl4 #b1 ,no4 #e ,fig4 #bjf1 and ,dressel1 ad loc41 p4 #ghc4 ,footnote #bgga3 ,cf4 ,c4,i4,l4 v4 #haad4 ,footnote #bggb3 ,see ,daremberg and ,saglio1 s4v4 p4 #ajaa1 fig4 #dcha4 ,footnote #bggc3 ,cf4 for bronze examples1 ,b4,m4 ,cat4 #bead ff4 ,footnote #bggd3 ,b4,m4 #c1 #ac4 ,footnote #bgge3 ,plate ,,iv4 fig4 #d4 ,footnote #bggf3 ,c4,i4,l4 xi4 #ffii1 #e4 ,footnote #bggg3 ,in the ,louvre4 ,footnote #bggh3 ,c4,i4,l4 xv4 #fgja4 ,footnote #bggi3 ,ibid4 xv4 #feac2 ,kenner1 ,ant4 ,thonlampen1 ,no4 #dca4 ,footnote #bghj3 ,b4,m4 #i-ab3 see also ,guildhall ,mus4 ,cat4 p4 #di1 ,no4 #ej1 for negro's head combined with camel's4 ,footnote #bgha3 ,b4,m4 #ah-ba 7bulls' heads72 #bb 7eagle72 ,mus4 ,borb4 xiv4 #ch2 ,c4,i4,l4 xv4 #fgci1 #fccd1 #fcic2 ,ant4 di ,ercol4 viii4 #bg2 ,kenner1 #dcg1 #dcg;a2 ,mus4 ,alaoni1 pl4 #cf1 ,no4 #dhe4 ,footnote #bghb3 ,b4,m4 #ad-ag2 ,c4,i4,l4 xv4 #fbhg2 ,kenner1 #dcd-ce4 ,footnote #bghc3 ,greek and ,roman ,department1 from ,cologne2 ,british and ,mediaeval ,department1 from ,britain2 others in ,guildhall ,museum1 and ,c4,i4,l4 xv4 #fdej4 ,footnote #bghd3 ,c4,i4,l4 xv4 #fchg1 #ffbg2 ibid4 #fcic 7artichoke72 ,b4,m4 #bd 7walnut72 ,ant4 di ,ercol4 viii4 #e4 ,footnote #bghe3 ,metam4 xi4 #bde4 ,footnote #bghf3 ,no4 #a ,cab4 ,durand1 #aggg3 cf4 ,lafaye1 ,culte des ,divinits d',alexandrie1 pp4 #abb1 #cjc1 ,no4 #acb2 also ,vol4 ,i4 pp4 #bji1 #baf4 ,footnote #bghg3 ,see for examples in ,b4,m41 ,nos4 #eh-ff4 ,footnote #bghh3 ,cf4 ,anzeiger1 #ahhi1 p4 #agj1 and ,b4,m4 ,nos4 #ij1 #ia4 ,footnote #bghi3 ,see ,dalton1 ,b4 ,m4 ,cat4 of ,early ,christian ,antiqs4 pl4 #cb1 p4 #adh4 ,footnote #bgij3 xiv4 #aad4 ,footnote #bgia3 ,see on the subject ,daremberg and ,saglio1 iii4 p4 #accd2 ,blmner1 ,technologie1 ii4 pp4 #ga1 #ajh4 ,footnote #bgib3 ,cat4 of ,terracottas1 ,e #ha-hc3 see ,fig4 #bji4 ,footnote #bgic3 ,mus4 ,alaoui1 p4 #bec1 ,nos4 #cif-ig 7,christian74 ,footnote #bgid3 ,cat4 p4 #ea1 ,nos4 #aag-ah 7from ,london ,wall74 ,footnote #bgie3 ,see also p4 #cie above4 ,footnote #bgif3 ,cf4 ,avolio1 ,fatture di argille in ,sicilia1 p4 #abc4 ,footnote #bgig3 ,cf4 ,rev4 ,arch4 xxxiii4 7#ahih71 p4 #hf2 ,mus4 ,alaoui1 p4 #adh1 ,no4 #ac4 ,footnote #bgih3 ,mus4 ,alaoui1 p4 #aef1 ,nos4 #gd-ha3 cf4 the ,roman lamps of the same date 7,c4,i4,l4 xv4 p4 #ghb74 ,footnote #bgii3 ,the numbers given in the following notes are those of the forthcoming ,catalogue of ,roman lamps in the ,department of ,greek and ,roman ,antiquities4 ,footnote #bhjj3 ,see also ,c4,i4,l4 xv4 #faie-gea for mention of many interesting subjects4 ,footnote #bhja3 ,rm4 ,mitth4 #ahib1 p4 #add ff4 ,footnote #bhjb3 ,gttingische ,gelehrte ,anzeigen1 ,nachrichten1 #ahgj1 p4 #agd3 cf4 ,roach-,smith1 ,ill4 ,rom4 ,london1 p4 #aaa4 ,footnote #bhjc3 ,b4,m4 #eaa2 ,ant4 di ,ercol4 viii4 #a4 ,footnote #bhjd3 ,cyprus ,mus4 ,cat4 #acid2 ,b4,m4 #fjd ,plate ,,iv4 fig4 #a4 ,footnote #bhje3 ,b4,m4 #bgj1 #cae1 #ccj1 #cca1 #cid1 #dgb-dge3 cf4 also ,roach-,smith1 ,ill4 ,rom4 ,lond4 pl4 #cj1 #a2 ,ant4 di ,ercol4 viii4 #a2 ,bartoli1 ii4 #d2 ,kenner1 ,antike ,thonlampen1 ,nos4 #d-f4 ,footnote #bhjf3 ,gttinger ,nachrichten1 p4 #agg1 ,no4 #ah2 ,kenner1 ,nos4 #bbg1 #bbh1 #dbe4 ,footnote #bhjg3 ,b4,m4 #fje2 ,ann4 dell' ,inst4 #ahff1 pl4 ,g4 ,footnote #bhjh3 ,kenner1 ,no4 #g3 cf4 ,cyprus ,mus4 ,cat4 #ache-hf4 ,footnote #bhji3 ,kenner1 ,no4 #h2 ,b4,m4 #ceh 7handle74 ,footnote #bhaj3 ,b4,m4 #cie2 #cfj-cfc on handle4 ,footnote #bhaa3 ,kenner1 ,no4 #acg4 ,footnote #bhab3 ,no4 #fgi ,j4,h4,s4 xiii4 p4 #ic4 ,footnote #bhac3 ,b4,m4 #cjg1 #djb1 #dff1 #egc3 see also p4 #dae1 note #bice4 ,footnote #bhad3 ,kenner1 ,no4 #aj4 ,footnote #bhae3 ,b4,m4 #fjg-fji1 #fha1 #gjg2 ,cyprus ,mus4 ,cat4 #achd4 ,footnote #bhaf3 ,b4,m4 #bga1 #cih1 #ega2 ,cyprus ,mus4 ,cat4 #acef4 ,footnote #bhag3 ,kenner1 ,nos4 #ag-bb2 ,bartoli1 ii4 #cb-c2 ,b4,m4 #ccb1 #eab1 #fhj4 ,footnote #bhah3 ,kenner1 ,no4 #bcj2 ,guildhall ,mus4 ,cat4 p4 #dh1 ,no4 #dc 7from ,royal ,exchange74 ,footnote #bhai3 ,b4,m4 #egb2 ,mus4 ,alaoui1 ,no4 #aea4 ,footnote #bhbj3 ,kenner1 ,no4 #bbi4 ,footnote #bhba3 ,mus4 ,alaoui1 ,no4 #aae4 ,footnote #bhbb3 ,b4,m4 #id2 with ,sphinx1 ibid4 #egd4 ,footnote #bhbc3 ,mus4 ,alaoui1 ,no4 #adb4 ,footnote #bhbd3 ,b4,m4 #fi4 ,footnote #bhbe3 ,b4,m4 #eed1 #fad2 ,kenner1 ,no4 #bh4 ,footnote #bhbf3 ,b4,m4 #agd4 ,footnote #bhbg3 ,b4,m4 #age1 #agf1 #ccc1 #daa-dac2 ,kenner1 ,no4 #bf2 ,bartoli1 ii4 #ag4 ,footnote #bhbh3 ,b4,m4 #dcb1 #dcc2 ,kenner1 ,nos4 #bca-b2 ,ant4 di ,ercol4 viii4 #cb4 ,footnote #bhbi3 ,kenner1 ,no4 #bc4 ,footnote #bhcj3 ,masner1 ,wiener ,vasensamml4 ,no4 #fhd3 cf4 ,anzeiger1 #ahij1 p4 #bg4 ,footnote #bhca3 ,b4,m4 #ege2 ,kenner1 ,nos4 #bd-e2 ,guildhall ,mus4 ,cat4 p4 #dh1 ,no4 #df2 ,mus4 ,alaoui1 ,no4 #aha4 ,footnote #bhcb3 ,mus4 ,alaoui1 ,no4 #ahj4 ,footnote #bhcc3 ,b4,m4 #gj3 cf4 ,clarac1 ,muse de ,sculpt4 iii4 #cdc1 #acii2 ,b4,m4 ,terracottas1 ,d #bhf4 ,footnote #bhcd3 ,see ,kenner1 ,nos4 #cg-eg4 ,footnote #bhce3 ,b4,m4 #daj1 #dgg4 ,footnote #bhcf3 ,b4,m4 #agb2 ,roach-,smith1 ,ill4 ,rom4 ,lond4 pl4 #cj1 #f 7,brit4 and ,mediaeval ,dept474 ,footnote #bhcg3 ,b4,m4 #eaf1 #faj1 #faa1 #dje1 #eae1 #cfd1 #eec4 ,footnote #bhch3 ,b4,m4 #djg-dji1 #dfa1 #dgi1 #fab1 #fed4 ,footnote #bhci3 ,b4,m4 #dgh1 #djf4 ,footnote #bhdj3 ,anzeiger1 #ahhi1 p4 #afh4 ,footnote #bhda3 ,b4,m4 #cjh1 #ig4 ,footnote #bhdb3 ,b4,m4 #agj1 #aga4 ,footnote #bhdc3 ,gttinger ,nachrichten1 p4 #agi1 ,no4 #dc4 ,footnote #bhdd3 ,anzeiger1 loc4 cit4 ,footnote #bhde3 ,b4,m4 #ib1 #fac2 #ih2 #ie1 #if1 #aef2 #djc1 #djd4 ,footnote #bhdf3 ,b4,m4 #bgb2 ,bartoli1 i4 #g4 ,footnote #bhdg3 ,b4,m4 #agc1 #hi1 #egf2 ,bartoli1 ii4 #be4 ,footnote #bhdh3 ,anzeiger1 #ahhi1 p4 #afh3 cf4 ,c4,i4,l4 xv4 #fbcj4 ,footnote #bhdi3 ,b4,m4 #eag1 #egg2 ,bartoli1 ii4 #bj4 ,footnote #bhej3 ,b4,m4 #gh4 ,footnote #bhea3 ,b4,m4 #bgc1 #dii4 ,footnote #bheb3 ,b4,m4 #faf1 #gji4 ,footnote #bhec3 ,arch4 ,zeit4 #aheb1 pl4 #ci 7in ,berlin74 ,footnote #bhed3 ,anzeiger1 #ahhi1 p4 #afi4 ,footnote #bhee3 ,kenner1 ,no4 #cf4 ,footnote #bhef3 ,b4,m4 #dha3 cf4 #caf1 #eai4 ,footnote #bheg3 ,b4,m4 #ajb1 #ahj1 #egi2 #ahc2 ,kenner1 ,no4 #cd4 ,footnote #bheh3 ,b4,m4 #aja1 #ahb2 ,kenner1 ,no4 #cc4 ,footnote #bhei3 ,b4,m4 #eah4 ,footnote #bhfj3 ,b4,m4 #ahd1 #bgd1 #bge1 #cbf1 #dfb1 #ejj2 ,kenner1 ,no4 #ce4 ,footnote #bhfa3 ,b4,m4 #aha4 ,footnote #bhfb3 ,b4,m4 #eh1 #ii1 #egh2 #agh1 #agi1 #dhj1 #fah2 ,bull4 ,comm4 ,arch4 #ahhg1 p4 #cff1 ,no4 #h3 cf4 ,hauser1 ,neuattische ,reliefs1 p4 #aed1 ,nos4 #be-cb4 ,footnote #bhfc3 ,b4,m4 #ajj1 #ehb4 ,footnote #bhfd3 ,b4,m4 #dgf4 ,footnote #bhfe3 ,b4,m4 #ead4 ,footnote #bhff3 ,b4,m4 #eac2 ,bartoli1 ii4 #ac4 ,footnote #bhfg3 ,b4,m4 #hc1 #ccd1 #cii1 #djj1 #aeg1 #fjf2 ,masner1 ,wiener ,vasens4 #fie2 ,bartoli1 ii4 #aa4 ,footnote #bhfh3 ,b4,m4 #dja4 ,footnote #bhfi3 ,no4 #ece3 cf4 also ,c4,i4,l4 xv4 #fbba1 #bj4 ,footnote #bhgj3 ,b4,m4 #dfc1 #dhb1 #fae2 ,c4,i4,l4 x4 #hjec1 #aeg4 ,footnote #bhga3 ,guildhall ,mus4 ,cat4 p4 #dh1 ,no4 #dj4 ,footnote #bhgb3 ,b4,m4 #cif1 #cig2 ,gttinger ,nachrichten1 #ahgj1 p4 #ahd1 ,nos4 #ajc-d4 ,footnote #bhgc3 ,b4,m4 #ebc2 #aia1 #eia 7bust72 ,kenner1 ,no4 #ga2 ,mus4 ,alaoui1 ,no4 #afd2 ,ant4 di ,ercol4 viii4 #cj4 ,footnote #bhgd3 ,b4,m4 #afg2 ,masner1 #fhe2 ,fiedler1 ,castra ,vetera1 pl4 #h1 ,no4 #c4 ,footnote #bhge3 ,b4,m4 #dfe2 ,ant4 di ,ercol4 viii4 #aa2 ,mus4 ,alaoui1 ,no4 #aac2 ,c4,i4,l4 xii4 #efhb1 #ga 7,k4 adored by a ,gallus72 ,kenner1 ,no4 #c1 and see ,no4 #bc4 ,footnote #bhgf3 ,kenner1 ,no4 #gg4 ,footnote #bhgg3 ,b4,m4 #cgj1 #dfg1 #ejh2 #aij1 #big1 #bhj2 ,kenner1 ,no4 #a2 ,ant4 di ,ercol4 viii4 #b3 cf4 ,b4,m4 ,terracottas1 ,d #bhe4 ,footnote #bhgh3 ,b4,m4 #ccg4 ,footnote #bhgi3 ,b4,m4 #cfi2 ,mus4 ,alaoui1 ,no4 #acd4 ,footnote #bhhj3 ,daremberg and ,saglio1 iii4 p4 #ajaa1 fig4 #dcha4 ,footnote #bhha3 ,b4,m #bha4 ,footnote #bhhb3 ,b4,m4 #dfh-dgj2 ,bartoli1 ii4 #db4 ,footnote #bhhc3 ,b4,m4 #ajd1 #ahe7874 ,footnote #bhhd3 ,mus4 ,alaoui1 ,no4 #hb4 ,footnote #bhhe3 ,kenner1 ,nos4 #ff-g4 ,footnote #bhhf3 ,ibid4 ,nos4 #bcc-d4 ,footnote #bhhg3 ,ibid4 ,nos4 #gb-c4 ,footnote #bhhh3 ,b4,m4 #bgf-bgh1 #cdh1 #dhd1 #eaj1 #ehf2 ,kenner1 ,nos4 #eh-i2 ,bartoli1 ii4 #df4 ,footnote #bhhi3 ,see generally1 ,ant4 di ,ercol4 viii4 #f2 ,bartoli1 iii4 #c 7with wreath74 ,footnote #bhij3 ,e4g4 ,b4,m4 ,bronzes1 #aeaj ff4 ,footnote #bhia3 ,b4,m4 #ahi 7see p4 #dbj71 #cce1 #cfg1 #ebj2 #ccf2 #ajc1 #ahg1 #ahh1 #dhc3 cf4 ,roach-,smith1 ,collect4 ,antiq4 ii4 pl4 #ae4 ,footnote #bhib3 ,rev4 ,arch4 xxxiii4 7#ahih71 p4 #bbi4 ,footnote #bhic3 ,b4,m4 #ehc2 ,bartoli1 iii4 #b2 ,arch4 ,zeit4 #aheb1 pl4 #ci4 ,footnote #bhid3 ,b4,m4 #ahf4 ,footnote #bhie3 ,see ,marquardt1 ,privatalterthmer1 p4 #bde2 ,c4,i4,l4 x4 #hjec1 #e2 ii4 #difi1 #c1 and xv4 #faif ff2 ,ovid1 ,fasti1 i4 #ahi ff4 ,these lamps date from the time of ,augustus and his successors4 ,footnote #bhif3 ,b4,m4 #cji1 and cf4 #cfh1 #ehd1 #ehe2 ,bartoli1 iii4 #e4 ,for a similar subject on a money-box see above1 p4 #chi4 ,footnote #bhig3 ,b4,m4 #ahi2 ,ant4 di ,ercol4 viii4 pl4 #f2 ,bartoli1 iii4 #d4 ,footnote #bhih3 ,guildhall ,mus4 ,cat4 p4 #dg1 ,no4 #bf4 ,see for these two p4 #cih above1 and p4 #dbj below4 ,footnote #bhii3 ,b4,m4 #hd1 #aje1 #dhe2 ,kenner1 ,no4 #hc2 ,bartoli1 i4 #ac-ad4 ,footnote #bijj3 ,rev4 ,arch4 xxxiii4 7#ahih71 p4 #bbi4 ,footnote #bija3 ,b4,m4 #gaj 7archaic xoanon74 ,footnote #bijb3 ,kenner1 ,no4 #gf2 ,mus4 ,alaoui1 ,nos4 #aci-dj4 ,footnote #bijc3 ,b4,m4 #dae4 ,footnote #bijd3 ,b4,m4 #eba4 ,footnote #bije3 ,b4,m4 #ccg 7,plate ,,lxiii471 and #dhf4 ,footnote #bijf3 ,anzeiger1 #ahhi1 p4 #afg2 ,mus4 ,alaoui1 ,no4 #aca4 ,footnote #bijg3 ,b4,m4 #fai4 ,footnote #bijh3 ,b4,m4 #aib1 #ehg4 ,footnote #biji3 ,cyprus ,mus4 ,cat4 #aceh4 ,footnote #biaj3 ,b4,m4 #daf4 ,footnote #biaa3 ,b4,m4 #fbj2 #cch1 #cci2 ,ant4 di ,ercol4 viii4 #d 7in the three latter only with club and lion's skin74 ,footnote #biab3 ,cyprus ,mus4 ,cat4 #acic4 ,footnote #biac3 ,b4,m4 #ejf1 #eff1 #ehh4 ,footnote #biad3 ,b4,m4 #ajf1 #dag4 ,footnote #biae3 ,b4,m4 #dhg4 ,footnote #biaf3 ,b4,m4 #fba4 ,footnote #biag3 ,b4,m4 #aic2 ,kenner1 ,no4 #ha4 ,footnote #biah3 ,kenner1 ,no4 #hb2 ,b4,m4 #ajg4 ,footnote #biai3 ,mus4 ,alaoui1 ,nos4 #abf-bg2 ,rev4 ,arch4 xxxiii4 7#ahih71 p4 #bbi4 ,footnote #bibj3 ,gttinger ,nachrichten1 #ahgj1 p4 #ahb1 ,no4 #gb4 ,footnote #biba3 ,b4,m4 #aeh1 #ehi2 ,bartoli1 ii4 #bd2 ,ant4 di ,ercol4 viii4 #cc2 ,guildhall ,mus4 ,cat4 p4 #dh1 ,no4 #ci4 ,footnote #bibb3 ,b4,m4 #ajh2 ,gttinger ,nachrichten1 p4 #ahh1 ,nos4 #bce-cf4 ,footnote #bibc3 ,mus4 ,alaoui1 ,no4 #ajj4 ,footnote #bibd3 ,b4,m4 #aid ,arch4 ,zeit4 #aheb1 pl4 #ci4 ,footnote #bibe3 ,mus4 ,alaoui1 ,nos4 #aec-ef4 ,footnote #bibf3 ,ibid4 ,no4 #abc4 ,footnote #bibg3 ,kenner1 ,nos4 #gi1 #hj4 ,footnote #bibh3 ,b4,m4 #cga4 ,footnote #bibi3 ,b4,m4 #eij ,roscher1 ,lexikon1 iii4 p4 #bcch4 ,footnote #bicj3 ,masner1 ,wiener ,vasens4 ,no4 #fgd3 cf4 ,bull4 ,arch4 ,nap4 ,n4,s4 iv4 pl4 #aj1 fig4 #d4 ,footnote #bica3 ,b4,m4 #eee2 ,von ,rohden1 ,terracotten von ,pompeii1 p4 #di3 cf4 ,c4,i4,l4 xv4 #fbcf4 ,footnote #bicb3 ,arch4 ,zeit4 #ahfe1 pl4 #aid2 ,b4,m4 #bhb3 cf4 #aji1 #aie4 ,footnote #bicc3 ,b4,m4 #cai-cba2 ,bartoli1 iii4 #aa4 ,footnote #bicd3 ,mus4 ,alaoui1 ,no4 #aib4 ,footnote #bice3 ,masner1 ,no4 #fgf4 ,cf4 a lamp with ,athena voting for him1 ,daremberg and ,saglio1 ,dict4 iii4 p4 #acbi1 fig4 #dfja4 ,footnote #bicf3 ,b4,m4 #aii1 #fbc4 ,footnote #bicg3 ,c4,i4,l4 x4 #hjec1 #aid4 ,footnote #bich3 ,mus4 ,alaoui1 ,no4 #aaj2 ,guildhall ,mus4 ,cat4 p4 #dh1 ,no4 #da ,roach-,smith1 ,collect4 ,antiq4 ii4 pl4 #ae 7from ,colchester74 ,footnote #bici3 ,mus4 ,alaoui1 ,no4 #aaa4 ,footnote #bidj3 ,b4,m4 #aif-aih1 #ebb1 #fbb4 ,footnote #bida3 ,b4,m4 #acj1 #cdj1 #dah2 ,kenner1 ,no4 #acf3 cf4 ,masner1 ,no4 #fhf4 ,footnote #bidb3 ,b4,m4 #ebd1 #ebe2 ,cyprus ,mus4 ,cat4 #acea2 ,kenner1 ,nos4 #fh-gj4 ,footnote #bidc3 ,b4,m4 #fhb4 ,footnote #bidd3 ,rev4 ,arch4 xxxiii4 7#ahih71 p4 #bcj4 ,footnote #bide3 ,b4,m4 #aaj1 #eic3 see ,plutarch1 ,vit4 ,alexandri1 #ad4 ,footnote #bidf3 ,mon4 dell' ,inst4 iii4 pl4 #ad1 fig4 #c2 see ,bernoulli1 ,gr4 ,ikonogr4 i4 p4 #ef4 ,footnote #bidg3 ,b4,m4 #abh7871 #eih2 ,kenner1 ,nos4 #he-f1 #hh-ij4 ,footnote #bidh3 ,arch4 ,zeit4 #ahfa1 ,anzeiger1 p4 #aeg2 ,kenner1 ,no4 #hg4 ,footnote #bidi3 ,guildhall ,mus4 ,cat4 p4 #dg1 ,nos4 #ad-ae4 ,footnote #biej3 ,c4,i4,l4 xi4 #ffii1 #d4 ,footnote #biea3 ,bull4 ,arch4 ,nap4 iv4 7#ahef71 pl4 #aj1 fig4 #c1 p4 #aff2 examples also in ,b4,m4 7,no4 #baf ,plate ,,lxiv4 fig4 #c7 and ,c4,i4,l4 xv4 #fbdj4 ,the companion lamp given in the ,bull4 ,arch4 ,nap4 pl4 #aj1 fig4 #d1 does not represent ,meliboeus1 as there supposed1 but ,ajax4 ,footnote #bieb3 ,b4,m4 #bbd2 ,roach-,smith1 ,ill4 ,rom4 ,lond4 pl4 #cj1 fig4 #c2 ,jahn in ,mitth4 d4 ant4 ,gesellsch4 zu ,zrich1 xiv4 pl4 #d1 fig4 #i2 ,gttinger ,nachrichten1 #ahgj1 p4 #aij1 ,no4 #bhb2 and see ,daremberg and ,saglio1 s4v4 ,lucerna1 p4 #acbf4 ,footnote #biec3 ,b4,m4 #aci3 cf4 ,bull4 dell' ,inst4 #ahfg1 p4 #ce ,mitth4 d4 ant4 ,gesellsch4 zu ,zrich1 xvii4 p4 #adi2 in the latter instance a man weighs an ant against an elephant4 ,footnote #bied3 ,coll4 ,h4 ,hoffmann 7,paris1 #ahhf71 p4 #ci2 and in ,b4,m4 7,no4 #ei74 ,footnote #biee3 ,see for example ,ant4 di ,ercol4 viii4 #g2 ,rev4 ,arch1 xxxiii4 7#ahih71 p4 #bcj2 ,daremberg and ,saglio1 ,dict41 ii41 s4v4 ,gladiator1 with the bibliography on p4 #afjj2 also ,b4,m41 passim4 ,similar types occur on the ,gaulish terra sigillata 7p4 #ejg below1 and ,dchelette1 ,vases orns1 ii4 p4 #ig ff474 ,footnote #bief3 ,b4,m4 #aaa-aad1 #cda1 etc4 ,footnote #bieg3 ,b4,m4 #aae-aag1 #bja1 etc4 ,footnote #bieh3 ,b4,m4 #aba1 #aei1 #afj1 #bjg1 #bhe1 #cag1 #cdb4 ,footnote #biei3 ,mus4 ,alaoui1 ,no4 #bbb4 ,footnote #bifj3 ,ant4 di ,ercol4 viii4 #i4 ,footnote #bifa3 ,c4,i4,l4 xii4 #efhb1 #gd4 ,footnote #bifb3 ,b4,m4 #eeh4 ,footnote #bifc3 ,b4,m4 #cah2 ,rev4 ,arch4 xxxiii4 7#ahih71 p4 #bca1 fig4 #bg4 ,footnote #bifd3 ,b4,m4 #eeg1 and cf4 #afe2 #bjh1 #eca2 #caa and ,cyprus ,mus4 ,cat4 #acfd4 ,see under the first-named head1 ,zeitschr4 fr ,numism4 xxiv4 p4 #ceg1 for an athlete placing a prize vase on his head4 ,footnote #bife3 ,b4,m4 #ejg2 #abb1 #baa1 #dbb2 #bji1 #baj2 #abe1 #bac1 #bad4 ,footnote #biff3 ,b4,m4 #ge1 #abc1 #abd1 #aed1 #bab1 #dba4 ,footnote #bifg3 ,c4,i4,l4 x4 #hjec1 #abg4 ,footnote #bifh3 ,mus4 ,alaoui1 ,no4 #bbc ,daremberg and ,saglio1 iii4 p4 #acbg1 fig4 #deij4 ,footnote #bifi3 ,kenner1 ,no4 #ih2 ,mus4 ,alaoui1 ,no4 #bjj4 ,footnote #bigj3 ,cyprus ,mus4 ,cat4 #acci4 ,footnote #biga3 ,b4,m4 #cbh3 cf4 ,cyprus ,mus4 ,cat4 p4 #hj1 ,no4 #acfe4 ,footnote #bigb3 ,see ,b4,m4 #dbc1 #dbd1 #ecb1 #ecc1 #gja2 and cf4 p4 #dae1 note #bicc4 ,footnote #bigc3 ,mus4 ,alaoui1 ,nos4 #bcc-cd2 also ,b4,m4 #gi4 ,cf4 ,b4,m4 ,cat4 of ,bronzes1 ,no4 #hhd4 ,footnote #bigd3 ,mus4 ,alaoui1 ,no4 #bbg2 ,b4,m4 #fbe 7hunter only74 ,footnote #bige3 ,b4,m4 #abf1 #dbe2 ,kenner1 ,nos4 #aag-abb4 ,footnote #bigf3 ,b4,m4 #gi ,plate ,,lxv4 fig4 #a2 ,rev4 ,arch4 xxxiii4 7#ahih71 p4 #bcj4 ,footnote #bigg3 ,b4,m4 #bag2 ,rev4 ,arch4 xxxiii4 7#ahih71 p4 #bcc2 ,urlichs1 ,verzeichn4 d4 ,antikens4 d4 ,univ4 ,wrzburg1 p4 #ci1 ,no4 #cg4 ,footnote #bigh3 ,c4,i4,l4 xv4 #fgah4 ,footnote #bigi3 ,roach-,smith1 ,collect4 ,antiq4 ii4 pl4 #ae4 ,footnote #bihj3 ,rev4 ,arch4 xxxiii4 7#ahih71 pp4 #bcj1 #bca4 ,footnote #biha3 ,b4,m4 #ecd1 #bah1 #bai3 cf4 ,kenner1 ,nos4 #abc-bd4 ,footnote #bihb3 ,roach-,smith1 ,ill4 ,rom4 ,lond4 pl4 #cj1 fig4 #d3 cf4 the well-known graffito at ,pompeii1 and ,collect4 ,antiq4 iv4 pl4 #aa4 ,footnote #bihc3 ,b4,m4 #bg2 #bbb2 #abg2 #gd4 ,footnote #bihd3 ,b4,m4 #bae1 #dhi2 ,rev4 ,arch4 xxxiii4 7#ahih71 p4 #bcj4 ,footnote #bihe3 ,c4,i4,l4 xv4 #fbba1 #bd4 ,footnote #bihf3 ,ibid4 x4 #hjec1 #abf and #aib4 ,footnote #bihg3 ,anzeiger1 #ahhi1 p4 #afi4 ,footnote #bihh3 ,roach-,smith1 ,ill4 ,rom4 ,london1 pl4 #cj1 #b4 ,footnote #bihi3 ,gttinger ,nachrichten1 #ahgj1 p4 #ahf1 ,no4 #ahb4 ,footnote #biij3 ,b4,m41 passim2 ,kenner1 ,no4 #aci ff4 ,footnote #biia3 ,mus4 ,alaoui1 ,no4 #bgh4 ,footnote #biib3 ,b4,m4 #dda1 #did1 #eja2 ,masner1 ,wiener ,vasens4 ,no4 #fid2 ,cyprus ,mus4 ,cat4 #acgi4 ,footnote #biic3 ,kenner1 ,no4 #aha4 ,footnote #biid3 ,ant4 di ,ercol4 viii4 #bc4 ,footnote #biie3 ,b4,m4 #efj1 #bbf1 #efa4 ,footnote #biif3 ,b4,m4 #efb4 ,footnote #biig3 ,fiedler1 ,castra ,vetera1 pl4 #g1 ,no4 #b4 ,footnote #biih3 ,b4,m4 #edd4 ,footnote #biii3 ,b4,m4 #ace1 #bia1 #efc2 ,c4,i4,l4 x4 #hjec1 #abg4 ,footnote #cjjj3 ,b4,m4 #bcj1 #dic2 ,guildhall ,mus4 ,cat4 p4 #di1 ,no4 #eg2 ,cyprus ,mus4 ,cat4 #acda4 ,footnote #cjja3 ,rev4 ,arch4 xxxiii4 7#ahih71 p4 #bcb4 ,footnote #cjjb3 ,b4,m4 #bcd1 #bic1 #dci1 #ede2 ,kenner1 ,nos4 #afc-aff4 ,footnote #cjjc3 ,b4,m4 #bch-bda1 #bif1 #ddc1 #ddd2 ,masner1 ,no4 #fic4 ,footnote #cjjd3 ,ant4 di ,ercol4 viii4 #e4 ,footnote #cjje3 ,rev4 ,arch4 xxxiii4 7#ahih71 p4 #bcb4 ,footnote #cjjf3 ,ibid42 ,b4,m4 #bdb1 #bie1 #fbf4 ,footnote #cjjg3 ,b4,m4 #gf1 #hb2 ,masner1 ,nos4 #fed-ei4 ,footnote #cjjh3 ,b4,m4 #gg3 cf4 #ade4 ,footnote #cjji3 ,roach-,smith1 ,ill4 ,rom4 ,london1 p4 #aaj4 ,footnote #cjaj3 ,see generally ,dalton1 ,b4,m4 ,cat4 of ,early ,christian ,antiqs4 p4 #aci ff42 ,daremberg and ,saglio1 iii4 p4 #acbh2 ,mus4 ,alaoui1 ,nos4 #dig ff42 ,ant4 di ,ercol4 viii4 #de-g2 ,de ,rossi1 ,roma ,sotterr4 ii4 p4 #dih ff42 ,delattre1 in ,revue de l',art ,chrtien1 #ahhi-ic1 etc4 7,carthage74 ,footnote #cjaa3 ,c4,i4,l4 x4 #hjec1 #cf1 #adc1 #aic2 ,b4,m4 #bja1 #caj1 from ,pozzuoli4 ,footnote #cjab3 ,guildhall ,mus4 ,cat4 p4 #dg1 ,no4 #bf4 ,footnote #cjac3 ,see ,b4,m4 #ahi and ,c4,i4,l4 xv4 #fbaa-ah2 these all date from the time of ,augustus3 cf4 his coins and those of his successors4 ,footnote #cjad3 ,c4,i4,l4 xv4 #faie4 ,footnote #cjae3 ,c4,i4,l4 xv4 #fbai4 ,footnote #cjaf3 ,ibid4 #fbbb4 ,footnote #cjag3 ,see ibid4 #fbba2 ,b4,m4 #afd1 etc4 ,footnote #cjah3 ,ibid4 x4 #hjec1 #d4 ,footnote #cjai3 ,ibid4 xv4 #fbbc4 ,footnote #cjbj3 ,ibid4 xiii4 #ajjja1 #d4 ,footnote #cjba3 ,ibid4 xiii4 #ajjja1 #b4 ,footnote #cjbb3 ,inscr4 ,gr4 xiv4 #bdje1 #f4 ,this and the preceding are bronze lamps4 ,footnote #cjbc3 ,c4,i4,l4 xv4 #fbci ,ann4 dell' ,inst4 #ahff1 pl4 ,g4 ,footnote #cjbd3 ,c4,i4,l4 xv4 #fbcf4 ,footnote #cjbe3 ,ibid4 xi4 #ffii1 #d4 ,footnote #cjbf3 ,ibid4 #ffii1 #e4 ,footnote #cjbg3 ,ibid4 xv4 #fbda-di4 ,footnote #cjbh3 ,c4,i4,l4 xv4 #fbej3 cf4 ,pliny1 ,h4,n4 viii4 #afj4 ,footnote #cjbi3 ,ibid4 #fbeg1 #fbfa4 ,footnote #cjcj3 ,daremberg and ,saglio1 ,dict41 s4v4 ,lucerna1 p4 #accj4 ,footnote #cjca3 ,c4,i4,l4 xv4 #fbed-ee4 ,footnote #cjcb3 ,ibid4 x4 #hjec1 #h2 xv4 #fbcj3 see above1 p4 #daa4 ,footnote #cjcc3 ,ibid4 xv4 #fbcd4 ,footnote #cjcd3 ,ibid4 x4 #hjec1 #f4 ,footnote #cjce3 ,ibid4 xi4 #ffii1 #h-aj4 ,footnote #cjcf3 ,ibid4 xiii4 #ajjja1 #ad4 ,footnote #cjcg3 ,ibid4 #ajjja1 #bj4 ,footnote #cjch3 ,ibid4 xv4 #fbcb4 ,footnote #cjci3 ,ibid4 viii4 #ajdgh1 #a2 xiii4 #ajjja1 #ai4 ,the meaning of colatas is doubtful4 ,mr4 ,f4 ,h4 ,marshall suggests 8well-made10 lit4 8sifted10 referring to the quality of the clay4 ,footnote #cjdj3 ,ibid4 xv4 #fgeb2 xi4 #ffii1 #g4 ,footnote #cjda3 ,bull4 dell' ,inst4 #ahfh1 p4 #ei3 see ,vol4 ,i4 p4 #ajg4 ,footnote #cjdb3 ,c4,i4,l4 ii4 #difi1 #a4 ,footnote #cjdc3 ,ibid4 xv4 #fbfe3 see ,arch4 ,zeit4 #ahfa1 p4 #afg4 ,footnote #cjdd3 ,mlanges de l'cole ,franc4 de ,rome1 xii4 7#ahib71 p4 #aah1 ,nos4 #ca-c1 pl4 #d1 ,no4 #e2 ,c4,i4,l4 xv4 #febj2 ,mus4 ,alaoui1 ,no4 #cfi2 and see above1 p4 #dbj1 for examples on ,campanian lamps4 ,footnote #cjde3 ,ann4 dell' ,inst4 #ahhj1 p4 #bia4 ,footnote #cjdf3 ,daremberg and ,saglio1 ,dict41 s4v4 ,lucerna1 p4 #accj4 ,footnote #cjdg3 ,e4g4 ,a1 ,b1 ,c1 ,h1 ,i1 ,r3 ,c4,i4,l4 x4 #hjec1 #bji-ad2 xii4 #efhb1 #aca2 xv4 #fbff1 #fccd1 #fcdb4 ,footnote #cjdh3 ,c4,i4,l4 xii4 #efhb1 #eg4 ,footnote #cjdi3 ,see ,fink in ,mnchener ,sitzungsberichte1 #aijj1 p4 #fij1 for examples4 ,footnote #cjej3 ,c4,i4,l4 xv4 #fbhb4 ,footnote #cjea3 ,anzeiger1 #ahhi1 p4 #agj ,c4,i4,l4 xv4 #fbfc4 ,footnote #cjeb3 ,c4,i4,l4 xv4 #fcej1 #fdcc4 ,footnote #cjec3 ,ibid4 #feja-jc4 ,footnote #cjed3 ,ibid4 #fefj-fe4 ,footnote #cjee3 ,ibid4 #fdcd1 #feic4 ,footnote #cjef3 ,see ,daremberg and ,saglio1 s4v4 ,lucerna1 p4 #acca2 also the lists given by ,fink in ,sitzungsb4 d4 ,mnch4 ,akad4 #aijj1 pp4 #fhi1 #fib ff41 and the various volumes of the ,corpus under ,instrumentum ,domesticum1 especially vol4 xv4 ,footnote #cjeg3 ,blanchet1 ,mlanges ,gallo-romaines1 ii4 p4 #aab4 ,footnote #cjeh3 ,c4,i4,l4 v4 #haad1 #ed4 ,footnote #cjei3 ,ibid4 xiii4 #ajjja1 #acf2 xii4 #efhb1 #ej2 ,b4,m4 #chc1 #cia4 ,footnote #cjfj3 ,c4,i4,l4 xiii4 #ajjja1 #acf4 ,footnote #cjfa3 ,ibid43 also ,steiner1 ,cod4 ,inscr4 ,rom4 ,danub4 et ,rheni1 i4 p4 #ahe1 ii4 p4 #bch4 ,footnote #cjfb3 ,c4,i4,l4 vii4 #accj1 #ae2 ,roach-,smith1 ,ill4 ,rom4 ,london1 p4 #aab2 ,guildhall ,mus4 ,cat4 p4 #dg1 ,nos4 #bg-h4 ,footnote #cjfc3 ,c4,i4,l4 ii4 p4 #ffe1 ,no4 #bd4 ,footnote #cjfd3 ,ibid4 iii4 #cbae1 #g2 ibid4 ,suppl4 #a1 #hjgf1 #af4 ,footnote #cjfe3 ,c4,i4,l4 ix4 #fjha1 #cc2 x4 #hjec1 #hc2 xi4 #ffii1 #hi2 xv4 #fdej4 ,footnote #cjff3 ,daremberg and ,saglio1 s4v4 p4 #accb3 cf4 ,c4,i4,l4 xv4 p4 #ghc4 ,footnote #cjfg3 ,from vol4 v4 of the ,corpus it may be seen how common the signatures peculiar to this class are in this region2 e4g4 #haad1 #aa1 #bh1 #ed1 #abf1 #acg4 ,footnote #cjfh3 ,carton1 ,dcouvertes1 p4 #bed3 cf4 ,c4,i4,l4 viii4 #ajdgh1 #cc-d4 ,footnote #cjfi3 ,c4,i4,l4 x4 #hjec1 #df2 ,inscr4 ,graec4 xiv4 #bdje1 #ah4 ,cf4 ,proc4 ,soc4 ,antiqs4 xx4 7#aijd71 p4 #if4 ,footnote #cjgj3 ,c4,i4,l4 xv4 #fhfi1 #fhhf4 ,footnote #cjga3 ,boeckh1 ,c4,i4,gr4 iii4 p4 #ffj1 ,no4 #efhe2 ,inscr4 ,graec4 xiv4 #bdjec1 #cd2 and ,b4,m4 #cjc4 ,footnote #cjgb3 ,inscr4 ,gr4 xiv4 #bdje1 #ce4 ,footnote #cjgc3 ,cf4 ,cesnola1 ,salaminia1 p4 #bhd4 ,footnote #cjgd3 ,see ,c4,i4,l4 iii4 ,suppl4 #a1 #gcaj1 and ,vol4 ,i4 p4 #ajh4 ,he also occurs in ,africa 7,c4,i4,l4 viii4 #ajdgh1 #cg7 and elsewhere4 ,footnote #cjge3 ,inscr4 ,graec4 xiv4 #begd4 ,footnote #cjgf3 ,mnchener ,sitzungsberichte1 #aijj1 p4 #fhe ff4 ,on p4 #fib a table of signatures on the ,british ,museum lamps is given4 ,footnote #cjgg3 ,see above1 p4 #djj4 ,footnote #cjgh3 ,the names of this and other potters in ,class ,,iv4 also occur on terracotta money-boxes 7see above1 p4 #chi74 ,footnote #cjgi3 ,see ,c4,i4,l4 xv4 pt4 #b1 pl4 #c1 ,no4 #ae4 ,,chapter ,,xxi ,,roman ,,pottery3 ,,technical ,,processes1 ,,shapes1 ,,and ,,uses ,introductory--,geographical and historical limits--,clay and glaze--,technical processes--,stamps and moulds--,barbotine and other methods--,kilns found in ,britain1 ,gaul1 and ,germany--,use of earthenware among the ,romans--,echea--,dolia and ,amphorae--,inscriptions on amphorae--,cadus1 ,ampulla1 and ,lagena--,drinking-cups--,dishes--,sacri ficial vases--,identification of names4 #a4 ,,introductory ,roman vases are far inferior in nearly all respects to ,greek2 the shapes are less artistic1 and the decoration1 though not without merits of its own1 bears the same relation to that of ,greek vases that all ,roman art does to ,greek art4 ,strictly speaking1 a comparison of the two is not possible1 as in the one case we are dealing with painted vases1 in the other with ornamentation in relief4 ,but from the point of view of style they may still be regarded as commensurable4 ,roman vases1 in a word1 require only the skill of the potter for their completion1 and the processes employed are largely mechanical1 whereas ,greek vases called in the aid of a higher branch of industry1 and one which gave scope for great artistic achievements--namely1 that of painting4 ,it may perhaps be advisable to attempt some definition of the subject1 and lay down as far as possible historical and geographical limits within which ,roman pottery as a distinct phase of ancient art may be said to be comprised4 ,the line which distinguishes it from ,greek pottery is1 however1 one of artistic evolution rather than of chronology1 one of political circumstances rather than of geographical demarcation4 ,in other words1 it will be found that during a certain period the ceramic art had reached the same stage of evolution throughout all the ,mediterranean countries2 in ,greece and ,asia ,minor1 in the ,crimea and in ,north ,africa1 in ,southern ,italy and in ,etruria1 a point of development had been reached at which the same kind of pottery1 of very similar artistic merit1 was being made in all parts alike4 ,in ,greece and other regions which had up to the end of the fourth century1 or even later1 been famous for their painted pottery1 this art had lost its popularity and was dying or dead2 in other parts1 as in ,etruria1 it had never obtained a very firm foothold1 and the local traditions of relief-ware imitating metal were revived4 ,not the least remarkable feature of the art of the ,hellenistic ,age is the great impetus given to working in metal1 as has already been indicated in a previous chapter 7,vol4 ,i4 p4 #dih74 ,the toreutic products of ,alexandria and of the famous chasers of ,asia ,minor1 whose names ,pliny records1#cjhj became renowned throughout the ,greek world1 and the old passion for painted pottery was entirely ousted by the new passion for chased vases of metal4 ,but in spite of increased habits of luxury1 it is obvious that the replacing of earthenware by metal could never have become universal4 ,for ordinary household purposes pottery was still essential1 and besides that1 there were many to whom services of plate and gold or silver vessels for use or ornament were a luxury unattainable4 ,hence it was natural that there should follow a general tendency to imitate in the humbler material what was beyond reach in the more precious1 and the practice arose1 not only of adorning vessels of clay with reliefs in imitation of the chased vases1 but even of covering them with some preparation to give them the appearance of metal4 ,instances of these tendencies have been given in ,chapter ,,xi41 and no better example could be adduced than that of the silver phialae of ze and their terracotta replicas in the ,british ,museum 7,vol4 ,i4 p4 #ejb74 ,in the same chapter we saw that ,southern ,italy1 in particular1 was the home of the relief and moulded wares in the ,hellenistic period4 ,this was a time when there were close artistic relations between that region and ,etruria1 and we have already seen that this method of decoration had long been familiar in the latter district 7see p4 #bib ff474 ,hence it is not surprising that we find springing up in the ,etruscan region of ,italy an important centre of pottery manufacture which proved itself to be the heir of more than one line of artistic traditions4 ,the era of ,roman pottery is generally assumed to begin with the establishment at ,arretium1 within the area of ,roman domination1 of a great manufactory in the hands of ,roman masters and workmen4 ,evidence points to the second century ,b4,c4 as the time when ,arretium sprang into importance as a pottery-centre2 and thenceforward for many years its fabrics filled the markets and set the fashion to the rest of the ,roman world4 ,the lower limit of the subject is1 from lack of evidence1 not much easier to define2 but after the second century of the ,empire1 pottery1 like other branches of working in clay1 sank very much into the background1 and the spread of ,christianity after the time of ,diocletian practically gave the death-blow to all ,pagan art4 ,m4 ,dchelette1 in his account of the important potteries at ,lezoux in ,gaul1 brings forward evidence to show that they practically came to an end about the time of ,gallienus 7,a4,d4 #bfj-bfh7cjha2 but it is probable that the manufacture of degenerate sigillata wares went on for about a century longer in ,germany at any rate1 if not in ,gaul4 ,much of the pottery found in ,germany and ,britain is of an exceedingly debased and barbaric character4 ,in discussing the geographical distribution of ,roman pottery we are met first with the difficulty1 which has already been hinted at1 of defining where ,greek ends and ,roman begins4 ,but we must have regard to the fact that in most if not all ,greek lands pottery1 painted or moulded1 was in a moribund condition1 whereas in ,italy the latter branch was rejuvenescent4 ,it seems1 therefore1 more satisfactory on the whole to exclude the ,eastern ,mediterranean entirely from the present survey1 and to consider that with the concluding words of ,chapter ,,xi4 the history of pottery in that part of the ancient world came to an end4 ,that is to say1 that all later fabrics found in ,greece or ,asia ,minor1 even though they are sometimes of ,roman date1 belong to the lingering traces of a purely ,hellenic development1 and have no bearing on our present investigation4 ,the latter must therefore be limited to the countries of ,western ,europe1 embracing--besides ,italy--,france1 ,germany1 ,britain1 and ,spain4 ,the pottery found in these regions during the period of the ,roman ,empire is homogeneous in character1 though greatly varying in merit1 and so far as it can be traced to the victorious occupiers of those countries rather than to purely native workmanship1 represents what we may call ,roman pottery1 as opposed to ,greek or ,graeco-,roman on the one hand and ,celtic or ,gaulish on the other4 #b4 ,,technical ,,processes ,roman pottery1 regarded from its purely technical aspect1 is in some ways better known to us than ,greek1 chiefly owing to the extensive discoveries of kilns1 furnaces1 and potters' apparatus1 such as moulds and tools1 in various parts of ,western ,europe4 ,on the other hand1 its classification is a much more difficult matter1 although it has for so long been the subject of study1 for reasons which will subsequently appear4 ,this is perhaps partly due to the overwhelming interest which the discoveries of recent years have evoked in the study of ,greek vases2 and partly1 of course1 to the artistic superiority and more varied interest of the latter2 but the mass of material now collected in the ,museums of ,italy and ,central ,europe is gradually impelling ,continental scholars to bring to bear on ,roman pottery the scientific methods now universally pursued in other directions4 ,of their work we shall speak more in detail in another chapter2 for the present we must confine ourselves to the technical aspect of the subject4 ,the ,romans1 who used metal vases to a far greater extent than the ,greeks--at least under the late ,republic and ,empire--did not hold the art of pottery in very high estimation1 and their vases1 like their tiles and lamps1 were produced by slaves and freedmen1 whereas at ,athens the potter usually held at least the position of a resident alien4 ,these were content to produce useful1 but not as a rule fine or beautiful1 vases1 for the most part only adapted to the necessities of life4 ,there was1 so far as we know1 no manufacture of vases set apart for religious purposes1 either for funerary use or as votive offerings1 and for the adornment of the house metal had the preference4 ,it is not1 therefore1 surprising that we should find them making use of a less fine and compact paste for the greater proportion of their vases4 ,with the exception of the fine red wares with reliefs1 which are now generally known to archaeologists as terra sigillata1#cjhb and which answered in public estimation to our porcelain1 they made only common earthenware1 and this was generally left unglazed4 ,all kinds of clays are used1 varying with the different regions in which the pottery was made1 and ranging in hue from black to grey1 drab1 yellow1 brown1 and red4 ,in quality1 too1 the clay varies to a considerable extent1 some being of a coarse1 pebbly character4 ,the red clay of the ,allier district in ,france1 where most of the ,gaulish pottery was manufactured1 is of a ferruginous nature2 its natural colour is modified by baking1 though it never becomes white4#cjhc ,the pottery of ,st4 ,rmy-en-,rollat in that neighbourhood is made of the same white clay as the terracotta figures 7p4 #chb74cjhd ,in ,italy1 as a rule1 careful attention seems to have been paid to the preparing and mixing of the clay1 and in the glazed red wares it is uniformly good4 ,in fact1 the remarkable similarity in technique and appearance of this ware throughout the ,roman ,empire has led to the view that there can only have been one centre from which it was exported4 ,against this1 however1 must be urged the undeniably provincial and almost barbarous character of the decoration on much of the pottery found in ,central and ,northern ,europe2 and therefore1 without denying that exportation went on1 as it undoubtedly did1 we should prefer to suppose that this red glaze was produced in some special artificial manner1 such as by using red ochre or iron oxide 7see below71 the knowledge of which became common property4 ,as ,semper said forty years ago#cjhe3 8,not only did barbarians1 ,gauls1 ,britons1 and ,germans1 learn to know and use ,roman technique1 but also ,egypt1 ,asia1 and the ,greeks1 already immortalised by their own pottery1 dropped their local processes1 and voluntarily adopted ,roman forms and technique40 ,clay and glaze1 form and technical method1 are in all parts the same2 it is only the decoration that varies and reflects the spirit and taste of the locality4 ,formerly it was thought that the red glaze was obtained in the baking1 after careful polishing of the surface1 and that special means were adopted to this end4 ,in the kilns of ,castor 7see below7 ,artis thought that he detected contrivances for this purpose2 but it is now generally agreed that the glaze is artificial1 not natural4 ,in ordinary wares and in the lamps a red glaze is produced by a mere polishing of the surface1 and this varies in tone and lustre with the proportion of oxide of iron in the paste1 and the degree of heat employed in the baking4 ,but in the terra sigillata the red glaze reaches a high and uniform state of perfection4 ,this seems to have been produced by a kind of varnish1 the elements of which are not absolutely certain2 but it would appear that the substance added to produce the effect was of an essentially alkaloid nature4 ,this has been deduced by ,dragendorff#cjhf from a series of analyses made from fragments of different wares1 both without and with the glaze2 in the latter case the alkaloid constituents show a marked increase in quantity1 whereas the proportion of the iron oxide and other elements remain constant4 ,these investigations were made by ,dr4 ,lilienthal1 of ,dorpat1 on five fragments3 7#a7 from a vase of the ,republican period found at ,corneto2 7#b7 from a bowl of fine terra sigillata of the first century after ,christ2 7#c7 from a deep cup of the same style2 7#d7 from late provincial ware of the second or third century2 7#e7 from a degenerate fabric with rough clay and inferior glaze1 the results being as follows3-- #a4 ,without glaze#cjhg3 7#a7 7#b7 7#c7 7#d7 7#e7 ,silica #eejh #ebhg #ebjed #edge #ffgj ,clay earth #bcaj #bcie -- #ahhb #baja ,iron oxide #adac #dgh #aciff #addh #ehi ,carbonate of lime #ebb #achj -- #ecj #cbj ,magnesia #jge #bce #ahej #cch #abf ,potash #jgi #jhi #aheb #aee #ajb ,carbonate of sodium #jbh #jde #jebc #jec #jeg #b4 ,with glaze#cjhh3 7#a7 7#b7 7#c7 7#d7 7#e7 ,silica #edah -- #eaibd #ecgj -- ,clay #baca -- -- #afic -- ,iron #aejj -- #abafh #adgj -- ,carbonate of lime #fja -- -- #ehb -- ,magnesia #aid #cab #bbja #egb #bje ,potash #jie #ajf #bbaj #ahb #abg ,carbonate of sodium #jcg #jdi #jiba #jfb #jfi ,it must be borne in mind that1 although the final effect is due to the alkaloids1 the red colour of the vases is produced by the iron oxide which was inherent in the composition of the clay1 none being added with the varnish1 as the quantities show4 ,all the fragments also showed traces of manganese and sulphuric acid4 ,previously analyses had been given by ,brongniart and ,blmner1#cjhi with results approximately similar1 but not so definite4 ,fabroni had thought that the iron oxide was combined with a vitreous paste1#cjij and ,keller1 by practical experiments1 essayed to show that borax was employed to provide the required appearance1#cjia and further maintained that the furnace at ,castor already alluded to was used for dissolving that substance4 ,he was not far from the truth1 but the results obtained by ,dragendorff seem to militate against his conclusions4 ,in any case the glaze is very perfect1 of so bright a red as to resemble coral1 and serving1 as ,blmner says1 to enhance the ground colour where a modern glaze would only conceal its imperfect tone4 ,it is so fine and so carefully laid on that it does not interfere with any outlines or details1 in this again evincing its superiority to modern glaze4 ,it seems to have been applied not with the brush1 but by dipping the vase into the liquid4#cjib ,black glaze1 such as occurs on the earlier ,italian fabrics 7p4 #dha71 was produced from an alkaline silicate4#cjic ,the ordinary unglazed wares were classified by ,brongniart under four heads#cjid3 7#a7 pale yellow2 7#b7 red 7dark red to red-brown2 first century of ,empire72 7#c7 grey or ash-coloured 7down to the end of the ,western ,empire72 7#d7 black 7mainly provincial74 ,this distribution was in its general lines adopted by subsequent writers1 such as ,buckman#cjie and ,birch1 but was felt to be inadequate1 and some slight modifications were adopted4 ,for practical purposes1 however1 it will be found to work fairly well as a convenient method of grouping the commoner wares4 ,none of them as a rule have any decoration4 ,they will be considered in fuller detail in a subsequent chapter4 99 99 99 99 99 ,in the manufacture of vases the ,romans used the same processes as the ,greeks4 ,they were made on the wheel 7rota figularis or orbis71#cjif to which allusion is not infrequently made by the ,latin poets1 as in the well-known line of ,horace#cjig3-- ,amphora cepit ,institui2 currente rota cur urceus exit8 ,and1 again1 in the phrase totus1 teres1 atque rotundus#cjih he is doubtless referring to a vase just turned off the wheel4 ,tibullus speaks of 8slippery clay fashioned on the wheel of ,cumae0#cjii2 and there are also allusions in ,plautus and other writers4#cajj ,the simile has also been drawn upon by ,english poets4#caja ,specimens of potters' wheels have been found at ,arezzo and at ,nancy2 these are made of terracotta1 pierced in the centre for the axis of the pivot1 and furnished at the circumference with small cylinders of lead1 to give purchase for the hand and steadiness to the whirling wheel4#cajb ,another from ,lezoux1 now in the ,museum at ,roanne1 is figured by ,m4 ,dchelette4#cajc ,most of the common wares were made by this process1 except the dolia1 or large casks1 which were built up on a frame like the ,greek pithos 7,vol4 ,i4 p4 #aeb74 ,but for the ornamented vases with reliefs an additional process was necessary in order to produce the raised ornament1 and they were in nearly all cases produced from moulds1 like the lamps or terracotta figures and reliefs4#cajd ,the vases were still fashioned on the wheel1 but this was done in the mould from which the reliefs were obtained4 ,occasionally the reliefs were modelled by hand or with the aid of tools1 or even produced with a brush full of thick slip 7en barbotine71 but moulding was the general rule4 ,this method entailed three distinct stages1 of which the first alone required artistic capacity2 the other two were purely mechanical1 requiring only a certain technical dexterity4 ,the first was that of making the stamps from which the designs were impressed2 the second1 the making of the moulds2 the third1 impressing the clay in the mould4 ,the stamps were made of clay1 gypsum1 wood1 or metal1 and had a handle at the back for holding while pressing them into the mould2 they were used not only for figures and ornamental designs1 but also for the potter's signature 7see below74 ,only clay examples1 however1 have been preserved1 but some of these are admirable specimens4 ,frequently the subjects on the ,arretine vases were taken1 like those on lamps and mural reliefs1 from existing works of art1 especially from the 8new ,attic0 reliefs to which allusion has already been made 7p4 #cfh71 and the stamps are directly copied from these sources4 ,an instance of this is a stamp from ,arezzo in the ,british ,museum1 with a beautiful figure of ,spring 7,plate ,,lxvi4 fig4 #b71 which finds its counterpart on a complete vase from ,capua 7,fig4 #bai71 and also on a mural relief 7,b4,m4 ,d #ehc74 ,another good example in the same collection represents a slave bending over a vessel on a fire1 and shielding his face from the heat with one hand4 ,from the same site are two others representing respectively a boar and a lion4 ,a fourth stamp found at ,arezzo1 with a tragic mask1 is given in ,fig4 #baa4caje ,the stamps must have been articles of commerce1 and handed down from one potter to another1 as the subjects are found repeated in different places2 the majority were probably made at ,arezzo and other important places in ,italy4 ,among examples from the provinces may be mentioned one in the ,british ,museum 7,romano-,british collection71 with the figure of a youth1 inscribed ,,offi7cina7 ,,liberti2 it is of fine terracotta1 and was found at ,mainz4 ,a stamp with the figure of ,paris or ,atys is in the museum of the ,philosophical ,society at ,york4#cajf ,other stamps in the form of a hare and a lion in the ,svres ,museum are inscribed with the name of ,cerialis1 a well-known ,german potter1 whose name also occurs on a mould for a large bowl with a frieze of combatants in the ,british ,museum1 and in the former museum are six others1 including one of a wolf1 with the name of a ,gaulish potter1 ,cobnertus4#cajg ,von ,hefner mentions one found at ,rheinzabern with a figure of a gladiator at each end1 inscribed ,p ,,atti ,,clini ,o7fficina71 and others from ,westerndorf with a lion and a horse4#cajh ,dies for stamping the potters' names have been found at ,lezoux in ,auvergne1 and in ,luxemburg1 with the names of ,auster 7,,avstri ,,of7 and ,cobnertus1 and ,roach-,smith possessed one with the latter name#caji2 in the ,svres ,museum is also a stamp for making rows of pattern 7see below71#caaj and at ,rheinzabern one for an egg-and-tongue moulding was found4#caaa ,specimens of these stamps are given in ,fig4 #baa4 ,illustration3 ,,fig4 #baa4 ,,stamps ,,used ,,by ,,roman ,,potters4 ,the moulds were made of a somewhat lighter clay than that of the vases1 but it was essential that the material should be sufficiently porous to absorb the moisture of the pressed-in clay of the vase2 sometimes holes for the water to escape through are visible4 ,they were made on the wheel1 and had a ridge on the exterior for convenience in handling2 they were made whole1 not in halves1 but sometimes the vase was first made plain1 and the figures were then attached from separate moulds1 or rather made separately1 as in the case of the 8,megarian0 bowls 7,vol4 ,i4 p4 #dii74caab ,vases have been found in the ,rhone valley ornamented with large appliqu medallions1 and the separate moulds for these also exist2 they seem to have been made at ,vienne4#caac ,the figures and ornaments were impressed into the moulds from the stamps while the paste was still soft1 leaving hollow impressions to receive the clay of the vases4 ,similarly1 continuous patterns1 such as rows of beads or dots1 were traced in the mould with a roller or wheel-like instrument on which the pattern was cut in relief4#caad ,any defects or careless arrangement in the completed vase would of course be due to a careless insertion of the stamps in the mould4 ,there are large numbers of moulds for ,roman and provincial vases in existence1#caae and the ,british ,museum has a fine though fragmentary series from ,arezzo1 intended for some of the finest specimens of the local ware2 of these more will be said in the following chapter4 ,many of these moulds have been found on sites of potteries in ,gaul1 especially in the ,auvergne and ,bourbonnais districts1 and are collected in the ,moulins1 ,roanne1 ,st4 ,germain1 and other museums4 ,lezoux was an important centre in this respect1 and here also were found moulds for patterns and ornaments4#caaf ,in the ,british ,museum 7,romano-,british collection7 there is part of a mould for a shallow bowl1 found at ,rheinzabern1 with stamped designs of a lion1 boar1 and hare pursuing one another2 it is similar to the mould with ,cerialis' name already described4 ,these matrices are usually of fine bright red clay1 unglazed2 they are very porous1 rapidly absorbing moisture1 and easily allowing the potter to withdraw the vessel from the mould4 ,the importance of the discovery of moulds can hardly be overrated for the evidence they afford as to the site of potteries and centres of fabrics#caag2 it is obvious that where they are found1 and only in such places1 the vases must have been made2 and that the discovery of a potter's name on any mould establishes his workshop at the place where it was found4 ,various tools for working the moulds1 or touching up details or damaged parts of bronze and ivory1 have been found on the sites of ancient potteries1#caah as at ,arezzo1 but their use cannot be accurately determined4 ,the method of decoration known as en barbotine1 which is a sort of cross between painting and relief1 was achieved by the laying on of a semi-liquid clay slip with a brush1 a spatula1 or a small tube4 ,the pattern was probably first lightly indicated1 and the viscous paste was then laid on in thick lines or masses1 producing a sort of low relief4 ,the process was1 as a rule1 only employed for simple ornamentation1 such as leaves1 sprays1 and garlands2 but on the provincial black wares it finds a freer scope4 ,on vases found in ,britain and the adjoining parts of the ,continent 7p4 #edd7 figures of animals are rendered in this manner1 and on another class peculiar to ,germany 7p4 #ecg7 inscriptions are painted in a thick white slip4 ,the colour of the slip did not necessarily correspond to the clay of the vase1 and was1 in fact1 usually white4 ,these vases are1 however1 technically poor1 and the reliefs heavy and irregular4 ,the process has been aptly compared to the sugar ornamentation on cakes4#caai ,painted decoration is almost unknown in ,roman pottery1 and is1 in fact1 confined to the ,,pocolom series described in ,chapter ,,xi4 ,it occurs in a rough and primitive form on some of the provincial fabrics1 such as the ,castor and ,rhenish vases 7see pp4 #ecg1 #edd71 but its place is really taken by the barbotine method4 ,engraved or incised decoration is exceedingly rare1 and practically confined to provincial wares1 which sometimes have incisions or undulations made over the surface with the fingernail in the moist clay4#cabj ,in the north of ,england1 as at ,york1 pottery is commonly found with wreaths and fan-patterns cut in intaglio in the clay while moist4 ,others have patterns of four leaves #bjai;four-leaf cut in the soft clay1 or continuous ornaments round the vase made with the toothed roller-like instrument of which we have already spoken4 ,some of this ornamentation may be in imitation of contemporary glass vases4 ,m4 ,dchelette has traced this fabric to ,lezoux1#caba and the specimens found in ,britain are doubtless imported4 ,a ,gaulish example from the ,morel ,collection in the ,british ,museum is given on ,plate ,,lxix4 fig4 #d4 ,the feet and rims of the vases were made separately1 and attached after their removal from the wheel1 as were also the handles when required2 but the rarity of handles in ,roman pottery is remarkable4 ,it is perhaps due to the difficulty of packing them safely for export4 ,the next process was the preparation of the glaze1 for those vases to which it was applied1 followed by the baking4 #c4 ,,roman ,,pottery-,,furnaces ,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 vases4 ,on this particular point1 indeed1 we know far more in regard to ,roman pottery than to ,greek1 although1 as we have seen in ,chapter ,v41 the painted vases themselves sometimes yield information on the appearance and arrangement of the furnaces4 ,but remains of actual furnaces have been found in many places in ,western ,europe1 notably in ,germany1 ,france1 and ,britain1 in a more or less complete state1 as also in ,italy1 at ,pompeii1 ,modena1 and ,marzabotto4#cabb ,a complete list of those known in #ahfc has been given by ,von ,hefner1#cabc supplemented by ,blanchet's lists of furnaces found in ,france 7#ahih and #aijb74cabd ,in ,gaul the best examples are at ,lezoux1 near ,clermont1 at ,chtelet in ,haute-,marne1#cabe and at ,belle-,vue1 near ,agen1 in the ,department of ,lot-et-,garonne4#cabf ,the latter was circular in form1 below the level of the soil4 ,in ,germany important remains have been found at ,heiligenberg in ,baden1 ,heddernheim near ,frankfort1 ,rheinzabern near ,karlsruhe1 and ,westerndorf4#cabg ,all these in general arrangement differ little from those in use at the present day2 the ,heddernheim furnace 7,fig4 #bab7 was found in the most perfect preservation1 but was subsequently destroyed1 not1 however1 before satisfactory plans and drawings had been made4#cabh ,in ,britain by far the most important discoveries have been made at ,castor1 ,chesterton1 and ,wansford in ,northants1 where the remains extend for some distance along the ,nene valley4#cabi ,they were first explored by ,artis in #ahba-bg1 who published a magnificent series of plates in illustration1 entitled ,durobrivae2 these he supplemented by a full description in the ,journal of the ,british ,archaeological ,association4#cacj ,castor and ,chesterton 7the latter in ,hunts7 are both on the site of ,roman towns1 and were the centres of a special local ware1 described in a succeeding chapter4 ,the potteries1 being so numerous1 are probably not all of the same age4 ,illustration3 ,,fig4 #bab4 ,,roman ,,kiln ,,found ,,at ,,heddernheim1 ,,germany4 ,in #afgg four ,roman kilns were discovered in digging under ,st4 ,paul's ,cathedral for the foundation of ,sir ,c4 ,wren's building1 at a depth of #bf feet4 ,they were made of loam1 which had been converted into brick by the action of the fires1 and were full of coarse pots and dishes2 they measured #e feet each way4 ,a drawing made at the time is preserved among the ,sloane ,,mss4 in the ,british ,museum4#caca ,in the kilns was found pottery of the kind typical of ,london and the neighbourhood4 ,in #ahih two kilns1 one of large size1 with pottery bearing the name ,,castvs ,,fecit1 were found near ,radlett in ,herts1#cacb and another was excavated in #ahie by ,mr4 ,c4 ,h4 ,read at ,shoeburyness4#cacc ,in ,norfolk a kiln of somewhat curious form was found in the ,roman settlement of ,caistor by ,norwich2 the shape is that of a shallow concave depression with partitions1 and it contained vases placed ready for baking4#cacd ,another found between ,buxton and ,brampton was recorded by ,sir ,thomas ,browne1#cace and a third at ,weybourne4#cacf ,in the ,south of ,england kilns have been found in the ,new ,forest1 where there was a manufacture of local pottery#cacg2 in ,alice ,holt ,forest near ,petersfield1 ,hants2 at ,shepton ,mallet in ,somerset2 and a potter's workshop at ,milton ,abbas1 ,dorset4#cach ,the ,british ,museum contains a model of a kiln unearthed at ,worcester about forty years ago1 on the site of the modern porcelain works4 ,finally1 discoveries of kilns and pottery were made in #ahai at ,colchester1 and again in #ahgh1 when five kilns1 all of different forms1 with local pottery1 came to light4#caci ,to describe all these different types of furnaces in detail would of course be impossible1 but much may be learnt from the very full1 though now somewhat antiquated1 descriptions of the ,castor kilns given by ,artis4#cadj ,it will be found more satisfactory to describe the generally-prevailing arrangements1 noting the more important variations where they occur4 ,it may further be laid down that the system was practically the same for terracotta figures and tiles as for pottery1 and that in many cases both were made in the same furnace4 ,but this was not invariably the case1 and at ,rheinzabern1 for instance1 the kilns for tiles were quadrangular1 those for pottery circular4 ,the kilns were constructed partly of burnt1 partly of unburnt brick1 the interior1 floor1 and outside of the roofs being covered with a strong layer of cement4 ,they consisted of two main portions1 the fire-chamber with its adjuncts1 and the vaulted chamber above1 in which the objects to be baked are placed4 ,the fire-chamber was usually circular1 with a projection in front1 the praefurnium#cada which had either a vaulted roof1 as at ,castor and ,heiligenberg1 or a gabled roof formed of pairs of tiles1 as at ,rheinzabern4 ,through this the fuel was introduced1 consisting chiefly1 as charcoal remains show1 of pine-wood4 ,the fire-chamber was either divided up1 as at ,castor1 by walls radiating from a central pillar which supported the roof1 or by rows of pillars in a line with the entrance1 as at ,rheinzabern and ,heiligenberg4 ,holes were bored in the roof to allow the heat to penetrate through1 but the arrangement varies2 at ,heiligenberg each division of the furnace was vaulted1 making grooves along which the holes were bored4 ,the oven where the pots were placed has been destroyed in most cases1 but we know that it consisted of a floor1 a wall with entrances1 and a vaulted dome4 ,the pots were ranged partly on the floor1 partly on terracotta stands over the holes1 as at ,rheinzabern and ,heiligenberg#cadb2 at ,lezoux there are remains of holes in the walls for iron bars to support them4 ,special arrangements seem to have been made for baking the finer wares1 in order to ensure the proper spread of heat1 and to guard against their being blackened or otherwise injured4 ,in the ,romano-,british ,room of the ,british ,museum is a lump of bowls of red ware from ,lezoux1 fused together in the baking and cast aside4#cadc ,one of the kilns at ,castor 7,fig4 #bac7 is described by ,artis as a circular hole #c to #d feet deep and #d feet in diameter1 walled round to a height of #b feet2 the praefurnium was about a foot in length4 ,in the centre of the circular hole was an oval pedestal 7with one end pointing to the furnace-mouth71 on which and on the side wall the floor was supported1 being formed of perforated angular bricks meeting in the centre4 ,the vaulted dome was composed of bricks moulded for the purpose1#cadd and the sides of the kiln of curved bricks set edgeways in a thick slip of the same material4 ,brongniart#cade compares the ,castor kiln with that at ,heiligenberg1 near ,strasburg1 and others in the ,rhine valley in which 8,samian0 ware was made4 ,illustration3 ,,fig4 #bac4 ,,kiln ,,found ,,at ,,castor1 ,,northants4 ,another kiln found in #ahdd ,artis describes as having been 8used for firing the common blue or slate-coloured pottery1 and had been built on part of the site of one of the same kind1 and within a yard and a half of one that had been constructed for firing pottery of a different description4 ,the older exhausted kiln 444 presented the appearance of very early work2 the bricks had evidently been modelled with the hand1 and not moulded1 and the workmanship was altogether inferior to that of the others1 which were also in a very mutilated state2 but the character of the work1 the bricks1 the mouths of the furnaces1 and the oval pedestals which supported the floors of the kilns1 were still apparent40 ,artis was also of opinion that 8the blue and slate-coloured vessels found here in such abundance were coloured by suffocating the fire of the kiln1 at a time when its contents had acquired a degree of heat sufficient to ensure uniformity of colour40 ,hence he denominated kilns in which this ware was baked1 8smother kilns40 ,he further notes that the bricks of this kiln 8were made of clay mixed with rye in the chaff1 which being consumed by the fire i4e4 in the baking of the bricks left cavities in the room of the grains1 which might have been intended to modify expansion and contraction1 as well as to assist the gradual distribution of the colouring vapour4 ,the mouth of the furnace and top of the kiln were no doubt stopped2 thus every part of the kiln was penetrated with the colouring exhalation40 ,from experiments made on the local clays he proved to his own satisfaction that the colour could not have been produced by any metallic oxide1 inherent or applied from without2 and this view was supported by the appearance of the clay wrappers of the dome of the kiln4 ,but in view of recent researches1 such as those of ,blmner1 it is doubtful whether ,artis' theories can now be upheld4 ,as ,mr4 ,haverfield has pointed out1#cadf the dark colour may be due to the chemical action of the carbonaceous vapour of the smothered kiln rather than to any 8colouring exhalation40 ,the process of packing the kiln in order to secure uniform heat in firing is thus described by the same writer3 8,the kilns were first carefully loose-packed with the articles to be fired1 up to the height of the side walls4 ,the circumference of the bulk was then gradually diminished1 and finished in the shape of a dome4 ,as this arrangement progressed1 an attendant seems to have followed the packer1 and thinly covered a layer of pots with coarse hay or grass4 ,he then took some thin clay1 the size of his hand1 and laid it flat on the grass upon the vessels2 he then placed more grass on the edge of the clay just laid on1 and then more clay1 and so on until he had completed the circle4 ,by this time the packer would have raised another tier of pots1 the plasterer following as before1 hanging the grass over the top edge of the last layer of plaster1 until he had reached the top1 in which a small aperture was left1 and the clay nipt round the edge2 another coating would be laid on as before described4 ,gravel or loam was then thrown up against the side wall where the clay wrappers were commenced1 probably to secure the bricks and the clay coating4 ,in consequence of the care taken to place grass between the edges of the wrappers1 they could be unpacked in the same-sized pieces as when laid on in a plastic state1 and thus the danger in breaking the coat to obtain the contents of the kiln could be obviated40 ,in the course of his excavations ,artis discovered a singular furnace1#cadg 8of which ,i have never before or since met with an example4 ,over it had been placed two circular earthen fire vessels 7or cauldrons72 that next above the furnace was a third less than the other1 which would hold about eight gallons4 ,the fire passed partly under both of them1 the smoke escaping by a smoothly-plastered flue1 from seven to eight inches wide4 ,the vessels were suspended by the rims fitting into a circular groove or rabbet1 formed for the purpose40 ,he was strongly of opinion that this furnace was used for producing glazed wares by means of iron oxide4 ,whether this is so or not1 it is interesting to note that in the ,british ,museum and ,museum of ,geology there are cakes of vitreous matter from ,castor1 probably used as a glaze1 and consisting of silicates of soda and lime4#cadh ,the kiln found at ,caistor1 in ,norfolk1 was apparently used for baking the grey ,roman ware1 and differed in form from those described1 which were for the black1 being only calculated for a slight degree of baking4 ,it was a regular oval1 measuring #f feet #d inches in breadth4 ,the furnace holes were filled in below with burnt earth of a red colour1 and in the upper part with peat2 the exterior was formed of strong blue clay of #f inches in thickness1 and the interior lined with peat2 the kiln was intersected by partitions of blue clay4 ,some of the vases were inverted and filled with a core of white sand4#cadi ,illustration3 ,,fig4 #bad4 ,,plan ,,of ,,kiln ,,at ,,heiligenberg4 ,the furnaces at ,heiligenberg and ,rheinzabern present the following further peculiarities4#caej ,the former1 which were evidently used for the baking of red wares1 had a flue in the form of a long channel with arched vault1 the mouth being over #h feet from the space where the flames and heat were concentrated under the oven 7,fig4 #bad74 ,numerous pipes of terracotta1 of varying diameter1 diverged from the upper part or floor of the oven1 to distribute the heat2 in the outer wall of the oven was a series of smaller ones1 and twelve or fifteen of larger size opened under the floor of the oven to distribute the heat and flame round the pots 7,fig4 #bae74 ,the mouths of the pipes were sometimes stopped with baked clay stoppers to moderate the heat4 ,the upper part or dome of the kiln is never found entire1 having been generally destroyed here1 as elsewhere1 by the superincumbent earth4 ,walls of strong masonry separated and protected the space between the mouth of the flue and the walls of the oven1 and the floor of the latter was made of terracotta tiles4 ,illustration3 ,,fig4 #bae4 ,,section ,,of ,,kiln ,,at ,,heiligenberg4 ,at ,rheinzabern1 where excavations were made in #aheh1 fifteen furnaces were found1 some round and others square1 but all constructed on the same plan4 ,the floor of the oven was over #c feet below the top of the walls1 and was covered with tiling1 the walls being formed of rough slabs of clay1 about #bh by #af inches in size4 ,the floors of the ovens were in some cases supported by bricks covered with a coating of clay4 ,stands of baked clay in the shape of flattened cylinders supported the pots in the oven1 and these rested on pads of a peculiar form1 roughly modelled in clay4#caea ,in all1 seventy-seven pottery-kilns and thirty-six tile-kilns were discovered on this site4#caeb ,the following list1 though by no means claiming to be exhaustive1 gives the names of the chief potteries where actual furnaces have been discovered4 #a4 ,,italy ,arezzo ,see p4 #dgi ff4 ,marzabotto ,mon4 ,antichi1 i4 p4 #bhb4 ,modena ,bull4 dell' ,inst4 #ahge1 p4 #aib4 ,oria ,ibid4 #ahcd1 p4 #ef4 ,pompeii ,mau-,kelsey1 ,pompeii1 p4 #chf4 ,pozzuoli ,bonner ,jahrb4 xcvi4 p4 #ed4 #b4 ,,france ,dept4 ,ain ,st4-,martin-du- ,blanchet1 ,melanges1 p4 #ajg4 of ,mont ,allier ,champ-,lary ,blanchet1 p4 #hi4 ,lubi 0 p4 #ie4 ,st4-,bonnet 0 p4 #if4 ,st4-,didier-en- 0 p4 #if4 ,rollat ,st4-,rmy-en- 0 p4 #if2 ,dchelette1 i4 ,rollat p4 #da ff4 ,vichy ,blanchet1 p4 #ie4 ,aube ,nogent-sur- 0 p4 #ajf4 ,seine ,aveyron ,graufesenque 0 p4 #ig2 ,dchelette1 i4 p4 #fd ff4 ,dept4 ,bouches-du- ,arles ,roach-,smith1 ,collect4 ,antiq4 of ,rhne vii4 p4 #ac4 ,auriol ,blanchet1 p4 #ih4 ,marseilles 0 p4 #ih4 ,charente ,jarnac 0 p4 #aja4 ,chez ,ferroux 0 p4 #ajb4 ,eure-et-,loire ,chartres 0 p4 #ajd4 ,gard ,uzs 0 p4 #ii4 ,haute-,garonne ,vieille- 0 p4 #aja4 ,toulouse ,haute-,marne ,chtelet ,brongniart1 ,trait1 i4 p4 #dci4 ,haute-,sane ,luxueil ,blanchet1 p4 #ajg4 ,ille-et-,vilaine ,redon 0 p4 #ajb4 ,indre-et-,loire ,noutre 0 p4 #ajd4 ,loire ,montverdun 0 p4 #if4 ,loire- ,herbignac 0 p4 #ajb4 ,infrieure ,loire-et-,cher ,thor 0 p4 #ajd4 ,lot ,cahors 0 p4 #ajj4 ,mlines 0 p4 #aja4 ,lot-et-,garonne ,agen 0 p4 #aja2 ,rev4 ,arch4 xviii4 7#ahfh71 pl4 #bc4 ,lozre ,banassac ,blanchet1 p4 #ig2 ,dchelette1 i4 p4 #aag4 ,nivre ,chantenay ,blanchet1 p4 #if4 ,gravier 0 p4 #if4 ,oise ,bois-,ibert 0 p4 #aje4 ,compigne 0 p4 #ajd4 7,forest of7 ,mont-de-,hermes1 0 p4 #aje4 ,beauvais ,sampigny 0 p4 #aje4 ,orne ,chandai 0 p4 #ajc4 ,pas-de-,calais ,avesnes-le- 0 p4 #ajf4 ,comte ,puy-de-,dme ,clermont- 0 p4 #ie4 ,ferrand ,lezoux 0 p4 #ic2 ,dchelette1 i4 p4 #ada ff4 ,thiers ,blanchet1 p4 #id4 ,rhne ,lyons 0 p4 #ajj4 ,sarthe ,grand-,luc 0 p4 #ajc4 ,seine ,paris 0 p4 #ajd4 ,seine- ,incheville 0 p4 #ajc4 ,infrieure ,somme ,amiens ,blanchet1 p4 #ajf4 ,tarn ,montans 0 p4 #ig4 ,tarn-et-,garonne ,castelnau-de- 0 p4 #ig4 ,montratier ,muret 0 p4 #ig4 ,vende ,trizay 0 p4 #ajb4 ,yonne ,sens 0 p4 #ajf4 ,see also ,blanchet1 p4 #ij ff4 for sites of furnaces for terracotta figures4 #c4 ,,germany ,alttrier1 ,luxemburg ,von ,hefner1 p4 #fj4 ,bergheim ,blanchet1 ,mlanges ,gallo-rom4 ii4 p4 #ajh4 ,bonn ,bonner ,jahrb4 lxxiv4 p4 #aeb2 lxxxiv4 p4 #aah4 ,cannstadt ,von ,hefner1 p4 #fa4 ,cologne ,bonner ,jahrb4 lxxix4 p4 #agh4 ,commern ,ibid4 iv4 p4 #bjc4 ,dalheim1 ,luxemburg ,von ,hefner1 p4 #fa4 ,dieburg 0 p4 #fa4 ,gglingen ,bonner ,jahrb4 i4 p4 #gd4 ,heddernheim ,ann4 dell' ,inst4 #ahhb1 p4 #ahc4 ,heidelberg ,bonner ,jahrb4 lxii4 p4 #g4 ,heiligenberg ,brongniart1 ,trait1 i4 p4 #dbg2 ,blanchet1 ,mlanges ,gallo-rom4 ii4 p4 #ajh4 ,heldenbergen ,westd4 ,zeitschr4 fr ,gesch4 u4 ,kunst1 xviii4 7#ahii71 pl4 #d1 p4 #bbg4 ,herbishofen ,von ,hefner1 p4 #fa4 ,nassenfels 0 p4 #fa4 ,petzel1 ,luxemburg 0 p4 #fa4 ,rheinzabern 0 p4 #fa2 ,brongniart1 i4 p4 #dbi4 ,riegel ,von ,hefner1 p4 #fa4 ,rottenburg ,bonner ,jahrb4 iv4 p4 #ada4 ,schnbuch1 ,wrtemberg ,blanchet1 p4 #ajh4 ,trier 0 p4 #ajh4 ,waiblingen ,von ,hefner1 p4 #fa4 ,westheim 0 p4 #fb4 ,westerndorf 0 p4 #fb4 #d4 ,,england ,dorset1 ,milton ,abbas ,roach-,smith1 ,collect4 ,antiq4 vi4 p4 #aia4 ,essex1 ,ashdon ,arch4 ,journ4 x4 p4 #ba4 0 ,colchester ,roach-,smith1 ,collect4 ,antiq4 ii4 p4 #ch1 vii4 pls4 #a-c1 p4 #a ff42 ,journ4 ,brit4 ,arch4 ,assoc4 xxxiii4 p4 #bfg4 0 ,shoeburyness ,proc4 ,soc4 ,antiqs4 #bnd ,ser4 xvi4 p4 #dj4 ,hampshire1 ,alice ,holt ,forest ,vict4 ,county ,hist4 i4 p4 #cjf4 0 ,new ,forest ,ibid4 p4 #cbf4 ,hertfordshire1 ,radlett ,proc4 ,soc4 ,antiqs4 #bnd ,ser4 xvii4 p4 #bfa4 ,huntingdon1 ,sibson and ,water ,newton ,vict4 ,county ,hist4 ,northants1 i4 p4 #age4 ,kent1 ,upchurch ,roach-,smith1 ,collect4 ,antiq4 vi4 p4 #agh2 ,archaeologia1 li4 p4 #dfg4 ,lancashire1 ,warrington ,reliquary1 #aijj1 p4 #bfc4 ,middlesex1 ,london 7,st4 ,paul's7 ,roach-,smith1 ,ill4 ,rom4 ,lond4 p4 #gi4 ,norfolk1 ,brampton ,vict4 ,county ,hist4 i4 p4 #cad4 0 ,caistor-by-,norwich ,ibid4 p4 #bia2 ,archaeologia1 xxxvi4 p4 #dac4 0 ,caistor-by-,yarmouth ,journ4 ,brit4 ,arch4 ,assoc41 xxxvi4 p4 #bjf4 0 ,weybourne ,vict4 ,county ,hist4 i4 p4 #cbb4 ,northants1 ,castor1 ,wansford1 ,bedford ,vict4 ,county ,hist4 i4 p4 #aff ff41 ,purlieus #bjf ff4 ,oxfordshire1 ,headington ,journ4 ,brit4 ,arch4 ,assoc4 vi4 p4 #fj4 0 ,littlemore ,ibid4 liv4 p4 #cdi4 ,somerset1 ,shepton ,mallet ,gentleman's ,mag4 #ahfd1 ii4 p4 #ggj4 ,suffolk1 ,west ,stow ,heath ,journ4 ,brit4 ,arch4 ,assoc4 xxxvii4 p4 #aeb4 ,worcester ,vict4 ,county ,hist4 i4 p4 #bjg 7a model in ,brit4 ,mus474 ,on the subject generally reference may be made to ,brongniart1 ,trait1 i4 p4 #dbf2 ,de ,caumont1 ,cours d'ant4 ,monum4 ii4 7for ,heiligenberg72 ,von ,hefner1 ,rmische ,topferei1 in ,oberbayr4 ,archiv fr vaterl4 ,gesch4 xxii4 7#ahfc71 p4 #fj 7where a complete list of furnaces up to date is given72 ,bonner ,jahrbcher1 lxii4 #ahgh1 p4 #g ff42 ,wolff in ,westdeutsche ,zeitschrift fr ,gesch4 u4 ,kunst1 xviii4 7#ahii71 p4 #baa ff42 ,blmner1 ,technologie1 ii4 p4 #bc ff42 ,smith1 ,dict4 of ,antiqs4 i4 p4 #hde 7art4 ,,fictile72 and for ,gaulish sites1 ,blanchet1 ,mlanges ,gallo-romaines1 ii4 p4 #ic ff4 #d4 ,,pottery ,,in ,,latin ,,literature2 ,,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 life1#caec and later writers often contrast their use with that of the costly vases of precious metal then customary4 8,gold10 says ,persius1 8has driven away the vases of ,numa and the brass vessels of ,saturn1 the urns of the ,vestals and ,etruscan earthenware0#caed2 and ,juvenal speaks of those who laughed at 8,numa's black dish and bowl1 and fragile saucers from the ,vatican hill40#caee ,even under the ,empire fictile vases continued to be used by the poorer classes1 and the use of the finer red glazed wares must have been even more general4 ,but ,juvenal1 satirising the luxury of ,domitian's time1 says that it is considered a reproach to dine off earthenware4#caef ,in ,republican times it was the proud boast of a ,curius to prefer his earthenware service to ,samnite gold1#caeg and in #afg ,b4,c4 the consul ,q4 ,aclius ,tubero was found by the ,aetolian ambassador dining off earthenware#caeh2 ,seneca also tells how he1 at his entertainment given in the temple of ,jupiter1 placed fictile vessels before his guests4#caei ,but when ,masinissa entertained the ,romans in #adh ,b4,c4 the first course was served on silver1 the second in golden baskets1 which ,ptolemy ,euergetes describes respectively as the ,roman and ,italian fashions4#cafj ,athenaeus says that up to ,macedonian times dinners were served in fictile vessels1 but that subsequently the ,romans became more luxurious1 and ,cleopatra spent five minae a day on gold and silver wares4#cafa ,subsequently earthenware was replaced by glass as well as metal1 especially for unguent-bottles and drinking-cups1 of which large numbers are found in ,roman tombs1 where they virtually take the place of pottery4 ,vases of immense size were sometimes made under the ,empire1 and stories are told of the absurdities perpetrated by some of the ,emperors in this respect4 ,juvenal1 in describing the turbot prepared for ,domitian1#cafb says no dish could be found of sufficient size to cook it in1 and ,vitellius had a dish made which from its huge dimensions acquired the name of 8the shield of ,minerva40#cafc ,elsewhere it is scoffed at as a 8swamp of dishes0 7patinarum paludes74#cafd ,pliny speaks of terracotta vases which sold for even more than precious crystal or myrrhine ware1#cafe and were therefore presumably of great size4 ,the principal use of earthenware was for the transport and storage of wine1 oil1 corn1 figs1 honey1 and other commodities1 answering to the casks of the present day4 ,martial speaks of a jar 7testa7 reddened with the blood of tunnies exported from ,antipolis 7,antibes74#caff ,of the shapes used for this purpose and their names we shall speak presently in detail4 ,vases were also used in religious rites1 but metal was probably more general2 ,plautus describes a miser who sacrificed to the ,lares in earthenware 7vasis ,samiis7 because he was afraid that they might steal silver vessels4#cafg ,they were also used for various operations in agriculture1 medicine1 and household economy2 but above all for the domestic purposes of the table4 ,some of the peculiar uses have already been referred to 7p4 #chg71 and another that may be mentioned is the use of jars as bell-glasses for rearing vine-sprouts4#cafh ,although the custom of burying vases with the dead was not so general among the ,romans as among the ,greeks1 they were yet frequently used in graves in the form of cinerary urns1 in the shape of a covered jar 7olla or obrendarium#cafi7 of coarse ware and globular in form 7p4 #eej74 ,vases containing ashes have often been found in ,england1 as at ,bartlow and ,litlington in ,cambridgeshire4#cagj ,at the latter place a tomb contained a sort of colander perforated with holes which formed the letters ,,indvlcivs4#caga ,similar finds are recorded from ,arnaise in ,france4 ,pliny states that many persons expressed their desire to be buried in coffins of terracotta4#cagb ,roman sarcophagi of terracotta have been found at ,saguntum in ,spain1 but for these stone and lead were the ordinary materials4 ,the cinerary urns were often formed from large dolia or amphorae1 the neck being broken off so as to produce a globular vessel4 ,examples have been found in ,england at ,chesterford1 ,essex1#cagc at ,southfleet in ,kent1#cagd and in the ,bedford ,purlieus near ,kingscliffe1 ,northants 7now at ,woburn ,abbey72 another is in the ,cathedral ,library at ,lincoln4#cage ,roach-,smith also mentions specimens found in ,lothbury1 ,london1 and in ,kent1 the latter being now in the ,maidstone ,museum4#cagf ,vitruvius1 in his chapter on ,echea1 or vases distributed around the ancient theatres for acoustic purposes1 mentions that they were often made of earthenware for economical reasons#cagg2 but they were usually of bronze4 ,seneca1 too1 alludes to this practice when he speaks of the voice of a singer falling upon a jar 7dolium74#cagh ,it is certain that the ,greeks and ,romans often made use of earthenware jars in architecture1 but it is probable that this was more often done with the object of diminishing weight than for acoustic reasons1 or1 as some have thought1 for want of better material4 ,the dolium1 amphora1 and olla seem to have been the forms most usually employed4 ,there are various examples in walls and substructures of the ,augustan period1 and they are also found in vaults1 where their purpose is undoubtedly to lighten the weight4#cagi ,in the circus of ,maxentius a number of large amphorae were found embedded in the vaulting and upper part of the walls1 arranged neck downwards and with their axis inclined obliquely to the wall4#cahj ,all are now broken1 but they illustrate the ingenious method in which the upper parts of the arches supporting the rows of seats were lightened4 ,in the dome of the tomb of ,st4 ,helena1 outside the ,porta ,labicana1 rings of pots are embedded for the same purpose1 whence the building is usually known as ,torre ,pignattara 7from pignatte1 pots74#caha ,an oven found at ,pompeii had a vaulted top formed of ollae fitted into one another1 each about a foot in height1 of ordinary red ware2 the span of the arch was #e feet #f inches1 and the object here was to ensure extreme dryness as well as lightness4#cahb ,a similar arrangement occurs in the ,stabian ,thermae at ,pompeii1 and also in the church of ,san ,stefano alla ,rotonda at ,rome1 and the dome of ,san ,vitale at ,ravenna1 built by ,justinian in the sixth century1 is similarly constructed1 with an elaborate system of tubes and jars4#cahc ,the practice seems to have been continued during the ,middle ,ages1 and an example occurs in ,england1 at ,fountains ,abbey1 where the purpose was acoustic4#cahd 99 99 99 99 99 ,we now proceed to describe in detail the principal shapes of ,roman vases1 so far as they can be identified from literary or epigraphical evidence or from other sources1 on the same lines as in our previous chapter on the shapes of ,greek pottery4 ,some of these shapes1 it will be seen1 they had in common with the ,greeks1 such as the amphora1 the krater1 and the phiale or patera1 and in several instances 7such as the cyathus and the scyphus7 the ,greek name is preserved4 ,beginning with vases used for storage1 whether for liquids1 as for wine and oil1 or for solids1 as for corn or fruit1 which were chiefly kept in cellars1 we take first the dolium1 a gigantic cask corresponding to the ,greek 7,vol4 ,i4 p4 #aeb71 which from its general usage gave rise to the generic term opus doliare1 for common work in clay4 ,it was large enough to contain a man1 as we know from the story of ,diogenes illustrated on the ,roman lamp already given 7,plate ,,lxiv4 fig4 #f72 the vessel thereon depicted may serve to give an idea of its appearance4 ,columella#cahe speaks of dolia sesquiculearia1 i4e4 holding one-and-a-half culei or thirty amphorae4 ,they were buried in the earth of the cellars1 and have been found thus in ,italy at ,anzi1 in ,france at ,apt1 ,vaucluse1 and near ,clermont1 and at ,tunis4#cahf ,they were used for wine1 oil1 corn1 and salted meat1 and ,juvenal tells us that dolia were used for new wine1 being lined with wax1 pitch1 or gypsum4#cahg ,in #aheh a large number were found at ,sarno in ,campania1 some being stamped with the makers' names1 as ,,onesimvs ,,fecit1 ,,vitalis ,f1 ,l ,,titi ,t ,f ,,pap1 and ,m ,,lvccei ,,qvartionis4#cahh ,on one was incised ,l ,,xxxiv1 or thirty-four lagenae 7see p4 #ddf74 ,one of the prodigies which 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 ,etruria4#cahi ,an old name for the dolium was calpar1#caij and another smaller variety was the seria1#caia containing only seven amphorae4 ,a diminutive form of the latter1 seriola1 is described as a wine-vessel invented in ,syria4#caib ,dolia were made in separate pieces1 the base and other parts being secured by leaden cramps1 and they were also hooped with lead1 as we learn from ,cato4#caic ,pliny speaks of repairing casks by fitting on handles1 scraping the hoops1 and stopping up cracks4#caid ,they are made both of white and red clay1 baked in a slow furnace1 great care being required to moderate the heat aright4 ,their makers were known as doliarii4 ,part of a large dolium bound with leaden hoops was found near ,modena1 at ,palzano2 also at ,spilamberto1 one with the name of ,t4 ,gavelius and the numerals ,,xxx1 ,,xiii1 another of the capacity of #cf amphorae4#caie ,on the mouth of one found in the ,villa ,peretta at ,rome was the name of ,l4 ,calpurnius ,eros1#caif on another the name of ,t4 ,cocceius ,fortunatus4#caig ,two good examples of dolia were at one time preserved in the gardens of the ,villa ,albani1 about #d feet in diameter and as many in height1 and of a coarse gritty pale red clay4 ,this kind of vase was often used for sepulchral purposes1 bodies having being found actually buried in them 7see above1 p4 #deg74 ,next in size and importance to the dolium is the amphora1 resembling in form the ,greek wine-jar#caih2 it usually has a long cylindrical body with pointed base1 a long narrow neck1 and two straight handles4 ,hlder#caii notes several varieties3 the ,canopic1 the wide-bellied1 the cylindrical1 the globular1 and the spheroidal1 the former of which is a typical early form in the provinces4#cbjj ,it was often without neck or handle1 and was seldom ornamented1 not being used for artistic purposes like its ,greek prototype1 but only for strictly utilitarian ends1 that is1 for the storage and transport of wine4 ,it is usually of coarse red earthenware1 made on the wheel1 with a clay stopper to close the mouth1 and the name of the maker in a rectangular label on the handle1 like the diota or wine-amphora of the ,greeks4 ,it was in fact often known as a diota1 as in a familiar line of ,horace#cbja3 ,deprome quadrimum ,sabina1 ,o ,thaliarche1 merum diota4 ,the amphora was pitched internally to preserve the wine#cbjb2 the pointed base was of course adapted for fixing it in the ground in the cellar1 but when brought up it was placed in a tripod-stand of metal or wood 7incitega74#cbjc ,in ,cicero's time the regulation size was equivalent to a quadrantal or two urnae4#cbjd ,the use of this vase was very varied and extensive among the ,romans2 it was employed not only in cellars and granaries1 but also at the table and for many other purposes of ordinary life1 even where nowadays vessels of wood or iron would be preferred4 ,d',agincourt#cbje mentions the discovery at ,rome1 near the ,porta del ,popolo1 of a row of amphorae in a cellar in #aghi1 and at ,pompeii a hundred were found in the house of ,arrius ,diomedes1 a hundred and fifty in that of the ,faun2 a hundred and twenty were found in a cellar near the baths of ,titus1 and many more at ,milan in #ahji1 and at ,turin4 ,numbers have been found in ,london1 varying in capacity from four to twelve gallons1 and others at ,colchester and ,mount ,bures in ,essex4#cbjf ,but they are so universal all over the ,roman ,empire that to enlarge the list would be tedious4 ,many1 however1 evoke a special interest by reason of their stamps and inscriptions1 and a few typical examples may profitably be given4#cbjg ,the inscriptions vary in form and character2 some amphorae give the name of the maker in the genitive1 officina being understood2 others the consuls for the year in which they were filled2 others1 again1 the name of the wine or other phrases descriptive of their contents2 and others complimentary inscriptions to their owners4 ,among names of makers both single1 double1 and triple names are found1 and among the former are many of a ,gaulish or barbarian character1 such as ,bellucus1 ,dicetus1 and ,vacasatus1 son of ,brariatus2 the last-named from ,nimeguen1 the first-named from ,london4#cbjh ,among the triple names1 showing that the potters were ,roman citizens or freedmen1 are ,m4 ,aemilius ,rusticus from ,caerleon1 and ,c4 ,antonius ,quintus1 also found in ,britain4#cbji ,sometimes the name is in the nominative with ,f for fecit1 or with the genitive ,,of for officina occurs4 ,the stamps are in the form of oblong rectangular labels on the handle or neck1 the letters in relief4 ,one of the most curious stamps was on an amphora found in the ,pontine marshes near ,rome1 a square one with a caduceus and other symbols arranged in twelve compartments2 the inscription runs ,m ,,petron ,,veteran ,,leo ,,ser ,,fecit1 8,leo1 the slave of ,m4 ,petronius ,veteranus1 made it40#cbaj ,the names of ,vespasian and ,titus as consuls are found on an amphora from ,pompeii3 ,,vespasiano ,,iii ,,et ,,filio ,,cs1 the year being ,a4,d4 #gdcbaa2 that of ,m4 ,aurelius 7but not necessarily as consul7 occurs on an amphora found at ,newington in ,kent#cbab2 and on one in the ,british ,museum from ,leptis in ,africa is ,l ,,cassio ,c ,,mario ,,cos1 the date being ,a4,d4 #ajg4cbac ,on the neck of a fourth amphora1 found at ,pompeii1 was ,,fvndan ,,cn ,,lentvl ,m ,,asinio ,,coss1 8wine of ,fundi in the consulship of ,cn4 ,lentulus and ,m4 ,asinius 7,agrippa710 of the year ,a4,d4 #bf4cbad ,the character or origin of the wine or other commodity stored in the amphorae is given by such inscriptions as ,,barcae1 ,,kor ,,opt 78best ,corcyrean071#cbae ,,rvbr ,,vet ,v ,p ,,cii 78old red wine1 #ajb lbs4 weight071 all from ,pompeii1 painted in red and black4#cbaf ,,mes ,,am ,,xviii1 also on an amphora from ,pompeii1 appears to mean 8eighteen amphorae not measures of ,mesogitan wine0 7from ,mesogis in ,lydia#cbag72 or1 again1 we find at ,pompeii ,,svrr ,,xxi1 8twenty-one amphorae of wine of ,surrentum0#cbah2 ,,toscola7n7,,on 7ex7 ,,officina ,,scav7ri71 8,tusculan wine from the manufactory of ,scaurus40#cbai ,on the other hand1 ,,liqvamen ,,optimvm 78best pickle071 or such expressions as ,,scombri 78mackerel071 ,,garvs 78brine071 etc41 imply that the vessel has been used for conveying pickled fish4#cbbj ,among expressions of a complimentary nature are3 ,,fabriles ,,marcellae ,n ,,ad ,,felicitatem1 8the workmen of our ,marcella to wish her joy0#cbba2 7pr7,,omo7s7 ,,fameliai ,,dono7m7 ,v7otum dedit71 or ,,dono ,v7rnam dat71 8,promus gave 7an urn7 as a gift and vow to his family0 7from ,ardea in ,latium74#cbbb ,the list may be concluded with the inscription on an amphora found in the garden of the ,villa ,farnese1 among the ruins of the ,aurea ,domus of ,nero1 which held eight congii2 on its neck was traced in ill-formed letters3 ,l7iquaminis7 ,,fl7os7 ,,excel7lens7 ,l ,,pvrelli ,,gemelli ,m744471 8,finest brand of liquor1 belonging to ,l4 ,purellus ,gemellus40#cbbc ,an amphora was found at ,pompeii with the name of ,septimius or ,stertinius ,menodotus in ,greek letters4#cbbd ,there are occasional references in the classics to the practice of placing such stamps on vases1 as when ,plautus makes the slave say1 with reference to the drinking that went on in his master's house1 8,there you may see epistles written with letters in clay1 sealed with pitch2 the names are there in letters a foot and a half long40#cbbe ,or1 again1 another slave1 fearing to be caught with a jar in his possession1 reflects1 8,this jar is lettered2 it proclaims its ownership40#cbbf ,juvenal speaks of wine whose country and brand had been obliterated by old age through long hanging in the smoke4#cbbg ,another vase used much in the same way as the amphora1 and particularly for keeping wine1 was the cadus1 the shape of which is not exactly known4 ,it held about twelve congii1 or seventy-two sextarii 7pints71 and is frequently mentioned by ,horace and ,martial4#cbbh ,the former in the ,odes refers to his jar of ,alban wine nine years old1 and in another passage to one stored in ,sulpicius' cellars#cbbi2 the latter speaks of cadi ,vaticani1 which may mean made of clay from the ,vatican hill or containing ,vatican wines#cbcj2 elsewhere he speaks of taking yellow honey from the ruddy jar 7implying an earthenware vessel71 and of the red jar which pours out home-made wine4#cbca ,we also learn from him that the cadus was hung in the chimney to give the wine a mellow flavour4#cbcb ,from other passages we learn that the cadus was used for oil1#cbcc fruit1#cbcd and money1#cbce and also as a measure equivalent to one-and-a-half amphorae or three urnae4#cbcf ,the orca is described by ,isidorus as a kind of amphora1 of which the urceus 7see below7 was a diminutive4#cbcg ,the ,romans were presumably1 like the ,greeks1 in the habit of mixing their wine with water1 but we only find the crater mentioned rarely1 and that in a poetical manner4#cbch ,moreover it was probably made in metal as a rule1 and the rare instances of the crater which occur in the ,arretine ware are obvious imitations of metal prototypes2 there is a fine example in the ,british ,museum from ,capua 7see ,fig4 #bai74 ,ovid1 however1 speaks of the rubens crater1#cbci implying terracotta1 as in the case of the rubens cadus of ,martial mentioned above4 ,the vinarium1#cbdj the acratophorum 7for holding unmixed wine71#cbda and the oenophorum were probably of the same character1 but the latter was portable1 as we know from ,horace's jeer at the man who took his cooking-stove and wine-jar 7oenophorum7 with him everywhere4#cbdb ,the urna1 the equivalent of the ,greek hydria1 was similarly used for carrying water1 and also for casting lots1 or as a voting-urn#cbdc2 in the latter sense ,cicero actually uses the word hydria4#cbdd ,its size was half that of the amphora4 ,both the urna and the hydria are found in connection with funerary usages1 and appear to have held the ashes of the dead4#cbde ,the situla1 or bucket1 with its diminutive sitella1 was also used for water and for lots1#cbdf but was principally of metal4 ,isidorus says it is the ,greek 7,vol4 ,i4 p4 #afe74cbdg ,the cupa and the cumera seem to have been of wood rather than earthenware#cbdh2 the former was a kind of tub1 the latter was used for keeping grain1 and also by brides for conveying their effects to their new home4#cbdi ,another large vessel for holding liquids was the sinus1 or sinum1 used both for water and milk4#cbej ,the nasiterna1 so called from its long spout or nasus1 had three handles1 and was used as a watering-pot4#cbea ,the fidelia appears to have been a kind of large pail or bucket2 ,cicero in one of his letters#cbeb cites the proverb1 de eadem fidelia duos parietes dealbare1 which answers to our 8killing two birds with one stone40 ,it implies that it would be used for holding paint or whitewash4 ,of smaller vases for holding liquids1 such as jugs1 bottles1 and flasks1 the principal were the urceus 7with its diminutive urceolus71 the ampulla1 and the lagena or lagona4 ,the hirnea is also mentioned as a jug which was filled from the jar or cadus4#cbec ,the urceus seems to be a small jug1 the equivalent of the ,greek 1 having one handle2 it was also used as a measure4#cbed ,the ampulla was used both as a wine-flask and an oil-flask1 corresponding thus to the ,greek 1 as is seen in its metaphorical use4#cbee ,it was used for bringing the wine to table1 like a decanter1#cbef and is described by ,apuleius#cbeg as lenticular in form1 being therefore like a flat round-bodied flask with two handles4 ,illustration3 ,,fig4 #baf4 ,,ampulla 7,,british ,,museum74 ,an interesting example of an ampulla of this kind1 of red ware with a coarse reddish-brown glaze was found some years ago near the ,htel ,dieu1 ,paris4#cbeh ,it bore two inscriptions round the body1 one on either side1 with letters in relief2 on one side was ,,ospita ,,reple ,,lagona ,,cervesa1 8,mine host1 fill the flask with beer02 on the other1 ,,copo ,,cnodi ,,tv ,,abes ,,est ,,repleta1 8,innkeeper1 7871 be off1 it is full40 ,similar vases have been found in ,hainault and at ,trier1 and are said to be still made in ,spain4 ,another of the same kind1 but with only one handle1 recently acquired by the ,british ,museum from the ,morel collection1 has on it the word ,,ampulla painted in white 7,fig4 #baf74 ,the lagena 7,greek1 7 was a jug or bottle with narrow neck1 wide mouth1 and handle1 and was used as a sign by wine-sellers4#cbei ,it was sealed up until required for use1#cbfj and being proverbially brittle1 was protected1 like a modern ,italian wine-flask1 by wicker-work4#cbfa ,it was also used as a travelling-flask1 and carried by hunters and fishermen#cbfb2 the younger ,pliny exhorts ,tacitus1 when he goes hunting1 to take not only a 8sandwich-box and brandy-flask0 7panarium ac lagunculam71 but also a notebook to jot down ideas4#cbfc ,the ,roman barmaid carried a lagena at her side when serving in the tavern1#cbfd and it was used as a wine-jug at the table4#cbfe ,a jar found at ,saintes in ,france has engraved on it ,,martiali ,,sol7i7,,dam ,,lagonam1 8,a whole flask to ,martialis10#cbff and gives a clue to the form associated with this word 7see ,fig4 #bag74 ,illustration3 ,,fig4 #bag4 ,,lagena ,,from ,,france1 ,,inscribed4 ,the words in use for a ladle are cyathus1 corresponding to the ,greek 7,vol4 ,i4 p4 #agi71cbfg in measure equivalent to one-twelfth of the sextarius or pint1 and simpulum or simpuvium4 ,the latter were chiefly associated with sacrifices1 and will be dealt with later 7p4 #dga72 the cyathus was regularly used at the table for measuring out the wine into the drinking-cups4 ,we learn from ,martial that in drinking a toast it was customary to use the number of cyathi that corresponded to the letters in the name of the recipient1 as in the epigram ,laevia sex cyathis1 septem ,justina bibatur1 ,quinque ,lycas1 ,lyde quattuor1 ,ida tribus4#cbfh ,of drinking-cups the ,romans had almost as large a variety as the ,greeks1 the majority of the ornamented vases preserved to this day being apparently for this purpose2 the number of names recorded in literature is1 however1 much less1 as many of those given in the long list on pp4 #aha-ahc of ,vol4 ,i4 are mere nick-names for ordinary forms4 ,the generic name for a drinking-cup was poculum1#cbfi the ,greek 1 just as vas was the generic name for a larger vessel2 it occurs constantly in the poets1 who1 indeed1 use it somewhat loosely1 and has already been met with in the series of small bowls with ,latin inscriptions described in ,chapter ,,xi4 7p4 #dij74 ,many forms of drinking-cups used by the ,romans were only made in metal1 such as the cantharus1#cbgj carchesium1#cbga and scyphus#cbgb 7see ,vol4 ,i4 pp4 #ahd1 #ahg74 ,all these were forms borrowed from the ,greeks1 as were the calix 7kylix71 the cotula 7chiefly used as a measure half-a-pint71 and the scaphium#cbgc and cymbium1#cbgd which were boat-shaped vessels4 ,the ciborium 7a rare word1 but used by ,horace#cbge7 was supposed to be made in the form of the leaves or pods of the colocasia1 or ,egyptian bean4#cbgf ,its later ecclesiastical use is well known4 ,other names of which we hear are the batioca1#cbgg the gaulus1#cbgh the scutella 7see below71#cbgi and the amystis1 or cup drained at one draught 7see ,vol4 ,i4 p4 #aha74cbhj ,like the ,greek kylix1 the calix appears to have been of all these the one most commonly in use1 and is constantly referred to by poets and prose writers4 ,those of terracotta could often be purchased at a very low price1 and formed1 it is evident1 the ordinary drinking-cups of the ,roman citizen2 they were also frequently of glass4 ,juvenal speaks of 8plebeian cups purchased for a few asses0#cbha2 and ,martial describes a man buying two calices for an as and taking them home with him4#cbhb ,we have no exact information as to its form1 but it must have been something like the ,greek kylix1 only probably without handles2 it was also used for solid food such as herbs4#cbhc ,seneca speaks of calices ,tiburtinae1 which seem from the context to have been of earthenware4#cbhd ,varieties of the calix are probably represented by the typical ,gaulish forms illustrated in ,chapter ,,xxiii41 ,figs4 #bba-bbc4 ,of dishes and other utensils employed for food at the table1 the largest were the lanx and the patina4 ,the former is described by ,horace and ,juvenal as large enough to hold a whole boar1#cbhe and was probably of metal2 the patina is described as a dish for holding fish1 crabs1 or lobsters1#cbhf but that it was not necessarily limited in size is shown by the stories already alluded to of ,domitian and ,vitellius 7p4 #def74 ,the latter1 when dragged to his death1 was insulted by the epithet of patinarius1 or dish-maker4#cbhg ,the patina was flat1 and made of clay1 and is also described as a wide and shallow vessel for cooking4#cbhh ,it is contrasted with the lagena in the well-known fable of the fox and the stork4#cbhi ,smaller dishes for sweetmeats and other dainties were the catinum and catillum1 and the patella4#cbij ,the discus and paropsis#cbia appear to have been1 like the lanx1 principally of metal2 the former was like a shield 7whence scutula and scutella72 the latter is mentioned by ,isidorus1 who describes it as quadrangular1 and by ,martial1 together with some obscurely-named dishes#cbib3 ,sic implet gabatas paropsidesque ,et leves scutulas cavasque lances4 ,martial speaks of the patella as a dish for a turbot1 and also as a vessel of black ware which was used to hold vegetables#cbic2 the catinus 7a fictile dish7 was large enough to hold a good-sized fish1 such as a tunny1#cbid and the catillus appears to have been a sort of porringer4 ,sauces were placed in small dishes or cups1 known as acetabula 7the ,greek 71 which were evidently of earthenware#cbie2 the catellus held pepper1#cbif and the concha or shell was used for a salt-cellar1 also for unguents4#cbig ,the latter was probably a real shell1 not of earthenware4 ,another kind of dish which is only once mentioned1 in ,horace's account of ,nasidienus' banquet1 was the mazonomum1 probably a kind of lanx1 in metal1 which held on that occasion a sort of ragot of game4#cbih ,his own table1 however1 he boasts1 was adorned only by a cyathus and two cups1 an echinus or rinsing-bowl1 a guttus1 and a patera or libation bowl4#cbii ,the guttus seems to have corresponded to the ,greek lekythos or askos1 and is the general name for an oil-flask or cruet4#ccjj ,it was either a small1 long-necked bottle or a squat flask with a narrow spout1 which allowed the oil to pour slowly4 ,roach-,smith published a relief dedicated by ,egnatius1 a physician1 to the ,deae ,matres1 on which small vases of the first-named form appear1 indicating that he consecrated his medicine bottles to these divinities4#ccja ,of vessels for cooking1 washing1 and other common domestic purposes1 the olla was that in most general use#ccjb2 the word is1 in fact1 a generic name for a jar or pot 7,gk4 71 as in the play of ,plautus1 the ,aulularia1 the name of which embodies an archaic form of the word1 aula1 aulula4 ,here it was used for hiding a hoard of gold4 ,it was also1 as has been noted1 used as a funerary urn1 and some inscribed examples of marble ollae have been found in tombs4 ,the pelvis was more particularly a washing basin1 but ,juvenal speaks of it as scented with ,falernian wine4#ccjc ,it is usually identified with the mortarium1 a large1 shallow1 open bowl with a spout1 frequently found in ,britain and ,central ,europe 7see below1 p4 #eej72 it is of coarse light-red clay1 and often has the potter's name stamped upon it4 ,that it was used for pounding substances is shown by the fact that it often has small pebbles embedded in the surface of the interior4 ,the scutra is mentioned by ,cato and ,plautus1#ccjd and appears to have been used only in ,republican times2 its ,imperial successor was the cacabus4#ccje ,the trua or trulla#ccjf was a saucepan with a flat handle2 numerous examples in bronze1 silver1 and earthenware have been preserved1 and some have elaborate designs in relief on the handle4#ccjg ,a number of obscure and archaic names of vases are recorded by the etymologists and other writers1 especially in regard to those used for sacrificial purposes and libations4 ,the capis or capedo was probably a kind of jug 7from capere1 to contain7#ccjh2 ,cicero refers to the capedunculae which were a legacy from ,numa4#ccji ,the praefericulum#ccaj was not1 as usually supposed in popular archaeology1 a jug1 but a shallow basin of bronze without handles1 like a patera4 ,the lepasta or lepesta 7cf4 ,greek 7 is recorded as used in ,sabine temples1#ccaa and the futile was used in the cult of ,vesta for holding water#cdgc2 the cuturnium#ccac is also mentioned4 ,the simpulum#ccad and simpuvium#ccae represent similar utensils1 though the words are distinct2 they were small-sized ladles used almost exclusively in religious rites1 and sometimes regarded as old-fashioned4 ,with reference to the size1 fluctus in simpulo excitare#ccaf became a proverbial expression for 8a storm in a teacup40 ,they seem to have been usually of metal1 but ,pliny speaks of fictile simpula#ccag2 the simpuvium is represented on coins and sacrificial reliefs4 ,the lanx appears to have been used for offerings to ,bacchus1#ccah and the guttus1 cymbium1 and other forms also appear in a sacrificial connection#ccai2 conversely the patera1 which is for the most part exclusively a libation bowl1 was sometimes used for secular purposes#ccbj2 there is evidence that its use as a drinking vessel is older than its use for libations4 ,the last-named corresponds to the ,greek 7,vol4 ,i4 p4 #aia71ccba and is constantly referred to or represented2 its essential feature was the hollow knob or omphalos in the centre1 and it was either made of metal or earthenware4 ,the patella was also used for libations or for offering first-fruits to the household gods4#ccbb ,other obscure words referring to vases of secular use are the pollubrum 7,greek1 7#ccbc and malluvium 7,greek1 71#ccbd meaning respectively basins for washing the feet and hands2 the aquiminarium for washing vessels#ccbe2 the galeola1 a variety of the sinus#ccbf2 the pultarius1 a vessel used for warm drinks1 for must1 for preserving grapes1 for coals1 for fumigating1 and as a cupping-glass#ccbg2 and the obba1 which ,persius describes as sessilis1 i4e4 squat and flat-bottomed4#ccbh ,the culeus1 congius1 hemina1 and sextarius appear to have been measures only1 not vases in general use2 the congius was one-eighth of an amphora1 or six sextarii1 about six ,english pints4#ccbi ,in the case of the majority of the names discussed in the foregoing pages1 any attempt at identification with existing forms is hopeless2 we have very few clues in the literature to the shapes of the vases described1 and little evidence from themselves1 as is often the case with ,greek shapes2 nor is any ,roman writer except ,isidorus1 whose date is too late to be trustworthy1 so explicit as ,athenaeus4 ,at present little has been done in the way of collecting the different forms of existing vases1 but a valuable treatise on the subject was recently issued by the late ,o4 ,hlder1 a ,wrtemberg professor1 who collected all the forms found in ,germany and ,italy1#cccj and although he did not attempt to identify them by ,latin names1 he has done much service in grouping them together1 classified as urns1 jars1 jugs1 and so on1 in a series of twenty-three plates of outline drawings4 ,there is1 in fact1 in ,roman pottery no clear line of distinction to be drawn between the various forms of drinking-cups or of jugs or dishes1 as is the case with ,greek vases2 different forms again are found in different fabrics1 and those typical of ornamented wares are not found in plain pottery1 and so on4 ,nor must it be forgotten that in ,roman pottery the ornamented wares are the exception rather than the rule4 ,where the ,greeks used painted vases1 the ,romans used metal2 and apart from the plain pottery1 the forms are almost limited to a few varieties of cups1 bowls1 and dishes4 ,comparisons with the ,greek equivalents illustrated in ,chapter ,,iv4 may give a probable idea of what the ,roman meant when he spoke of an urceus or an olla1 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 fabrics1 and in most cases any attempt to give specific names can only be regarded as arbitrary4 ----- ,footnote #cjhj3 ,h4,n4 xxxiii4 #aed ff43 see below1 p4 #dhi4 ,footnote #cjha3 ,vases orns de la ,gaule ,romaine1 i4 p4 #aij ff4 ,footnote #cjhb3 ,the term is applied to clay suited to receive stamps 7sigilla7 or impressions4 ,footnote #cjhc3 ,dchelette1 ,vases orns de la ,gaule ,romaine1 ii4 p4 #cce4 ,footnote #cjhd3 ,ibid4 i4 p4 #da ff4 ,footnote #cjhe3 ,der ,stil1 ii4 p4 #adh4 ,footnote #cjhf3 ,bonner ,jahrbcher1 xcvi4 p4 #bj4 ,footnote #cjhg3 ,in the case of fragment ,no4 #c the clay and lime could not be differentiated4 ,footnote #cjhh3 ,in the case of fragments #b and #e no definite general result was obtained4 ,footnote #cjhi3 ,brongniart1 ,trait1 i4 p4 #dba2 ,blmner1 ,technologie1 ii4 p4 #ia4 ,see also ,handbook to ,collection of ,pottery in the ,museum of ,practical ,geology1 #ahic1 p4 #fe1 for an analysis made on a fragment of glazed red ware by ,dr4 ,percy3 ,silica #edde ,alumina #bbjh ,peroxide of iron #gca ,lime #igf ,magnesia #afg ,potash #cbb ,soda #agf ------ #ajjbe ,footnote #cjij3 ,storia degli ant4 vast aretini1 p4 #fe4 ,footnote #cjia3 ,ueber die rothe ,topferwaare1 p4 #af4 ,footnote #cjib3 ,brongniart1 ,trait1 i4 p4 #dbc2 ,dchelette1 ii4 p4 #cci4 ,footnote #cjic3 ,blmner1 ,technol4 ii4 p4 #ia4 ,footnote #cjid3 ,op4 cit4 i4 p4 #cha3 cf4 ,blmner1 ii4 p4 #fd4 ,footnote #cjie3 ,roman ,art in ,cirencester1 p4 #gg4 ,footnote #cjif3 ,plaut4 ,epid4 iii4 #b1 #ce2 ,pliny1 ,h4,n4 vii4 #aih4 ,footnote #cjig3 ,art4 ,poet4 #ba4 ,footnote #cjih3 ,sat4 ii4 #g1 #hf4 ,footnote #cjii3 ii4 #c1 #dh4 ,footnote #cajj3 ,capt4 ii4 #c1 #i2 ,persius1 iii4 #bc2 ,avianus1 ,fab4 #da1 #i4 ,footnote #caja3 ,shakespeare1 #a ,henry ,,vi41 ,act #a1 scene #e1 line #ai4 ,footnote #cajb3 ,smith1 ,dict4 of ,antiqs4#ccab i4 p4 #hdd3 see below1 p4 #dhj2 also ,vol4 ,i4 p4 #bjg4 ,footnote #cajc3 ,vases orns1 ii4 p4 #cch4 ,footnote #cajd3 ,see ,brongniart1 ,trait1 i4 p4 #dbc ff42 ,blmner1 ,technol4 ii4 p4 #ajf2 ,von ,hefner1 in ,oberbayr4 ,archiv fr vaterl4 ,gesch4 xxii4 7#ahfc71 pp4 #bc1 #ce2 and ,rm4 ,mitth4 #ahig1 p4 #bhf4 ,footnote #caje3 ,see ,fabroni1 ,storia degli vasi aretini1 pl4 #e1 fig4 #d4 ,footnote #cajf3 ,handbook to ,mus4 7#ahia71 p4 #aaa4 ,footnote #cajg3 ,brongniart and ,riocreux1 ,mus4 de ,svres1 pp4 #af1 #abh4 ,for ,cerialis see p4 #ecf and ,c4,i4,l4 xiii4 #ajjaj1 #edd2 for ,cobnertus1 ibid4 #eib1 and ,dchelette1 i4 p4 #agi4 ,footnote #cajh3 ,oberbayr4 ,archiv fr vaterl4 ,gesch4 xxii4 7#ahfc71 pp4 #bc1 #bd4 ,footnote #caji3 ,blmner1 ,technologie1 ii4 p4 #ajd1 fig4 #ba2 ,brit4 ,arch4 ,assoc4 ,journ4 iv4 p4 #ai4 ,dchelette states that about fifty in all are known 7op4 cit4 i4 p4 #ccg74 ,footnote #caaj3 ,brongniart1 ,trait1 i4 p4 #dbd1 pl4 #cj2 ,mus4 de ,svres1 p4 #abh1 and pl4 #i1 fig4 #h4 ,footnote #caaa3 ,oberbayr4 ,archiv1 #ahfc1 p4 #bd4 ,footnote #caab3 ,examples of this technique often occur in ,gaul and ,britain3 see ,dchelette1 ii4 p4 #afi ff41 and cf4 ,roach-,smith1 ,ill4 ,rom4 ,lond4 p4 #ia1 and a fine vase from ,felixstowe in the ,british ,museum4 ,see also ,plate ,,lxix4 fig4 #b1 and p4 #ebi4 ,footnote #caac3 ,see below1 p4 #ecj1 and ,dchelette1 ii4 p4 #bce ff4 ,footnote #caad3 ,blmner1 ,technol4 ii4 p4 #aab4 ,footnote #caae3 ,e4g4 ,blmner1 ,technol4 ii4 pp4 #ajf1 #ajg1 figs4 #bb1 #bc4 ,footnote #caaf3 ,gaz4 ,arch4 #ahha-hb1 p4 #ag2 ,brongniart1 ,trait1 pl4 #cj1 figs4 #b-d3 see also ,dchelette1 i4 p4 #ada ff41 and below1 p4 #ebe ff4 ,footnote #caag3 ,cf4 ,dchelette in ,revue des tudes ,anciens1 v4 7#aijc71 p4 #db4 ,footnote #caah3 ,blmner1 ii4 p4 #aaj1 fig4 #be3 cf4 ,von ,hefner in ,oberbayr4 ,archiv1 #ahfc1 p4 #ef2 ,fabroni1 ,storia degli antichi vasi aretini1 pls4 #c1 #e1 p4 #fc4 ,footnote #caai3 ,blmner1 ii4 p4 #aaa2 ,daremberg and ,saglio1 ii4 art4 ,figlinum1 p4 #aacj4 ,footnote #cabj3 ,cf4 von ,hefner in ,oberbayr4 ,archiv fr vaterl4 ,gesch4 xxii4 7#ahfc71 p4 #ee4 ,footnote #caba3 ,vases orns1 ii4 p4 #cab4 ,footnote #cabb3 ,mau-,kelsey1 ,pompeii1 p4 #chf2 ,bull4 dell' ,inst4 #ahge4 p4 #aib2 ,mon4 ,antichi1 i4 pl4 #h1 #g1 p4 #bhb4 ,footnote #cabc3 ,oberbayr4 ,archiv fr vaterl4 ,gesch4 xxii4 7#ahfc71 p4 #ef ff43 see also ,blmner1 ii4 p4 #bc ff41 and ,daremberg and ,saglio1 ii4 art4 ,figlinum4 ,footnote #cabd3 ,bullet4 ,arch4 #ahih1 p4 #ah ff41 and ,mlanges ,gallo-romaines1 ii4 7#aijb71 p4 #ic ff4 ,footnote #cabe3 ,brongniart1 i4 p4 #dci4 ,footnote #cabf3 ,rev4 ,arch4 xviii4 7#ahfh71 pl4 #bc1 p4 #big4 ,footnote #cabg3 ,see for a full account of the last-named ,von ,hefner in op4 cit4 p4 #h ff41 p4 #ef1 pl4 #d4 ,footnote #cabh3 ,see ,ann4 dell' ,inst4 #ahhb1 pl4 ,u1 to which the letters in the cut refer4 ,other kilns found at ,heddernheim are described in ,westdeutsche ,zeitschrift1 xviii4 7#ahii71 p4 #bae ff4 ,footnote #cabi3 ,see ,haverfield in ,victoria ,county ,hist4 of ,northants1 i4 pp4 #afg1 #bjg ff4 ,footnote #cacj3 ,journ4 ,brit4 ,arch4 ,assoc4 i4 p4 #a ff41 ii4 p4 #afd3 see also ,wright1 ,celt1 ,roman1 and ,saxon#a1 p4 #bfd ff42 ,roach-,smith1 ,coll4 ,antiq4 iv4 p4 #ha1 vi4 p4 #aha ff4 ,footnote #caca3 ,no4 #ieh1 fol4 #aje2 reproduced by ,roach-,smith1 ,collect4 ,antiq4 vi4 pl4 #cg1 fig4 #d1 and ,ill4 ,rom4 ,lond4 p4 #gi2 ,proc4 ,soc4 ,antiqs4 #bnd ,ser4 xvi4 p4 #db4 ,footnote #cacb3 ,proc4 ,soc4 ,antiqs4 xvii4 #ahih1 p4 #bfb4 ,footnote #cacc3 ,ibid4 xvi4 7#ahie71 p4 #dj4 ,footnote #cacd3 ,vict4 ,county ,hist4 of ,norfolk1 i4 p4 #bia1 fig4 #g3 see below1 p4 #ddi4 ,footnote #cace3 ,op4 cit4 i4 p4 #cad4 ,footnote #cacf3 ,ibid4 p4 #cbb4 ,footnote #cacg3 ,archaeologia1 xxxv4 p4 #ia2 ,vict4 ,county ,hist4 of ,hants1 i4 p4 #cbf4 ,footnote #cach3 ,roach-,smith1 ,collect4 ,antiq4 vi4 p4 #aia ff42 ,vict4 ,county ,hist4 of ,hants1 i4 p4 #cjf4 ,footnote #caci3 ,roach-,smith1 op4 cit4 ii4 p4 #ch2 vii4 p4 #a ff41 pls4 #a-c4 ,footnote #cadj3 ,wright1 ,celt1 ,roman1 and ,saxon#a1 p4 #bfd ff41 and ,haverfield in ,vict4 ,county ,hist4 of ,northants1 give the most satisfactory epitomes of ,artis' descriptions4 ,footnote #cada3 ,cato1 ,agricult4 #ch4 ,footnote #cadb3 ,cf4 ,von ,hefner1 op4 cit4 pl4 #d1 #bh-ca3 see also ,arch4 ,journ4 vii4 p4 #agf1 and an example from ,switzerland in the ,british ,museum 7,romano-,british ,collection74 ,footnote #cadc3 ,see also ,dchelette1 ii4 p4 #cda4 ,footnote #cadd3 ,see ,haverfield in ,vict4 ,county ,hist4 of ,northants1 i4 p4 #bjg4 ,footnote #cade3 ,trait1 i4 p4 #dbf4 ,footnote #cadf3 ,vict4 ,county ,hist4 of ,northants1 i4 p4 #bji4 ,footnote #cadg3 ,see ,haverfield1 op4 cit4 p4 #baj1 fig4 #ca4 ,footnote #cadh3 ,haverfield1 ibid42 ,handbook of ,pottery in ,mus4 of ,pract4 ,geol4 #ahic1 p4 #ga4 ,footnote #cadi3 ,archaeologia1 xxii4 pl4 #cf1 p4 #dac2 ,vict4 ,county ,hist4 i4 p4 #bia4 ,footnote #caej3 ,see ,brongniart1 ,trait1 i4 p4 #dbh1 pl4 #a2 ,artis1 ,durobrivae1 pl4 #bg1 figs4 #c and #f2 ,daremberg and ,saglio s4v4 ,fornax1 figs4 #cbja-jb4 ,footnote #caea3 ,brongniart1 i4 p4 #dbi4 ,footnote #caeb3 ,von ,hefner in ,oberbayr4 ,archiv 7#ahfc71 p4 #eh4 ,footnote #caec3 ,cf4 ,tibull4 i4 #a1 #ch3 8,nec e puris spernere fictilibus4 ,fictilia antiquus primum sibi fecit agrestis ,pocula de facili composuitque luto40 ,footnote #caed3 ,sat4 ii4 #fj4 ,footnote #caee3 ,sat4 vi4 #cdb4 ,footnote #caef3 ,sat4 iii4 #afh4 ,footnote #caeg3 ,florus1 i4 #ah1 #bb4 ,footnote #caeh3 ,pliny1 ,h4,n4 xxxiii4 #adb4 ,footnote #caei3 ,ep4 #ie1 #gb4 ,footnote #cafj3 ,apud ,athen4 vi4 #bbi ,d4 ,he uses the curious expression1 1 which1 as in the use of the word for marble tiles 7,vol4 ,i4 p4 #ajj71 implies the antiquity of the use of fictile ware4 ,see the next note4 ,footnote #cafa3 vi4 #bbi ,c1 where the use of or dinner-service is discussed4 ,footnote #cafb3 iv4 #gb1 #aca3 cf4 ,mart4 xiii4 #ha4 ,footnote #cafc3 ,suet4 ,vit4 ,vitell4 #ac 7clypeum ,minervae1 74 ,footnote #cafd3 ,pliny1 ,h4,n4 xxxv4 #afd4 ,footnote #cafe3 ,ibid4 #afc4 ,footnote #caff3 iv4 #hh4 ,footnote #cafg3 ,capt4 ii4 #b1 #da4 ,footnote #cafh3 ,virg4 ,georg4 ii4 #cea4 ,footnote #cafi3 ,orelli1 ,inser4 #dedd2 ,gruter #fjg1 #a2 and see ,c4,i4,l4 i4 p #bji4 ,footnote #cagj3 ,see above1 p4 #cea2 and cf4 ,archaeologia1 xxv4 p4 #a ff4 ,footnote #caga3 ,c4,i4,l4 vii4 #acce1 #a4 ,the vase is now at ,clare ,college1 ,cambridge4 ,footnote #cagb3 ,h4,n4 xxxv4 #afj 7fictilibus soliis74 ,footnote #cagc3 ,arch4 ,journ4 x4 7#ahec71 p4 #bcj4 ,footnote #cagd3 ,archaeologia1 xiv4 pl4 #f1 p4 #cg 7in ,b4,m474 ,footnote #cage3 ,arch4 ,journ41 loc4 cit4 ,footnote #cagf3 ,ill4 ,rom4 ,lond4 p4 #hh1 and see p4 #eej4 ,footnote #cagg3 v4 #e1 #h4 ,footnote #cagh3 ,quaest4 ,nat4 vi4 #ai3 cf4 ,arist4 ,probl4 xi4 #h1 and ,pliny1 ,h4,n4 xi4 #bgj1 doliis inanibus4 ,footnote #cagi3 ,krause1 ,angeiologie1 pp4 #abf1 #dfc4 ,footnote #cahj3 ,see ,middleton1 ,remains of ,ancient ,rome1 ii4 p4 #ef4 ,footnote #caha3 ,middleton1 loc4 cit4 ,footnote #cahb3 ,nissen1 ,pompeian4 ,studien1 p4 #fd4 ,footnote #cahc3 ,nissen1 ibid4 ,footnote #cahd3 ,see ,yorks4 ,arch4 ,journ4 iii4 p4 #a ff41 xv4 p4 #cjc2 ,trans4 ,roy4 ,inst4 of ,brit4 ,architects1 #ahha-b1 p4 #fe ff42 ,journ4 ,brit4 ,arch4 ,assoc4 xxxv4 p4 #ie1 xxxviii4 p4 #bah4 ,footnote #cahe3 xii4 #ah4 ,footnote #cahf3 ,brongniart1 ,trait1 i4 p4 #djg ff4 ,footnote #cahg3 ix4 #eh4 ,footnote #cahh3 ,bull4 ,arch4 ,nap4 ,n4,s4 vii4 #ahei1 p4 #hd2 ,c4,i4,l4 x4 #hjdg1 #aj1 #ah4 ,footnote #cahi3 ,capitolinus1 ,vit4 ,anton4 ,pii1 #c4 ,footnote #caij3 ,varro ap4 ,non4 p4 #bf2 ,paul1 ex ,fest4 p4 #df 7,mller74 ,footnote #caia3 ,columella1 xii4 #bh1 #a2 ,plaut4 ,capt4 iv4 #d1 #i 78preserve-jar074 ,footnote #caib3 ,isid4 ,etym4 xx4 #f4 ,footnote #caic3 ,agricult4 #ci4 ,footnote #caid3 ,h4,n4 xviii4 #bcf4 ,footnote #caie3 ,bull4 dell' ,inst4 #ahdf1 p4 #cd4 ,footnote #caif3 ,marini1 ,inscr4 ,ant4 ,doliari1 p4 #djf1 ,no4 #b4 ,footnote #caig3 ,marini1 ,no4 #d4 ,footnote #caih3 ,see ,fig4 #bb1 ,vol4 ,i4 p4 #aed4 ,footnote #caii3 ,formen der rm4 ,thongef4 p4 #af1 pls4 #a-h4 ,footnote #cbjj3 ,cf4 ,koenen1 ,gefsskunde1 pls4 #aj-ab4 ,footnote #cbja3 ,od4 i4 #i1 #g4 ,footnote #cbjb3 ,pliny1 ,h4,n4 xiv4 #ace4 ,footnote #cbjc3 ,cf4 ,jahn1 ,wandgem4 d4 ,villa ,pamph4 pl4 #e1 p4 #db4 ,footnote #cbjd3 ,see ,hultsch1 ,metrologie1 p4 #aac4 ,footnote #cbje3 ,recueil1 p4 #df4 ,footnote #cbjf3 ,roach-,smith1 ,ill4 ,rom4 ,lond4 p4 #hg2 ,collect4 ,antiq4 ii4 p4 #bf4 ,footnote #cbjg3 ,general reference may be made to the various volumes of the ,latin ,corpus1 under the headings ,instrumentum ,domesticum1 sub-heading ,vascula1 e4g4 vii4 #acca for those found in ,britain2 for examples from ,spain see ,arch4 ,journ4 lvi4 p4 #bii4 ,footnote #cbjh3 ,c4,i4,l4 vii4 #acca1 #bb1 xiii4 #ajjje1 #be2 ,steiner1 ,cod4 ,inscr4 ,rom4 ,danubii et ,rheni1 ii4 pp4 #bga1 #bhg2 and see generally ,c4,i4,l4 xiii4 part #c1 ,no4 #ajjjb4 ,footnote #cbji3 ,c4,i4,l4 vii4 #acca1 #f1 #ac4 ,footnote #cbaj3 ,c4,i4,l4 x4 #hjef1 #bfj4 ,footnote #cbaa3 ,ibid4 iv4 #beee4 ,footnote #cbab3 ,ibid4 vii4 #accb1 #a4 ,footnote #cbac3 ,ibid4 viii4 #ajdgg1 #a4 ,footnote #cbad3 ,ibid4 iv4 #beeb4 ,footnote #cbae3 ,see ,vol4 ,i4 p4 #aeh4 ,footnote #cbaf3 ,c4,i4,l4 x4 #hjee1 #aa2 iv4 #behd1 #bfaf3 cf4 ,vol4 ,i4 p4 #aeh4 ,footnote #cbag3 ,c4,i4,l4 iv4 #bfjc3 cf4 ,pliny1 ,h4,n4 xiv4 #ge4 ,footnote #cbah3 ,c4,i4,l4 iv4 #beee4 ,footnote #cbai3 ,ibid4 #bfbe4 ,footnote #cbbj3 ,ibid4 #behi-id1 #bege ff4 ,on inscribed amphorae from ,pompeii see also ,mau-,kelsey1 ,pompeii1 p4 #eje4 ,footnote #cbba3 ,doni1 p4 lxxxvi4 ,found on the ,aventine1 now in the ,museo ,kircheriano4 ,footnote #cbbb3 ,ber4 d4 schs4 ,gesellsch4 #aheg1 p4 #aii4 ,footnote #cbbc3 ,c4,i4,l4 xv4 pt4 #b1 ,no4 #dgai4 ,footnote #cbbd3 ,ibid4 iv4 #behd4 ,footnote #cbbe3 ,poen4 iv4 #b1 #ad3 literatas fictiles epistolas2 the double play on the words cannot be expressed in ,english4 ,footnote #cbbf3 ,rud4 ii4 #e1 #ba4 ,footnote #cbbg3 v4 #cc4 ,footnote #cbbh3 ,cf4 also ,plaut4 ,amph4 i4 #a1 #bgc2 ,virg4 ,aen4 i4 #aie 7for the wine of ,acestes74 ,footnote #cbbi3 ,od4 iv4 #aa1 #b2 #ab1 #ag4 ,footnote #cbcj3 i4 #ai1 #b3 cf4 ,juv4 vi4 #cdd1 and p4 #dgg4 ,footnote #cbca3 i4 #ef2 iv4 #ff4 ,footnote #cbcb3 x4 #cf4 ,footnote #cbcc3 ,mart4 i4 #dd1 #h2 ,pliny1 ,h4,n4 xviii4 #cjg4 ,footnote #cbcd3 ,h4,n4 xv4 #hb4 ,footnote #cbce3 ,mart4 vi4 #bg1 #f4 ,footnote #cbcf3 ,h4,n4 xiv4 #if2 ,isid4 ,etym4 xvi4 #bf1 #ac4 ,footnote #cbcg3 ,hor4 ,sat4 ii4 #d1 #ff2 ,varro1 ,r4,r4 i4 #ac1 #f2 ,isid4 ,etym4 xx4 #f4 ,footnote #cbch3 ,as often by ,virgil and ,ovid1 usually in the form cratera3 cf4 ,isid4 ,etym4 xx4 #e4 ,footnote #cbci3 ,fasti1 v4 #ebb4 ,footnote #cbdj3 ,hor4 ,sat4 ii4 #h1 #ci2 ,cic4 in ,verr4 iv4 #bg1 #fb4 ,footnote #cbda3 ,cic4 de ,fin4 iii4 #d1 #ae2 ,varro1 ,r4,r4 i4 #h1 #e4 ,footnote #cbdb3 ,hor4 ,sat4 i4 #f1 #aji3 see also ,juv4 ,sat4 vi4 #dbf2 ,persius1 v4 #adj2 ,isid4 ,etym4 xx4 #f4 ,footnote #cbdc3 ,cic4 in ,vatin4 #ad1 #cd2 ,lucan1 v4 #cid3 cf4 ,marquardt1 ,privataltert4 vii4 p4 #fbi1 note #c4 ,footnote #cbdd3 ,in ,verr4 ii4 #ea1 #abg3 cf4 ,plutarch1 ,vit4 ,t4 ,gracch4 #aa2 also ,isid4 ,etym4 xx4 #f3 ,vasis genus aquatilis4 ,footnote #cbde3 ,see ,orelli1 #dedf1 and for urna1 ,suet4 ,calig4 #ae2 ,lucan1 vii4 #hai2 ,ovid1 passim4 ,footnote #cbdf3 ,plaut4 ,cas4 ii4 #f1 #aa2 ,livy1 xxv4 #c4 #af4 ,footnote #cbdg3 ,etym4 xx4 #f4 ,footnote #cbdh3 ,cf4 ,caes4 ,bell4 ,civ4 ii4 #aa2 ,lucan1 iv4 #dbj4 ,footnote #cbdi3 ,paul1 ex ,fest4 ed4 ,mller1 p4 #fc1 #ab4 ,footnote #cbej3 ,plaut4 ,curc4 i4 #a1 #ge2 ,rud4 v4 #b1 #cb2 and see ,virg4 ,ecl4 vii4 #cc2 ,varro1 ,l4,l4 v4 #abc4 ,footnote #cbea3 ,plaut4 ,stich4 ii4 #b1 #bh2 ,cato1 ,agricult4 #aa2 ,varro1 ,re ,rust4 i4 #bb3 cf4 ,juv4 v4 #dg for nasus1 applied to a cup4 ,footnote #cbeb3 ,ad ,fam4 vii4 #bi3 cf4 also ,plaut4 ,aulul4 iv4 #b1 #ae2 ,pers4 iii4 #bb4 ,footnote #cbec3 ,plaut4 ,amph4 i4 #a1 #bgc2 ,cato1 ,agricult4 #ha2 ,varro1 ap4 ,non4 #edf1 #bc4 ,footnote #cbed3 ,martial1 xiv4 #ajf2 ,juv4 iii4 #bjc 7urceoli sex72 ,varro1 ,r4,r4 i4 #bb2 ,treb4 ,poll4 ,vit4 ,claud4 #ag2 ,plaut4 ,merc4 v4 #b1 #hf2 id4 ,pers4 i4 #c1 #dc2 ,cic4 ,fin4 iv4 #ab1 #cj4 ,footnote #cbee3 ,hor4 ,a4,p4 #ig3 cf4 the episode in the ,frogs 7,vol4 ,i4 p4 #aif72 also the word ampullari4 ,footnote #cbef3 ,plin4 ,ep4 iv4 #cj1 #f2 ,mart4 xiv4 #aaj4 ,footnote #cbeg3 ,florida1 ii4 #i1 #b3 cf4 the terracotta vessels with reliefs in the ,british ,museum1 ,d #bjd-e2 also ,mus4 ,greg4 i4 pl4 #aj2 ,micali1 ,mon4 ,ined4 pl4 #eb4 ,isidorus derives the word from ampla bulla1 in reference to its rotund form 7,etym4 xx4 #e74 ,footnote #cbeh3 ,rev4 ,arch4 xviii4 7#ahfh71 pl4 #bb1 p4 #bbe4 ,footnote #cbei3 ,mart4 vii4 #fa1 #e4 ,footnote #cbfj3 ,hor4 ,ep4 ii4 #b1 #acd4 ,footnote #cbfa3 ,cf4 the episode in ,petronius1 ,sat4 #bb4 ,footnote #cbfb3 ,pliny1 ,h4,n4 xvi4 #abh4 ,footnote #cbfc3 ,pliny1 ,ep4 i4 #f3 cf4 ,juv4 xii4 #fj4 ,footnote #cbfd3 ,juv4 viii4 #afa4 ,footnote #cbfe3 ,hor4 ,sat4 ii4 #h1 #da4 ,footnote #cbff3 ,c4,i4,l4 xiii4 #ajjjh1 #d4 ,footnote #cbfg3 ,hor4 ,od4 iii4 #h1 #ac2 #ai1 #ab4 ,footnote #cbfh3 i4 #ga3 cf4 viii4 #ea1 #ba2 ix4 #ie2 xi4 #cg2 ,hor4 ,od4 iii4 #ai1 #aa ff4 ,footnote #cbfi3 ,see ,varro1 ,l4,l4 v4 #abb2 ,isid4 ,etym4 xx4 #e1 where the derivation from potare is given4 ,footnote #cbgj3 ,virg4 ,ecl4 vi4 #ag2 ,plaut4 ,asin4 v4 #b1 #ef2 ,hor4 ,od4 i4 #bj1 #b2 and see ,daremberg and ,saglio1 s4v4 ,footnote #cbga3 ,see ,macrob4 v4 #ba4 ,footnote #cbgb3 ,hor4 ,od4 i4 #bg1 #a2 ,epod4 ix4 #cc2 ,isid4 ,etym4 xx4 #f1 describes it as a wash-hand basin4 ,footnote #cbgc3 ,plaut4 ,stich4 v4 #d1 #aa2 ,cic4 in ,verr4 iv4 #ag1 #cg and #bd1 #ed4 ,footnote #cbgd3 ,mart4 viii4 #f1 #b2 ,isid4 ,etym4 xx4 #e4 ,footnote #cbge3 ,od4 ii4 #g1 #bb4 ,footnote #cbgf3 ,porphyrion ad ,hor4 loc4 cit4 ,footnote #cbgg3 ,plaut4 ,stich4 v4 #d1 #ab4 ,footnote #cbgh3 ,id4 ,rud4 v4 #b1 #cb4 ,footnote #cbgi3 ,cic4 ,tusc4 iii4 #ai1 #df4 ,footnote #cbhj3 ,isid4 ,etym4 xx4 #e4 ,footnote #cbha3 xi4 #ade4 ,footnote #cbhb3 ix4 #fj1 #bb4 ,footnote #cbhc3 ,varro1 ,l4,l4 v4 #abg2 ,ovid1 ,fast4 v4 #eji4 ,footnote #cbhd3 ,ep4 #aai1 #c4 ,footnote #cbhe3 ,hor4 ,sat4 ii4 #d1 #da2 ,juv4 v4 #hj4 ,footnote #cbhf3 ,hor4 ,sat4 i4 #c1 #hj2 ii4 #b1 #ie2 ii4 #h1 #dc1 #ee4 ,footnote #cbhg3 ,suet4 ,vitell4 #ag3 cf4 #ac4 ,footnote #cbhh3 ,isid4 ,etym4 xx4 #d3 dispansis patentibusque oris4 ,footnote #cbhi3 ,phaedr4 i4 #bf4 ,footnote #cbij3 ,hor4 ,sat4 i4 #c1 #ij2 ii4 #d1 #ge2 i4 #f1 #aae2 ,ep4 i4 #e1 #b4 ,footnote #cbia3 ,juv4 iii4 #adb2 ,mart4 xi4 #bh2 ,alciphr4 ,ep4 iii4 #bj2 ,isid4 ,etym4 xx4 #d4 ,footnote #cbib3 xi4 #cb1 #ah3 cf4 vii4 #dg1 #c4 ,isidorus1 ,etym4 xx4 #d1 says gabata cavata4 ,footnote #cbic3 xiii4 #ha2 v4 #gi1 #g3 see ,isid4 ,etym4 xx4 #h4 ,footnote #cbid3 ,hor4 ,sat4 ii4 #d1 #gg2 ,pers4 v4 #ahb2 ,isid4 ,etym4 xx4 #f4 ,for other uses see ,juv4 xi4 #ajh2 ,pliny1 ,h4,n4 xxxiii4 #fi4 ,isidorus says catinum is a better form4 ,footnote #cbie3 ,isid4 ,etym4 xx4 #d4 ,footnote #cbif3 ,hor4 ,sat4 ii4 #d1 #ge4 ,footnote #cbig3 ,hor4 ,od4 ii4 #g1 #bc2 ,sat4 i4 #c1 #ad4 ,footnote #cbih3 ,hor4 ,sat4 ii4 #h1 #hf4 ,footnote #cbii3 ,sat4 i4 #f1 #aah4 ,footnote #ccjj3 ,juv4 iii4 #bfc2 xi4 #aeh3 cf4 ,vol4 ,i4 pp4 #bjj1 #baa1 #ejc4 ,footnote #ccja3 ,collect4 ,antiq4 v4 p4 #h4 ,footnote #ccjb3 ,catull4 #id1 #b2 ,juv4 xiv4 #aga4 ,for examples of ollae1 see ,overbeck1 ,pompeii1 p4 #dad1 ,daremberg and ,saglio1 s4v41 and ,pl4 ,,lxix4 fig4 #b2 see also pp4 #chi1 #def1 #eej4 ,isidorus expressly states that it was used for boiling water 7,etym4 xx4 #h74 ,footnote #ccjc3 vi4 #dcj4 ,isidorus 7,etym4 xx4 #f7 derives it from pedes4 ,footnote #ccjd3 ,cato1 ,r4,r4 #aeg2 ,plant4 ,pers4 i4 #c1 #h4 ,footnote #ccje3 ,isid4 ,etym4 xx4 #h4 ,footnote #ccjf3 ,varro ap4 ,non4 p4 #ai1 #ad4 ,footnote #ccjg3 ,cf4 ,b4,m4 ,cat4 of ,bronzes1 ,nos4 #bdfa-bdfe2 also ,dchelette1 ,vases de la ,gaule ,romaine1 ii4 p4 #caf4 ,footnote #ccjh3 ,varro ap4 ,non4 #edg1 #ab2 ,pliny1 ,h4,n4 xxxvii4 #ah2 ,livy1 x4 #g1 #aj2 ,cic4 ,rep4 vi4 #b1 #aa2 id4 ,parad4 i4 #b1 #aa4 ,footnote #ccji3 ,de ,nat4 ,deor4 iii4 #ag1 #dc4 ,footnote #ccaj3 ,the word is only given by ,festus 7p4 #bdh1 ,mller74 ,footnote #ccaa3 ,varro ap4 ,non4 #edg1 #ai4 ,footnote #ccab3 ,paul1 ex ,fest4 p4 #hi1 #d1 with ,mller's note4 ,footnote #ccac3 ,paul1 ex ,fest4 p4 #ea1 #a4 ,footnote #ccad3 ,varro1 ,l4,l4 v4 #abd2 ,paul1 ex ,fest4 p4 #ccg1 #aj 7non dissimile cyatho74 ,footnote #ccae3 ,varro ap4 ,non4 #edd1 #bc2 ,cic4 ,rep4 vi4 #b1 #aa2 ,juv4 vi4 #cdc4 ,footnote #ccaf3 ,cic4 ,legg4 iii4 #af1 #cf4 ,footnote #ccag3 ,h4,n4 xxxv4 #aeh4 ,an example of a bronze simpulum may be seen in the ,bronze ,room of the ,british ,museum 7,case ,e74 ,footnote #ccah3 ,virg4 ,georg4 ii4 #cid4 ,footnote #ccai3 ,id4 ,aen4 iii4 #ff2 ,varro1 ,l4,l4 v4 #abd4 ,footnote #ccbj3 ,varro1 ,l4,l4 v4 #abb2 ,virg4 ,aen4 i4 #gbi4 ,footnote #ccba3 ,see ,isid4 ,etym4 xx4 #e1 who suggests a derivation from patere1 8quod patentes sunt dispansisque labris40 ,footnote #ccbb3 ,ov4 ,fast4 ii4 #fcd2 ,juv4 v4 #he3 cf4 ,plaut4 ,cist4 ii4 #a1 #df4 ,footnote #ccbc3 ,paul1 ex ,fest4 p4 #bdg1 ,mll42 ,varro1 #edd1 #ai 7ap4 ,non474 ,footnote #ccbd3 ,paul1 ex ,fest4 p4 #afj4 ,footnote #ccbe3 ,digest1 xxxiv4 #b1 #ai1 #ab4 ,footnote #ccbf3 ,varro ap4 ,non4 #edg1 #ad4 ,footnote #ccbg3 ,h4,n4 vii4 #ahe2 ,petron4 #db2 ,colum4 xii4 #dc1 #g2 ,pallad4 ,agric4 vii4 #g2 ,cels4 #b1 #aa4 ,footnote #ccbh3 ,v4 #adh3 see also ,tert4 ,apol4 #ac2 ,varro ap4 ,non4 #adf1 #h2 #ede1 #b4 ,footnote #ccbi3 ,cato1 ,r4,r4 #eg2 ,livy1 xxv4 #b1 #h2 ,pliny1 ,h4,n4 xiv4 #he1 #add4 ,for a bronze congius representing the standard measure see ,hultsch1 ,metrologie1 p4 #abc2 also ,daremberg and ,saglio1 s4v4 ,on ,roman metrology generally see ,krause1 ,angeiol4 p4 #ded1 and ,hultsch1 op4 cit4 p4 #aab ff4 ,footnote #cccj3 ,die ,formen der rm4 ,thongefsse1 diesseits und jenseits der ,alpen 7,stuttgart1 #ahig74 ,for the forms peculiar to the ornamented wares1 reference should be made to ,dragendorff's article in ,bonner ,jahrb4 xcvi4 pls4 #a-c1 and ,dchelette1 ,vases de la ,gaule ,romaine1 passim4 ,,chapter ,,xxii ,,roman ,,pottery1 ,,historically ,,treated2 ,,arretine ,,ware ,roman pottery mentioned by ancient writers--8,samian0 ware--,centres of fabric--,the pottery of ,arretium--,characteristics--,potters' stamps--,shapes of ,arretine vases--,sources of inspiration for decoration--8,italian ,megarian bowls0--,subjects--,distribution of ,arretine wares4 ,in the present chapter we propose to discuss the origin and character of the finer ,roman pottery1 or red glazed ware with designs in relief1 which is usually known to modern writers under the convenient designation of terra sigillata1 a phrase which has already been explained 7p4 #dcd74 ,not only in clay and glaze but in decoration these wares are characteristically ,roman2 but the question as to the actual centre or centres of their manufacture still admits of some discussion4 ,relying principally upon the testimony of ,pliny1 ,martial1 and other ancient writers1 archaeologists have been accustomed to classify the red ware with reliefs1 on a rough system of distinction according to artistic merit1 as ,arretine1 ,samian1 and 8false ,samian40 ,the latter term 8,samian0 has indeed acquired such popularity that it has passed into the language as a conventional term of almost every-day use2 but to the scientific investigator it has long been apparent that in point of accuracy it almost stands on a level with that of 8,etruscan vase40 ,that of 8false ,samian0 has usually been applied to a certain class of provincial wares1 technically inferior to the 8,samian40 ,but though both terms may still retain currency in popular language for the sake of convenience1 it must not be supposed that they are impressed with the hall-mark of scientific terminology4 ,before however we attempt to distinguish the different fabrics on the basis of recent researches1 it may be as well to investigate the statements of the classical writers and weigh the evidence which they afford on the various kinds of pottery in use in ,italy under the ,roman ,empire4 ,the most valuable information is found in the pages of ,pliny1 supplemented by ,isidorus of ,seville1 who1 writing in the seventh century1 probably gives merely second-hand information4 ,the former#ccca says3 8,the majority of mankind use earthenware vessels4 ,samian ware is commended even at the present day for dinner services2 this reputation is also kept up by ,arretium in ,italy1 and for drinking-cups by ,surrentum1 ,hasta1 ,pollentia1 ,saguntum in ,spain1 and ,pergamum in ,asia4 ,tralles is also a centre for pottery1 and ,mutina in ,italy 444 and exportation from the celebrated potteries goes on all over the world40 ,isidorus1 who largely quotes from ,pliny1 gives the tradition that ,samos was the seat of the original invention of pottery1 8whence too came ,samian vases40#cccb ,he goes on to say that 8,arretine vases are so called from ,arretium1 a town in ,italy where they are made1 for they are red40 ,but in regard to 8,samian ware0 he admits that there is another explanation of the term1 namely that it is a corruption of ,samnia4 ,herein he is possibly not far from the truth1 for we have already seen that the adjacent region of ,campania was in the last few centuries of the ,republic famous as a centre for relief-wares1 and it is possible that the manufacture of such pottery was carried on in the district1 as for instance at ,puteoli1 long afterwards4 ,we also know that ,allifae in ,samnium was a seat of this industry1#cccc and that a special class of pottery was made at ,ocriculum and at ,mevania in ,umbria about #bjj ,b4,c4 7see below1 p4 #dij74 ,on the other hand there is no doubt that ,samos had a reputation for its pottery for many centuries1 as is implied by the tradition which ,isidorus quotes and by the words of ,pliny3 8even at the present day it is commended40 ,in a previous chapter it has been suggested that the so-called ,megarian bowls1 which undoubtedly are a prototype of the ,roman wares1 represent the ,samian pottery of the ,hellenistic period2 but whether this is so or not1 the most probable conclusion is that the term 8,samian0 connotes in the first instance a ,greek1 not a ,roman1 fabric2 that this ,greek ware was imported into ,italy2 and that it became so popular that the term really came into use for native products1 just as now-a-days we are able to speak of 8,china0 which has travelled no further than from ,worcester1 ,svres1 or ,dresden4 ,it may thus have become a generic name for table-ware4 ,plautus mentions ,samian ware more than once 7see above1 p4 #def71 usually with reference to its brittleness1 as in the ,menaechmi1#cccd where ,menaechmus says1 8,knock gently60 to which the parasite ,peniculus replies3 8,i suppose you are afraid the doors are ,samian40 ,again in the ,bacchides1#ccce with a jesting allusion to ,samos as the home of one of the two heroines3 8,take care1 please1 that no one handles her carelessly2 you know how easily a ,samian vase gets broken40 ,in another passage he speaks of a ,samiolum poterium4#cccf ,and ,tertullian1 speaking of ,numa's times1 says that only ,samian vases were as yet in use4#cccg ,pliny also mentions ,pergamum and ,tralles as centres of fabrics1 and speaks of the firmitas or toughness of that of ,kos1 but of these we know nothing further4 ,it has been pointed out by ,dragendorff that there was some manufacture of terra sigillata in ,asia ,minor under the ,empire1#ccch probably an imitation of the ,italian ware1 as the examples known present the same characteristics as the provincial wares of ,central ,europe1 and the forms are also those of the ,arretine vases4 ,the same writer has shown that there were also manufactures of terra sigillata in ,greece itself1 in ,egypt1 and in ,southern ,russia1 which were of similar character4 ,to return to ,italy and its local fabrics4 ,it is not to be supposed that there was any one principal centre1 for different towns excelled in their respective wares1 and these were imported from one to the other1 and especially into ,rome4 ,this city was of course originally supplied with earthenware by the ,etruscans1 whose mantle fell on the town of ,arretium1 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 people4 ,we read that even in ,numa's time there was a ,guild of ,potters 7see p4 #cgb71 but it never appears to have excelled in any of the finer wares1 and is ignored by ,pliny1 though we have evidence from other sources4 ,thus ,martial speaks of cadi ,vaticani1#ccci and ,juvenal of fragile dishes from the ,vatican hill4#ccdj ,cato says dolia are best bought in ,rome1 tiles at ,venafrum4#ccda ,and the evidence of a pottery in the third and second centuries ,b4,c4 on the ,esquiline which is given by the find of lamps described in ,chapter ,,xx4 is supported by ,festus4#ccdb ,pliny1 as we have seen1 mentions ,arretium1 ,hasta and ,pollentia1 ,mutina and ,surrentum with commendation2 he also couples the pottery of ,hadria with that of ,kos for firmitas4#ccdc ,he further implies that ,arretium kept up the old pre-eminence of the ,samian ware1 and this is borne out1 not only by what we gather from ,martial and other writers1 but still more by modern discoveries1 of which we shall shortly speak in detail4 ,of the other potteries less is known1 but remains have been found at ,hasta and ,pollentia 7,asti and ,pollenza in ,piedmont7#ccdd and the figlinae of ,velleia in the same region were also well known in antiquity4#ccde ,at ,mutina 7,modena7 remains of a pottery were found 7see ,vol4 ,i4 p4 #ga71 together with vases of ,arretine type1 and the potter ,fortis1 whose name so often occurs on lamps 7p4 #dbf71 appears to have had his workshop here4#ccdf ,his stamps are also found on tiles and on pottery of all kinds1 even ,arretine4 ,here1 too1 were found vases of black ware1 of 8,graeco-,campanian0 style1 sometimes with stamps impressed from gems1 and unglazed red plates stamped with small palmettes like the ,greek black-glazed wares 7,vol4 ,i4 p4 #bab74 ,livy mentions that in #agf ,b4,c4 a great destruction took place here of 8all kinds of vases1 made more for use than for ornament40#ccdg ,in their general results the pottery-finds are instructive as showing the transition from black to red wares1 which may also be observed in the vases of ,popilius and the early ,arretine fabrics 7see below74#ccdh ,campania in general seems to have maintained the traditions of the ,calene and ,etrusco-,campanian fabrics of the third century 7,chapter ,,xi471 and there is evidence of manufacture and export in the first century ,b4,c4 ,horace's table was supplied with ,campana supellex4#ccdi ,surrentum ware is mentioned by ,martial#ccej as well as ,pliny1 and1 as indicated in the preceding chapter 7p4 #dfb71 supplied amphorae of local wine to ,pompeii4#ccea ,the pottery of ,cumae1 which place was at an earlier date an important centre for painted vases 7,vol4 ,i4 p4 #hj71 is mentioned by ,martial#cceb ,it would also seem to have supplied clay for the vases made at the neighbouring ,puteoli1 which had no local clay suitable for the purpose1 and is not mentioned by ancient writers4 ,the latter has however yielded large numbers of vases of a type closely resembling the ,arretine1 and a pottery was discovered in #ahgd1 with moulds4#ccec ,some of the vases have ,arretine stamps1#cced which imply importations during the first century ,b4,c41 but names of local potters are also known1 chief of whom is ,numerius ,naevius ,hilarus1 who employed eleven slaves4 ,q4 ,pomponius ,serenus and ,l4 ,valerius ,titus are also found here and elsewhere in ,southern ,italy and at ,nismes4#ccee ,some fragments of this ,puteoli ware from various sources are in the ,british ,museum4#ccef ,horace speaks of pottery from ,allifae in ,samnium1#cceg and ,pliny mentions the popularity of that made at ,rhegium and ,cumac#cceh2 this exhausts the list of sites known to us from ancient writers4 ,in the provinces the only place which had any fame was ,saguntum1 alluded to by ,pliny and more than once by ,martial1 who speaks of cups 7pocula and cymbia7 fashioned from ,saguntine clay#ccei2 also of a synthesis septenaria or nest of seven cups1 8polished by the potter's coarse tool1 of clay turned on the ,spanish wheel40#ccfj ,but modern researches on the site have not thrown any light on the character of the local fabric 7p4 #edj7ccfa2 it is only at ,tarragona that terra sigillata has been found4 ,the pottery of ,arretium is more than once referred to by ,martial1 who notes that it compared unfavourably with the splendour of crystal vessels1 but at the same time begs his hearer not to regard it altogether with contempt1 for ,porsena was well served with his ,tuscan earthenware#ccfb3 ,arretina nimis ne spernas vasa monemus2 ,lautus erat ,tuscis ,porsena fictilibus4 ,an epigram in the ,latin ,anthology 7#bei7 says3 ,arretine calix1 mensis decor ante paternis1 ,ante manus medici quam bene sanus eras4#ccfc ,other allusions are less direct4#ccfd ,coming down to more modern times1 we actually find mention of the pottery in a manuscript written by ,sig4 ,ristori of ,arezzo in #abhb1 and by ,c4 ,villani in his ,history of the ,world1 written in the fourteenth century4 ,subsequently ,alessi1 who lived in the time of ,leo ,x41 described the discovery of red ware about a mile from the city1 and ,vasari tells us that in #adhd his grandfather found in the neighbourhood three vaults of an ancient furnace4 ,further allusions are found in the writings of ,gori 7#agcd7 and ,rossi 7#agif72 and in #ahda ,fabroni published a history of ,arretine ware1#ccfe in which the above facts are recorded4 ,he tells us that in #aggi potteries were unearthed at ,cincelli or ,centum ,cellae1 which contained1 besides various implements1 part of a potter's wheel1 resembling those in vogue at the present day4 ,it was composed of two circular slabs placed round one pivot at an interval from one another1 their diameter not being the same4 ,the wheel actually found was of terracotta1 about #aa inches in diameter by #c inches in thickness1 with a groove round the edge4 ,it was bound with a leaden tyre1 held in place by six cylinders of the same metal1 and appears to have been the upper of the two slabs1 the 8table0 on which the clay was placed4#ccff ,the ,arretine ware must be regarded as the ,roman pottery par excellence4 ,the term was used anciently in an extended sense for all vases of a certain technique without regard to the place of manufacture1 as a piece of evidence from ,spain tends to show4 ,pottery has been found at ,tarragona with the inscription1 ,a ,,titii ,,figvl ,,arre1 ,a4 ,titii figul7i7 ,arre7tini71#ccfg which has generally been taken to mean a maker of ,arretine ware living on the spot1 just as now-a-days ,wilton or ,brussels carpets may be made at ,kidderminster4 ,the general characteristics of the ,arretine ware are3 7#a7 the fine local red clay1 carefully worked up and baked very hard to a rich coral-colour1 or like sealing-wax2 7#b7 the fine red glaze1 composed chiefly of silica1 iron oxide1 and an alkaline substance1 which1 as we have seen 7p4 #dcg71 was perhaps borax2 7#c7 the great variety of forms employed1 which show in a marked degree the influence of metal-work2 7#d7 the stamps with potter's names1 which are almost invariably found4 ,the duration of this pottery seems to have been from about #aej ,b4,c4 to the end of the first century of the ,empire1 at which time pottery in ,italy had reached a very degenerate stage1 and the height of its success and popularity was during the first century ,b4,c4 ,analyses of the vases show that practically the same results as to their composition are obtained from different periods4 ,during the last century these vases have been found in large numbers at ,arezzo1 and there is now a considerable quantity of them collected in the public museum of that city1 as well as in private collections and the museums of other countries4 ,the official record of ,italian excavations contains an account of finds made in #ahhc1 #ahhd1 #ahij1 #ahid1 and #ahif on various sites in the city and immediate neighbourhood1#ccfh and gives the locality of the different potteries1#ccfi as well as the names of their owners4 ,the first potter's name recorded was that of ,calidius ,strigo by ,alessi2 it was found in #adib in the presence of ,giovanni de' ,medici1 afterwards ,leo ,x4 ,others were given by ,gori1 and fuller lists 7up to date7 by ,fabroni in #ahda1 ,gamurrini in #ahei1 and ,marini in #ahhd4ccgj ,at the present day the most complete information on this head may be found in the recently published volume of the ,corpus of ,latin inscriptions dealing with ,etruria1#ccga in which the results of the most recent excavations are incorporated4 ,a large number have also been found at ,rome1 the names being identical with those found at ,arezzo1 and the ware consequently imported4#ccgb ,it must be distinguished from the inferior relief wares either of local fabric 7see p4 #dib7 or imported from ,gaul1 ,northern ,italy1 and elsewhere4 ,names of ,arretine potters are also found in large numbers at ,modena1 ,rimini1 and other places in ,northern ,italy1 in ,france1 ,spain1 and elsewhere4 ,the stamps range in date from the second century ,b4,c4 down to the ,christian era1 but not beyond the first century of the ,empire4 ,the oldest of all1 it is interesting to note1 are found on black-glazed wares similar in character to those from the ,esquiline4#ccgc ,the red-glazed ware probably came in about #ajj ,b4,c41 and the two methods appear to have been for a time contemporaneous4 ,the initials ,q ,a ,f and ,c ,v which occur on early red ,arretine wares#ccgd are also found on the ,esquiline lamps4 ,next comes the red ware with quadrangular stamps repeated four or five times on the bottom1 followed by single quadrangular stamps and those of varying form1 especially some in the shape of a foot1 which are not found in the best period at ,arretium1 and seem to belong only to the time of the ,empire4 ,this form of stamp is very common on lamps and plain pottery1 and there are many examples of bronze stamps in this shape extant4#ccge ,those vases which have stamps on the exterior in the midst of the design represent the middle or ,augustan period4 ,the older stamps are more deeply impressed in the surface of the vase than the later4 ,on the whole1 the palaeographical evidence of the stamps is very slight1 and we can only roughly date them between #ajj ,b4,c4 and #ajj ,a4,d4#ccgf ,dragendorff has1 however1 noted that the slaves' names are mostly ,greek1 a detail which helps to establish a terminus post quem1 placing them later than #adf ,b4,c4 ,the ,calidius ,strigo of whom we have already spoken was a potter of some importance1 employing twenty slaves1 of whom the names of ,protus and ,synistor occur most frequently4 ,but he only seems to have made plain table wares without reliefs1 examples of which are found in ,rome and elsewhere4 ,a potter named ,domitius had a workshop on the same spot1 but only employed a few slaves4 ,a more important name is that of ,publius ,cornelius1 first found by ,ferdinando ,rossi in the eighteenth century at ,cincelli1 together with remains of his workshop2 many additional examples were found in #ahhc and #ahib4 ,he employed no less than forty slaves1 of whom the best known are ,antioc7h7us1 ,faustus1 ,heraclides1 ,primus1 and ,rodo4 ,one vase by the last-named has medallions with the head of ,augustus and the inscription1 ,,avgvstvs1 which gives the date of the fabric4#ccgg ,previous to the discovery of this in #ahic ,gamurrini had supposed that ,cornelius was one of the colonists placed at ,arezzo by ,sulla4 ,many of his vases are found at ,rome1 and also in ,spain and ,southern ,italy4 ,the vases with ,,corneli in a foot-shaped stamp are probably not his4 ,he appears to have acquired the business of two other potters--,c4 ,tellius and ,c4 ,cispius4 ,among all the potters' stamps few are commoner than that of ,m4 ,perennius1 and his wares certainly take the highest rank for their artistic merit4 ,all his relief designs are copied from the best ,greek models1 as will be seen later4 ,few of his vases seem to have been exported to ,rome1 but they are found in ,spain and ,southern ,gaul4 ,the form of the name on the stamps varies greatly1#ccgh the commonest being ,m4 ,,perenni2 ,m4 ,,peren41 ,m4 ,,pere41 and ,m4 ,,per4 are also found1 and even ,m4 ,,pe4 with the letters joined in a monogram4 ,he employed seventeen slaves1 of whom the best known is ,tigranes4 ,his name appears as ,,tigran1 ,,tigra1 or ,,tigr1 and always in conjunction with that of ,perennius4 ,these two are found on a vase with ,achilles and ,diomede fighting against ,hector1#ccgi and on three ,arretine moulds in the ,british ,museum1 the subjects of which are a dance of ,maenads1 masks of ,maenads and ,satyrs1 and a banquet scene 7,plate ,,lxvi4 figs4 #d1 #f74 ,the name of ,tigranes appears alone on a fine vase in the ,louvre with the apotheosis of ,herakles4#cchj ,another slave1 ,cerdo1 made a vase with the nine ,muses1 their names being inscribed over them in ,greek4#ccha ,a third slave who produced vases of more than average merit was ,bargates1 whose name is found on a fine vase in the ,boston ,museum 7,fig4 #bah71cchb the subject of which is the fall of ,phathon1 who lies shattered in pieces on the ground1 with ,tethys coming to his rescue4 ,zeus with his thunderbolt and ,artemis with her bow have brought about his downfall4 ,helios is seen collecting his terrified steeds2 and the rest of the design is occupied with the transformation of the ,heliades into poplars4 ,illustration3 ,from ,philologus4 ,,fig4 #bah4 ,,arretine ,,bowl ,,with ,,death ,,of ,,pha,,thon 7,,boston ,,museum74 ,the site of ,perennius' principal workshop appears to have been in the city itself1 close to the church of ,sta4 ,maria in ,gradi2 but he may also have had a branch manufactory at ,cincelli or ,centum ,cellae4 ,signor ,pasqui#cchc notes that his name occurs alone on the interior of plain bowls and dishes4 ,next to these come the copies of ,greek models by ,cerdo1 ,pilades1 ,pilemo1 and ,nicephorus1 followed by ,tigranes1 and then by ,bargates1 who also worked for ,tigranes when he became a freedman 7the stamps being in the form ,,bargate _/ ,m ,,tigr72 lastly occur the names of ,crescens and ,saturninus4 ,three ,annii had a pottery near the church of ,san ,francesco1 and employed over twenty slaves1 with both ,greek and ,roman names2 the most important of the three is ,c4 ,annius1 who made vases with reliefs1 as did ,lucius1 but ,sextus only made plain wares4 ,there are also vases stamped ,,anni only2 they probably belong to the first century ,b4,c4 ,aulus ,titius is found frequently at ,arezzo and ,rimini1 at ,lillebonne in ,france1 and1 as we have seen1 in ,spain2 his wares also penetrated to ,africa and all parts of ,italy4 ,he has no names of slaves coupled with his1 and his signature appears in the various forms1 ,a4 ,titi1 ,a4 ,titi figul41 ,a4 ,titi figul4 ,arret4 ,he was succeeded by ,c4 ,titius ,nepos1 who had fifteen slaves1 and there is also a ,l4 ,titius4 ,c4 and ,l4 ,tettius occur at ,rome1 but only the latter at ,arezzo#cchd2 the word ,,samia1 which occurs on his stamps1 is more likely to be a proper name than to have any reference to ,samian ware4 ,the name of ,rasinius1 which is associated with more names of slaves than any except ,p4 ,cornelius1 is found more often at ,rome than at ,arezzo#cche2 it also occurs at ,pompeii1#cchf and at ,neuss in ,germany1 which facts point to the time of ,augustus and ,a4,d4 #gi as the limits of date4 ,of the numerous slaves1 some were afterwards employed by ,c4 ,memmius4 ,there appear to have been at least two representatives of the name1 ,c4 ,rasinius in the ,augustan period1 and ,l4 ,rasinius ,pisanus in the ,flavian4 ,the latter ,dchelette has shown to be a degenerate ,arretine1 making imitations of ,gaulish ware4#cchg ,l4 and ,c4 ,petronius are found at ,arezzo1 together with remains of their potteries1 and ,c4 ,gavius1 who belongs to the ,republican period1 at ,cincelli4 ,numerous other potters who are probably ,arretine may be found in ,ihm's lists#cchh2 on the other hand1 there are stamps found at ,rome and in ,etruria which cannot have originated from ,arretium4 ,such are ,atenio circitor refi7ciendum7 curavit1#cchi and ,faustus ,salinator ,seriae#ccij2 those with ,,of7ficina71 such as ,,of ,,felicis1 which are found at ,rome1 but are probably ,gaulish#ccia2 those with fecit or epoei 771#ccib with the exception of ,venicius fecit hec1 from ,arezzo#ccic2 and ,atrane1 a name found at ,vulci1 ,chiusi1 and many other sites in ,etruria1 but not at ,arezzo4#ccid ,the name usually given in the signatures on the stamps is that of the maker only2 sometimes a slave's name is added1 either above or below the maker's1 or on a separate stamp4 ,the maker's name usually gives the nomen and praenomen1 implying a freedman1 and when given in full is seen to be in the genitive2 the slave's name is usually in the nominative4 ,four typical varieties are given by the following stamps from the pottery of ,p4 ,cornelius1 with the name of the slave ,potus3 ,,potvs ,p,,corn ,,poti ,p,,corn ,p,,cor ,,potvs ,p,,corn ,,poti ,a difficulty sometimes arises in regard to these two-line stamps when the slave's name occurs below that of the master1 on account of the frequent abbreviations2 for instance1 it is not easy to say whether such stamps as ,a,,vibi or ,p,,corneli ,,diom ,,anthvs denote one name or two1 for there are certain instances where the master has three names4#ccie ,it is always possible that the name denotes a slave become a freedman1 as ,a4 ,vibius ,diomedes or ,p4 ,cornelius ,anthus1 and in ,dr4 ,dressel's opinion#ccif this is the most probable explanation2 but the alternative has much in its favour4 ,there are1 moreover1 stamps such as ,p,,meseini or ,p,,corneli ,,amplio ,s7ervus7 ,,firmvs ,f7ecit7 which1 of course1 leave no room for doubt4 ,in later examples the praenomen is often omitted1 and occasionally the praenomen and cognomen are found without the gentile name#ccig2 there are also a few instances of female names4#ccih ,an exceptional form of signature is given by ,,cinna ,c,l,,titi7orum7 ,s7ervus72 occasionally also1 as in the example from ,spain already quoted1 ,,figvl7us7 ,,arre7tinus71 or simply ,,arreti7nus71 are found4 ,sometimes1 again1 two potters seem to have been in partnership1 as ,sura and ,philologus1 ,l4 ,gellius and ,l4 ,sempronius 7,l,,gelli ,l ,,semp71#ccii or two firms1 as the ,umbricii and ,vibieni4 ,the simple quadrangular form of stamp is by far the commonest1 and1 next to this1 an outline of a foot2 less frequent forms1 and of later date1 are the circular1 oval1 or lunate1 and other varieties of marks1 such as wreaths1 stars1 or branches4 ,dr4 ,dressel gives no less than eighty-seven types from ,rome1#cdjj of which thirty-three are rectangular with ornamental edges4 ,the forms of the letters are not always an indication of date1 but such forms as #aead;,attic alpha #aeae;alpha for ,a1 #aeab;,e for ,e1 and #aeab;,f for ,f betoken an early date4 ,ligatured letters abound4 ,the names are often written from right to left1 or left to right with separate letters reversed or inverted2 or the words are broken up as ,,mvs for ,docimus1 ,,mvs for ,romanu7s71 ,,doci ,,rom and so on4#cdja ,the stamps were probably of wood1 but some are taken from seal-rings4 99 99 99 99 99 ,the forms of ,arretine vases are all1 without exception1 borrowed from metal originals1 and in their contours display the same tendency4 ,but1 as compared with the ,hellenistic forms they show great simplicity1 and almost1 as it were1 a return to archaism4 ,the vases are for the most part of small size1 and indeed the dimensions of the furnaces at ,arezzo seem to indicate that larger vases could not have been baked in them4 ,they are principally cups1 bowls1 and dishes1 the former of hemispherical or cylindrical form and devoid of handles--a characteristic which usually distinguishes ,roman from ,greek pottery4 ,some of the moulds for ,arretine ware in the ,british ,museum collection appear to have been used for a deep cup with flat base and spreading lip 7,plate ,,lxvi4 fig4 #e71 of a type which finds no parallel in ,greek shapes1 but the hemispherical bowl on a low foot is the prevailing form4 ,other shapes are extremely rare1 a notable exception being the beautiful krater in the ,british ,museum with figures of the ,seasons 7,fig4 #bai71 which1 although found at ,capua1 is certainly ,arretine in style and technique4 ,the technical methods employed we have already described in the preceding chapter1#cdjb and there do not appear to have been any variations peculiar to this fabric4 ,fabroni 7p4 #cg7 states that cinerary urns1 tiles1 lamps1 and reliefs were also made in the potteries at ,arretium4 ,illustration3 ,,fig4 #bai4 ,,arretine ,,krater ,,with ,,the ,,four ,,seasons 7,,british ,,museum74 ,the prototypes of the forms we have seen to be the ,hellenistic vases of chased metal1 for which ,alexandria was the principal centre4 ,but1 apart from form1 it is doubtful whether the ,alexandrine toreutic work exercised much influence on the potters of ,arretium4 ,for the decoration and subjects they undoubtedly drew their inspiration chiefly from the ,new-,attic reliefs#cdjc and the art of ,asia ,minor1 as has been pointed out by more than one recent writer1#cdjd who have urged that the influence of ,alexandria on ,roman art has been greatly over-estimated4#cdje ,dragendorff points out that all the famous chasers known to us were natives of ,asia ,minor1#cdjf and thinks that ,rhodes was probably the centre of this art4 ,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 ,rome1 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 ,age4 ,moreover1 the ,rhodian and ,pergamene schools of art were still living when that of ,alexandria was dying out under the later ,ptolemies4 ,the mixed style of art of the first century ,b4,c4 is essentially ,roman1 produced under the influence of the ,greek works then collected in ,rome1 and does not extend beyond ,italy4 ,but it is also conceivable that its predecessors in the line of ceramic development contributed to produce the ware of ,arretium4 ,it recalls in some respects the different ,greek relief-wares discussed in ,chapter ,,xi41 the ,calene phialae of the third century1 and the so-called ,megarian or ,homeric bowls1 in which some have seen the real 8,samian0 ware of the ,roman writers1 dating from the same period4 ,to these succeeded in ,hellenic lands the fabrics of ,athens1 ,southern ,russia1 and ,asia ,minor1 to which allusion has already been made1 and which often present similar characteristics to the ,arretine fabrics4 ,nor must it be forgotten that the earliest ,arretine pottery was covered with a black glaze1 which may indeed represent a desire to reproduce the effect of metal1 but is much more likely to be a direct heritage from the late ,greek pottery1 which in this respect carried on the tradition of the painted wares4 ,at all events1 two main characteristics of ,hellenistic pottery have plainly left their mark on ,roman fabrics3 the disappearance of painting under the influence of relief decoration imitated from metal1 and the cessation of the exclusive use of a black varnish4 ,the transition seems to be partially effected by a small group of vases which have been styled 8,italian ,megarian bowls0 or 8,vases of ,popilius10 after the potter ,c4 ,popilius1 whose name occurs on many of them4#cdjg ,they form a distinct class1 dating apparently from the third century ,b4,c41 on the testimony of the inscriptions2 the form is that of a hemispherical bowl without handle or foot1 with very thin walls1 and covered with a slip of varying colour--yellow1 brown1 or black4 ,these bowls1 too1 are a close imitation of metal-work1 especially in the arrangement of the reliefs4 ,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-pattern1 scrolls1 or garlands2 the ground is filled in with stars1 shields1 and other devices4 ,in the finer examples a frieze of figures is added1 with such motives as ,erotes1 masks1 dolphins1 and ox-skulls repeated4 ,the bowl of ,popilius published by ,hartwig is the only one with a definite subject3 a fight between ,greeks and ,barbarians1 which is an undoubted reminiscence of the famous mosaic at ,pompeii with ,alexander at the ,issus4 ,eleven bowls by ,popilius are known1 two by ,l4 ,appius 7see ,fig4 #bbj71 and one each by ,l4 ,atinius and ,l4 ,quintius4 ,the first-named potter seems to have lived partly at ,ocriculum1 partly at ,mevania in ,umbria2 both he and ,appius also made 8,calene0 ware4 ,these potters were freedmen1 as the use of the two names indicates4 ,their work does not show the fine glaze of the ,calene and ,arretine fabrics1 but is decorative in its effect2 each ornamental motive is produced from a separate stamp1 and the potter's marks are put on en barbotine 7see p4 #ddb74 ,illustration3 ,,fig4 #bbj4 8,,italian ,,megarian0 ,,bowl ,,by ,l4 ,,appius 7,,british ,,museum74 ,to sum up with ,dragendorff1#cdjh it is clear that a careful study of ,hellenistic pottery is necessary for a correct estimate of the ,italian and ,roman4 ,as in the case of other arts1 it proves that the ,romans were merely receptive1 at best only developing what they received4 ,this development began with the importation of ,greek relief-wares with black varnish1 especially from ,asia ,minor1 and their imitation at ,cales4 ,then1 as in ,greece1 so in ,italy1 the search for new forms1 colouring1 and decoration began and brought about a degeneration of technique4 ,what the ,calene vases are to those of ,asia ,minor1 so are the vases of ,popilius to the 8,megarian0 bowls4 ,finally1 the finds in ,southern ,russia show that even the technique of the red-glazed ware is not an ,arretine invention1 but was already known to the ,greeks1 although first brought to perfection in ,italy4 99 99 99 99 99 ,we must now return to the ,arretine vases and turn our attention to their subjects and decoration1 and their place in artistic development4 ,dragendorff#cdji divides them into two classes1 including with them the vases of ,puteoli1 which bear ,arretine stamps1 and probably only represent a mere off-shoot of the latter potteries1 merely differing in the quality of the design and in the absence of many of the best types4 ,these were mostly discovered in #ahgd1 and it is possible that the krater from ,capua 7p4 #dhh7 may also be reckoned as originating from this source4 ,his first class includes the vases of ,m4 ,perennius1 which form such a large proportion of the signed ,arretine wares4 ,they are characterised by friezes of figures repeated1 or of groups of figures all of the same size1 sometimes divided by pillars or terminal figures4 ,ground-ornaments are rare1 and the ground under the figures is not indicated as elsewhere4 ,the subjects include ,dionysiac scenes1 such as dancing ,maenads1 sacrifices1 drinking-scenes1 the vintage1 or ,dionysos in a chariot2 ,cupids1 ,muses1 and ,seasons2 ,victory sacrificing a bull2 ,nereids with the weapons of ,achilles2 ,hieroduli or priestesses dancing1 with wicker head-dresses2 banqueting1 erotic1 and hunting-scenes4 ,examples of the latter classes are given on ,plate ,,lxvi4 ,the types of the figures1 as in the case of the dancing ,maenads1 are largely derived from the ,new-,attic reliefs 7see above74 ,in the second class1 to which belong the vases of ,p4 ,cornelius and those found at ,puteoli1 a large use of ornament is the most conspicuous feature4 ,the figures are little more than decorative1 or form motives of a sculpturesque character1 and are not1 as in the first class1 isocephalous4 ,naturalistic motives1 such as wreaths1 are very frequent4 ,among the types we have figures like those in the ,nile-scenes on the terracotta mural reliefs 7p4 #cga7 and ,centaurs derived from ,hellenic prototypes4 ---------------------------------------- -------------- ,,plate ,,lxvi ,illustration3 ,,moulds ,,and ,,stamp ,,of ,,arretine ,,ware1 ,,with ,,casts ,,from ,,the ,,former 7,,british ,,museum74 ---------------------------------------- -------------- ,throughout there is a remarkable variety1 not only of subjects1 but of ornaments and methods of composition1 features in which the ,greek vase-painters at all periods allowed themselves little freedom4 ,the ornamentation1 which usually borders the figures above and below1 or still oftener occupies the whole surface available for decoration1 includes such motives as conventional wreaths and festoons1 scrolls of foliage1 and egg-and-tongue pattern2 a favourite device is the use of columns with spiral shafts1 often surmounted by masks1 between the figures4 ,but it is often naturalistic as well as conventional1 at least in detail1 and only in the general effect is it purely ornamental rather than a reproduction of nature4 ,in the figures derived from the ,new-,attic reliefs and similar sources1 such as metal reliefs on bases1 candelabra1 etc41 the copyist usually shows a strong tendency to archaism2 the attitudes of the figures are graceful1 but somewhat affected4 ,they seldom represent any particular action or story1 but even human figures are merely decorative4 ,groups of dancing figures are especially favoured1 such as ,satyrs and ,maenads1 or the ,hieroduli or dancing priestesses1 who wear a curious headdress of wicker-work 7calathus7#cdaj2 or we see ,genii and ,cupids crowning altars and lamp-stands1 or playing on musical instruments4 ,throughout the parallelism with the ,roman mural reliefs 7p4 #cfg ff47 is most remarkable1 whether in the archaising style1 the decorative treatment of human figures1 or in the choice of themes3 the dancing ,maenads and ,satyrs1 the ,hieroduli1 ,victory sacrificing a bull1 or the figures of ,seasons4 ,of the last-named a fine instance is the beautiful krater from ,capua1 now in the ,british ,museum 7,fig4 #bai71 the figures on which are most delicately modelled4 ,a stamp in the same collection from ,arezzo has a figure of ,spring1 which repeats the type of the ,capua vase 7,plate ,,lxvi4 fig4 #b3 see p4 #dci74 ,a somewhat later development1 corresponding to the second class described above1 seems to draw its inspiration rather from the ,hellenistic reliefs of naturalistic style1 such as ,schreiber has published1 dating from the third century ,b4,c4#cdaa ,the figures are no longer stiff1 but free and vigorous1 and elaborate compositions are attempted1 some being perhaps excerpts from large ,hellenistic compositions4 ,realistic landscapes in the ,hellenistic style1 with rocks and trees1 are largely favoured1 and the repertory of subjects includes ,dionysiac sacrifices and processions1 combats of ,centaurs and ,lapiths1 and hunting-scenes4 ,a fragmentary mould in the ,british ,museum is a good example of the latter1 only that here the scene is definitely characterised as ,alexander the ,great at a lion-hunt 7,plate ,,lxvi4 figs4 #a1 #c74 ,the king is just slaying a lion1 which stands over a man whom it has felled1 and ,krateros advances to his assistance with an axe4 ,a wreath which adorns the beast's neck seems to indicate that it was an animal specially kept in the royal park for hunting4#cdab ,the mould bears the name of ,m4 ,perennius4 ,dragendorff1 in a valuable and illuminating estimate of the ,arretine wares1#cdac points out that they are an example of the tendency1 so constantly occurring in classic art1 to imitate one substance in another4 ,he is further of opinion that they largely reproduce contemporary originals which illustrate the eclectic art of the ,augustan period1 instituting a reaction against ,hellenistic art and forming in their simple shapes a contrast to the baroque forms of later ,hellenistic pottery4 ,the art of the ,augustan ,age was followed1 as ,wickhoff has pointed out1#cdad by a period of impressionism or illusionist style derived from painting1 which is1 however1 completely absent from ,arretine and all other pottery of the ,roman period4 ,it may1 therefore1 be fairly assumed that when the impressionist style came into vogue1 the art of the ,arretine potter had had its day4 ,all subsequent wares with reliefs are essentially provincial1 and the origin of their style is uncertain1 but it is at all events not derived from any of the contemporary phases of ,roman art4 ,the vases of the types which we have been describing are not1 as has been hinted already1 found exclusively at ,arezzo4 ,in ,italy they are found in all parts1#cdae and the stamps of known ,arretine potters occur in large numbers in ,rome1 as also at ,cervetri1 ,chiusi1 ,vulci1 and elsewhere in ,etruria1#cdaf and at ,mutina 7,modena74#cdag ,they are also found all over ,campania1 at ,capua1 ,cumae1 ,pompeii1 and ,pozzuoli4 ,north of the ,alps they occur but rarely1 and almost exclusively in ,gallia ,narbonensis1#cdah but we have seen that they are found in ,spain1 and instances are also recorded from ,sardinia1 ,africa1 ,greece1#cdai ,asia ,minor1 and ,cyprus4#cdbj ,from these details two conclusions may be drawn1 either that there were various centres scattered over the ,empire for the manufacture of what was currently known as 8,arretine ware10 or that an extensive system of exportation went on from one centre1 which would naturally be ,arretium4 ,certainly there is no difference either technically or artistically between the ,arezzo vases and some of those found in other places1 such as ,modena or ,capua4 ,either view has something in its favour1 and it is doubtful whether the question is yet ripe for solution4 99 99 99 99 99 ,the ,arretine ware1 as we have seen1 steadily degenerated during the first century of the ,empire1 and at the close of that period had practically come to an end4 ,the question then arises1 ,what took its place in ,italy8 ,for it will be seen in the following pages that in discussing the remaining examples of terra sigillata which ,roman potters have left us1 we have to deal almost entirely with provincial wares1 made in ,gaul and ,germany1 and exported largely even into ,central and ,southern ,italy4 ,not the least striking feature in the history of ,roman pottery is the rapid rise of these provincial fabrics1 and the reputation which they so speedily acquired even in the more central and more civilised parts of the empire4 ,yet the manufacture of pottery in ,italy cannot have died out entirely by the end of the first century4 ,the plain and unglazed wares for domestic or other ordinary uses1 such as the dolia and wine amphorae1 of course continued to be made in ,italy as elsewhere1 and the list of centres given by ,pliny1 which we have already discussed1 clearly shows that in the ,flavian epoch several places still preserved a reputation for the manufacture of pottery4 ,on the other hand1 we have no evidence that the pottery made in these centres had any other than utilitarian merit1 or that it represents what we know as terra sigillata1 and it is certainly remarkable that all the ornamental wares found in ,italy are either of the ,arretine type or else importations from ,gaul1 with very few exceptions4 ,lamps and tiles1 as we have seen in previous chapters1 continued to be made throughout the second and third centuries1 but both were essentially utilitarian in their purposes1 and the latter1 at any rate1 lay no claim to artistic distinction4 ,the growing use of metal vases by all but the poorer classes1 was also not without its effect on the disappearance of moulded wares in ,italy1 and a reference thereto may perhaps be traced in ,martial's plea for the ,arretine pottery 7p4 #dgi74 ,it therefore seems safest to assume that as in the fourth century ,b4,c4 the manufacture of painted vases ceased at ,athens1 but entered on a new era of development in ,southern ,italy with the migration of ,athenian artists to the ,hellenic centres of that region1 so in the first century after ,christ the manufacture of terra sigillata in ,italy--as distinguished from plain pottery and other objects such as lamps--gradually died out1 owing to the migration of artists and transference of artistic traditions to the rising centres of a new civilisation in the country bordering on the ,rhone and the ,rhine4 ,it will be our object in the succeeding pages to collect the evidence for the existence and importance of the potteries in these regions1 and to show1 in short1 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 pottery4 ,in the following chapter will also be more conveniently discussed the vases of ,ateius1 ,aco1 and other potters which represent the transition from the ,arretine to the ,gaulish fabrics4 ----- ,footnote #ccca3 ,h4,n4 xxxv4 #afj ff4 ,footnote #cccb3 ,etym4 xx4 #d1 #c4 ,footnote #cccc3 ,hor4 ,sat4 ii4 #h1 #ci4 ,footnote #cccd3 i4 #b1 #fe4 ,footnote #ccce3 ii4 #b1 #bb4 ,footnote #cccf3 ,stich4 v4 #d1 #ab3 cf4 ,mart4 iii4 #ha1 #c2 ,lucil4 ap4 ,non4 p4 #cih2 ,tibull4 ii4 #c1 #dg2 ,cic4 pro ,murcna1 #cf1 #ge2 ,cornif4 ,rhet4 ad ,herenn4 iv4 #ea4 ,footnote #cccg3 ,apol4 #be4 ,footnote #ccch3 ,bonner ,jahrbcher1 ci4 7#ahig71 p4 #adj3 cf4 ibid4 xcvi4 p4 #be1 and ,blmner1 ,technol4 ii4 p4 #ajc4 ,footnote #ccci3 i4 #ai2 see above1 p4 #dfc4 ,footnote #ccdj3 vi4 #cdd4 ,footnote #ccda3 ,agric4 #ace4 ,footnote #ccdb3 ,paul4 ex ,fest4 ed4 ,mller1 #cdd;b2 8in ,esquilina regione figulo cum fornax plena vasorum coqueretur40 ,footnote #ccdc3 xxxv4 #afa4 ,footnote #ccdd3 ,cf4 ,mart4 xiv4 #aeg2 8solet calices haec dare terra0 7of ,pollentia74 ,footnote #ccde3 ,see ,c4,i4,l4 xi4 #aadg2 for recent finds1 ,bull4 dell' ,inst4 #ahcg1 p4 #aj ff4 ,footnote #ccdf3 ,bull4 dell' ,inst4 #ahcg1 loc4 cit42 #ahge1 p4 #aib4 ,footnote #ccdg3 xli4 #ah4 ,footnote #ccdh3 ,see generally ,bonner ,jahrb4 xcvi4 p4 #ec4 ,footnote #ccdi3 ,sat4 i4 #f1 #aah3 cf4 ibid4 ii4 #c1 #add4 ,footnote #ccej3 xiv4 #ajb3 8,surrentinae leve toreuma rotae40 ,footnote #ccea3 ,cf4 id4 xiii4 #aaj3 8,surrentine cups are good enough for ,surrentine wine40 ,footnote #cceb3 xiv4 #aad3 cf4 ,tibull4 ii4 #c1 #dh2 ,bull4 dell' ,inst4 #ahge1 p4 #ff2 ,marquardt1 ,privatalterthmer1 p4 #fdj1 note #b4 ,footnote #ccec3 ,bonner ,jahrb4 xcvi4 p4 #ed2 ,bull4 dell' ,inst4 #ahge1 p4 #bdb4 ,footnote #cced3 ,c4,i4,l4 x4 #hjef1 #bbi4 ,footnote #ccee3 ,ibid4 xii4 #efhf1 #fif4 ,footnote #ccef3 ,see also ,c4,i4,l4 x4 #hjef4 ,footnote #cceg3 ,sat4 ii4 #h1 #ci4 ,footnote #cceh3 ,h4,n4 xxxv4 #afd4 ,footnote #ccei3 xiv4 #ajh2 viii4 #f3 cf4 ,juv4 v4 #bi3 8,saguntina ,iagena40 ,footnote #ccfj3 iv4 #df1 #ae4 ,footnote #ccfa3 ,see also ,c4,i4,l4 ii4 p4 #eab and ,suppl4 p4 #ajjh2 ,dchelette1 i4 pp4 #af1 #aaa2 also ,bull4 dell' ,inst4 #ahge1 p4 #bej1 and ,c4,i4,l4 xv4 #bfcb for an amphora found on the ,monte ,testaccio at ,rome with the stamp ,,bcm7a7,,terni ,,sagynto4 ,footnote #ccfb3 xiv4 #ih4 ,footnote #ccfc3 8,o ,arretine cup1 which decorated my father's table1 how sound you were before the doctor's hand0 7referring to its use for taking medicine74 ,footnote #ccfd3 ,pers4 i4 #acj3 see also ,c4,i4,l4 xi4 p4 #ajha4 ,footnote #ccfe3 ,storia degli ant4 ,vasi fitt4 aretini1 ,arezzo1 #ahda4 ,footnote #ccff3 ,see above1 p4 #dch4 ,footnote #ccfg3 ,c4,i4,l4 ii4 #digj1 #eai4 ,footnote #ccfh3 ,notizie degli ,scavi1 #ahhc1 p4 #bfe2 ,nov4 #ahhd1 p4 #cfi1 pls4 #h1 #i2 #ahij1 p4 #fc ff42 #ahid1 p4 #aag ff42 #ahif1 p4 #dec ff4 ,footnote #ccfi3 ,see the map in ,c4,i4,l4 xi4 pt4 #b1 p4 #ajhb4 ,footnote #ccgj3 ,iscriz4 ant4 doliari1 p4 #dba ff4 ,footnote #ccga3 ,c4,i4,l41 loc4 cit41 and ,no4 #fgjj4 ,footnote #ccgb3 ,see ,c4,i4,l4 xv4 p4 #gjb1 ,nos4 #dibe ff4 ,footnote #ccgc3 ,ann4 dell' ,inst4 #ahhj1 p4 #bfe ff43 cf4 ibid4 #ahgb1 p4 #bhd ff4 for the ,arretine examples2 also ,notizie degli ,scavi1 #ahij1 pp4 #fd1 #fh4 ,footnote #ccgd3 ,c4,i4,l4 xi4 #fgjj1 #ab1 #gci4 ,footnote #ccge3 ,cf4 ,b4,m4 ,cat4 of ,bronzes1 ,nos4 #cjdc1 #cjfh1 #cajj1 etc4 ,footnote #ccgf3 ,some may be referred to ,sulla's time3 see ,notizie1 #ahhc1 p4 #bfi ff42 #ahij1 p4 #ga ff4 ,footnote #ccgg3 ,notizie degli ,scavi1 #ahid1 p4 #di4 ,footnote #ccgh3 ,fifty varieties1 with the different slaves' names1 are given in ,c4,i4,l4 xi4 #fgjj1 #dce4 ,footnote #ccgi3 ,bonner ,jahrb4 xcvi4 p4 #gj1 note #b4 ,footnote #cchj3 ,rayet and ,collignon1 p4 #ceg4 ,footnote #ccha3 ,inscr4 ,graec4 xiv4 #bdjf1 #bh-df2 ,notizie1 #ahhd1 pl4 #h2 ,bonner ,jahrb4 xcvi4 p4 #gj4 ,footnote #cchb3 ,philologus1 lviii4 7,n4,f4 xii471 pl4 #d1 p4 #dhb2 ,roscher1 iii4 p4 #baie3 see for this potter1 ,notizie1 #ahif1 p4 #deg4 ,footnote #cchc3 ,notizie degli ,scavi1 #ahif1 p4 #dfd4 ,footnote #cchd3 ,bonner ,jahrb4 cii4 p4 #aai2 also found in ,spain 7,c4,i4,l4 ii4 #digj1 #eae74 ,footnote #cche3 ,c4,i4,l4 xv4 #edif4 ,footnote #cchf3 ,ibid4 x4 #hjee1 #cf4 ,footnote #cchg3 ,see ,bonner ,jahrb4 cii4 p4 #aai2 ,dchelette1 ,vases de la ,gaule ,romaine1 i4 p4 #aaf4 ,a potter of the same date and character is ,,sex ,m ,f1 found in ,etruria4 ,footnote #cchh3 ,c4,i4,l4 xi4 #fgjj2 ,bonner ,jahrb4 cii4 p4 #abe4 ,footnote #cchi3 ,c4,i4,l4 xv4 #ejaf4 ,footnote #ccij3 ,ibid4 #eegb4 ,footnote #ccia3 ,cf4 ,dchelette1 i4 pp4 #ha1 #bgb4 ,footnote #ccib3 ,c4,i4,l4 xv4 #ebaa1 #ecih4 ,footnote #ccic3 ,op4 cit4 xi4 #fgjj1 #geb4 ,footnote #ccid3 ,see on this ,c4,i4,l4 xi4 #fgjj1 #b2 ,bonner ,jahrb4 xcvi4 p4 #dj2 cii4 p4 #abf4 ,footnote #ccie3 ,e4g4 ,c4,i4,l4 xv4 #ecbc4 ,no4 #ecgd ibid4 has cognomen only4 ,footnote #ccif3 ,c4,i4,l4 xv4 p4 #gjb4 ,footnote #ccig3 ,c4,i4,l4 xv4 #diif1 #ejid4 ,footnote #ccih3 ,ibid4 #eeae1 #eeee1 #efjc4 ,footnote #ccii3 ,c4,i4,l4 xi4 #fgjj1 #caa4 ,footnote #cdjj3 ,c4,i4,l4 xv4 p4 #gjc3 see also ,ann4 dell' ,inst4 #ahhj1 p4 #cah2 ,notizie degli ,scavi1 #ahij1 p4 #fi4 ,footnote #cdja3 ,e4g4 ,c4,i4,l4 xv4 #eagi1 #eebd4 ,footnote #cdjb3 ,see also ,rm4 ,mitth4 #ahig1 p4 #bhf4 ,footnote #cdjc3 ,see ,hauser's work on the subject1 ,neuattische ,reliefs1 passim4 ,footnote #cdjd3 ,rizzo in ,rm4 ,mitth4 #ahig1 p4 #bia ff42 ,dragendorff in ,bonner ,jahrbcher1 ciii4 7#ahih71 p4 #ajd4 ,footnote #cdje3 ,e4g4 by ,schreiber1 ,alexandr4 ,toreutik1 p4 #dja ff4 ,footnote #cdjf3 ,cf4 ,anzeiger1 #ahig1 p4 #abg ff42 ,pliny1 ,h4,n4 xxxiii4 #aed ff4 ,footnote #cdjg3 ,rm4 ,mitth4 #ahig1 p4 #dj 7,siebourg72 #ahih1 p4 #cii 7,hartwig72 ,bonner ,jahrbcher1 xcvi4 p4 #cg2 ,mlanges d',arch4 #ahhi1 pl4 #g1 p4 #bhh4 ,footnote #cdjh3 ,op4 cit4 p4 #ch4 ,footnote #cdji3 ,op4 cit4 p4 #ee4 ,footnote #cdaj3 ,cf4 ,bonner ,jahrb4 xcvi4 p4 #eh3 also a mould in the ,b4,m4 7,plate ,,lxvi4 fig4 #e71 and ,brit4 ,mus4 ,cat4 of ,terracottas1 ,d #fdf4 ,footnote #cdaa3 ,hellen4 ,reliefbilder1 pls4 #a1 #i1 #aj1 #ba1 etc4 ,footnote #cdab3 ,see on the subject1 ,bonner ,jahrb4 xcvi4 p4 #gc4 ,footnote #cdac3 ,ibid4 ciii4 p4 #ajc4 ,on the same article the preceding paragraphs are also largely based4 ,footnote #cdad3 ,roman ,art1 ,eng4 ,trans41 p4 #ah ff4 ,footnote #cdae3 ,see ,c4,i4,l4 xv4 p4 #gjb4 ,footnote #cdaf3 ,e4g4 ,c4,i4,l4 xi4 #fgjj1 #b1 #cjh1 #fhh1 #gfb4 ,footnote #cdag3 ,ibid4 #fgjj1 #bi1 #cjf1 #ghf4 ,footnote #cdah3 ,a fine example has been found at ,neuss on the ,rhine 7,bonner ,jahrb4 ciii4 p4 #hh74 ,footnote #cdai3 ,see ,dumont1 ,inscrs4 ,cramiques1 p4 #cij4 ,footnote #cdbj3 ,cyprus ,mus4 ,cat4 p4 #id1 ,no4 #baaf1 ,,princeps ,,titi1 from ,salamis4 ,,chapter ,,xxiii ,,roman ,,pottery 7continued72 ,,provincial ,,fabrics ,distribution of ,roman pottery in ,europe--,transition from ,arretine to provincial wares--,terra sigillata--,shapes and centres of fabric--,subjects--,potters' stamps--,vases with barbotine decoration--,the fabrics of ,gaul--,st4 ,rmy--,graufesenque--8,marbled0 vases--,vases with inscriptions 7,banassac7--,lezoux--,vases with medallions 7,southern ,gaul7--,fabrics of ,germany--,terra sigillata in ,britain--,castor ware--,upchurch and ,new ,forest wares--,plain pottery--,mortaria--,conclusion4 #a4 ,,general ,,characteristics ,the pottery with which we have now to deal is that which was known to an older generation as 8,samian ware10#cdba but may now be more appropriately termed ,provincial terra sigillata4 ,in regard to its general characteristics1 it is distinguished by a fine close-grained red clay1 harder than the ,arretine1 and presenting when broken an edge of light red4 ,the surface is smooth and lustrous1 of a brighter yet darker red colour 7i4e4 less like coral7 than that of ,arretine ware1 but the tone of the red varies with the degree of heat used4 ,the most important feature is the fine red glaze with which it is coated1 similar in composition to--though not identical with--that of the ,arretine 7see the analysis given on p4 #dcf72 it is exceedingly thin and transparent1 and laid equally over the whole surface1 only slightly augmenting the colour of the clay1 which resembles that of coral or sealing-wax4 ,the glaze varies in lustre and quality as well as in colour1 but as the analyses show1 it is produced on the same principle at all periods and in all fabrics1 ,italian and provincial4 ,the ornamentation is invariably of a coarser nature than that of ,arretine ware1 and though it draws its inspiration therefrom1 is divided from it by a considerable interval of artistic degeneration2 nor is the missing link always easy to trace4 ,this ware is found all over ,central ,europe1 from the ,balkan to the ,spanish ,peninsula1 in the forests of ,germany1 and on the distant shores of ,britain1 but in greatest abundance and effectiveness in the valleys of the ,loire and ,rhine1 a fact which in itself directs us to look to these districts for the centres of its manufacture4 ,wherever found1 it is in its main characteristics identical1 and readily to be distinguished from the local wares with their simple1 or entire absence of1 ornamentation4 ,the vases are usually of small dimensions1 consisting of various types of bowls1 cups1 and dishes1 of which two or three forms are preferred almost to the exclusion of the rest1 and they usually bear the stamp of the potter impressed on the inside or outside4 ,the angular and sharp profiles of the various shapes indicate that in nearly all cases they are derived from metal prototypes4 ,although this ware is found all over the ,roman world1 yet by far the greater proportion of the material at hand comes from the ,roman sites of ,gaul1 ,germany1 and ,britain1 and evidence points to two--and only two--districts as the principal centres of its manufacture3 the valleys of the ,loire and the ,rhine and their immediate neighbourhood4 ,even in ,italy the material is exceedingly scanty1 and much of the pottery found in ,rome or ,campania can be proved by the potters' stamps to have been imported from ,gaul4 ,in ,greece the finds of terra sigillata1 though covering a wide area1 are few and far between1 and we are hardly in a position to state whether these are local fabrics or importations4 ,dragendorff notes#cdbb that in the museum at ,bonn there are fragments from ,athens1 ,eleusis1 ,rhamnus1 ,oropos1 ,epidauros1 ,eretria1 ,argos1 ,delos1 and ,troy1 and others in private possession at the same place from ,alexandria4 ,in the museum at ,dimitzana in ,arcadia there is a vase with ,latin stamps1 and another without stamp is preserved at ,chanak ,kalessi on the ,dardanelles4 ,furtwaengler records a few fragments from ,olympia1#cdbc one with ,,oct ,,salve1 and fragments have also been found at ,pergamon4 ,there are a few cups from ,cyprus in the ,museum at ,st4 ,germain-en-,laye1 and others at ,nicosia4#cdbd ,but it must not be forgotten that1 as has already been noted 7p4 #dgf71 there is evidence of manufacture of red relief wares in ,greek lands under the ,empire1 and much of the above-mentioned material may not be able to lay any claim to a ,western origin4 ,for the potteries of ,central and ,western ,europe there is indeed no literary evidence1 for1 as we have seen 7p4 #dgi71 ,saguntum is the only provincial place of any reputation in antiquity1 although modern excavations have not upheld its claim4 ,all the evidence is necessarily derived from excavations1 and from finds of moulds and potteries2 but by the careful and scientific researches of ,von ,hefner1 ,dragendorff1 ,dchelette1 and other investigators on ,gaulish and ,german sites results have been obtained of incalculable value for establishing the provincial centres which during the first century of the ,empire inherited the traditions of ,arretium4 ,in the succeeding enquiry1 therefore1 we shall devote our attention almost entirely to the terra sigillata1 of which ,gaul1 ,germany1 and ,britain have yielded such abundant quantities1 and after a general consideration of its history and characteristics1 shall discuss in detail the peculiarities of separate fabrics4#cdbe 99 99 99 99 99 ,in his invaluable treatise on terra sigillata#cdbf--the first comprehensive attempt at a general scientific discussion of the subject which has been contributed--,dragendorff collected a series of over fifty varieties of forms 7almost exclusively cups1 bowls1 and dishes71 which embrace all the examples of ,arretine and provincial wares with relief-ornamentation4 ,of these he considers the first fourteen peculiar to the ,arretine ware1 but there are other vases found both in ,italy and the provinces which in form and colour are not distinguishable from the ,arretine1 and seem to be undoubted examples of early importations4 ,such vases are found at ,andernach1 ,neuss1 and ,xanten on the ,lower ,rhine1#cdbg bearing the stamps of ,ateius1 ,bassus1 ,primus1 and ,xanthus1 who are also frequently found in ,southern ,italy4#cdbh ,with regard to the first-named1 however1 there is evidence to show that he may have worked in ,southern ,gaul1 and the ,italian origin of this pottery is not absolutely certain4#cdbi ,at all events1 the finds in ,germany to which a date in the first century can be given seem to show the adoption of a new form of dish differing from that characteristic of ,arezzo#cdcj2 this new form is also common at ,pompeii 7probably as an importation71 and is found on the ,limes at ,saalburg with the stamp ,,bollvs ,,fic4 ,it is usually quite plain1 and seems to have lasted down to the end of the third century4 ,another variety 7,no4 #ah7 was found at ,andernach with a coin of ,antonia ,augusta1 and at ,este in ,italy with a stamp ,,serrae1 which belongs to the time of ,augustus4 ,from it a later form 7,no4 #ca7 was developed4 ,illustration3 ,,fig4 #bba4 ,,gaulish ,,bowl 7,,form ,,no4 #bi72 ,,first ,,century ,,after ,,christ4 ,illustration3 ,,fig4 #bbb4 ,,gaulish ,,bowl 7,,form ,,no4 #cj72 ,,first ,,century ,,after ,,christ4 ,as a general rule these early provincial forms were unornamented1 but the two types of bowl or cup which ,dragendorff numbers #bi and #cj1 and which are reproduced in ,figs4 #bba1 #bbb1 become the normal form for the provincial relief-wares of the first century4 ,these are not found in the ,arretine ware1 but occur all through that century1 not only in ,gaul1 but also1 for instance1 in the castra on the frontier of ,germany4#cdca ,the only ,arretine form which seems to have prevailed to any extent in the provinces is the krater 7,dragendorff's ,no4 #aa ,fig4 #bai74cdcb ,other kinds of deep cups with expanding sides 7,dragendorff's ,nos4 #bb-bg7 are found occasionally in ,italy and on various sites in ,germany1 and can be traced from their first appearance in the first century for about a hundred years4#cdcc ,nos4 #bd and #be are found at ,xanten 7,castra ,vetera7 with coins of ,julius ,caesar and ,nero1 others in the cemetery of ,bibracte near ,autun1 which is known not to be later than the time of ,augustus4#cdcd ,the general conclusion seems to be that these wares represent a sort of transitional stage between those of ,arretium and the indubitably provincial terra sigillata4 ,towards the end of the first century they are supplanted1 notably at ,lezoux and in ,germany1 by the hemispherical bowl 7,dragendorff's ,no4 #cg ,fig4 #bbc71 which subsequently becomes the only form employed for the moulded wares4 ,illustration3 ,,fig4 #bbc4 ,,gaulish ,,bowl 7,,form ,,no4 #cg72 ,a4,d4 #gj-bfj4 ,in pursuing his investigation of the provincial fabrics of the first century1#cdce ,dragendorff begins by discussing various groups of vases found in ,germany which seem to represent a period of transition between the ,italian ,roman 7and the local native7 pottery and the provincial terra sigillata proper1 which is not usually found before the middle of the century4 ,first we have a kind of light-red ware1 formerly known as 8false ,samian10 which lacks the strong lustrous sheen of the genuine terra sigillata2 the tone ,hettner considered to be the result of mere polishing1 without any glaze or slip4#cdcf ,the forms are heavier and coarser1 and are not confined1 as in the genuine fabric1 to deep cups or shallow bowls1 but include a sort of beaker or tumbler-shaped cup1#cdcg and a slim jar with characteristic incised ornament4 ,they are found in the oldest ,roman tombs at ,andernach1 about ,a4,d4 #fj4cdch ,contemporary with this 7from ,augustus to ,vespasian7 was a kind of black ware with incised linear ornament1 resembling that described under a subsequent heading 7p4 #eae72 it bears the same potters' stamps as the light-red ware1 and is interesting for its close relation to the older ,la ,tne pottery1 showing its origin to be ,celtic or ,gaulish1 not ,roman4 ,the centre of fabric for these wares1 which are limited in their distribution to the ,rhenish provinces1 ,normandy and ,southern ,gaul1 seems to have been ,trier1 which place is as nearly as possible the centre of all the sites on which they have been found2 it is further evident that both the red and the black were made in the same pottery4 ,dragendorff styles these fabrics 8,belgic10 on the ground that they are mostly found in the province of ,gallia ,belgica4 ,it is conceivable that1 as that province became organised in the first century1 potters from ,southern ,gaul settled at ,trier4 ,a pottery of that epoch has been found there1 with remains of black1 grey1 and light-red ware1 and a piece found at ,andernach with the stamp ,,dvro_/,,cvavo shows evidence of having been made at the former place4#cdci ,the potters' stamps include both ,roman and non-,roman names4 ,these wares are very rarely found in ,britain4#cddj ,we now come to the terra sigillata fabrics proper1 which extend from about ,a4,d4 #cj or even earlier to #bej1 and exhibit a great difference from the earlier fabrics4#cdda ,there is no longer any question of ,italian manufacture or of unsuccessful provincial imitations of ,italian ware1 but of a provincial fabric of excellent technique and real artistic individuality4 ,the material for our purpose is supplied by the ,gaulish cemeteries and pottery-sites of the ,rhone and ,allier valleys1 the ,cevennes1 ,normandy1 and ,belgium1 by those of the ,rhine valley and ,southern ,germany1 and those of ,britain4 ,in ,northern ,gaul this pottery is found with coins ranging from ,caligula to ,commodus1 and in the forts on the ,german ,limes1 such as those on the ,taunus range and along the ,main1 the coins extend from ,vespasian to ,gallienus 7,a4,d4 #bfj71 in whose time occupation ceased on the right bank of the ,rhine4 ,in considering the probable centres of fabric we find a remarkable correspondence in the potters' stamps in the most widely-separated localities1 indicating a limited number of centres which had a great reputation4 ,thus1 for instance1 in comparing lists 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 places4#cddb ,the same investigator1 now many years ago1 was acute enough to deduce the conclusion from this and other similar evidence that in ,britain there was no local manufacture of terra sigillata#cddc2 and he has been justified by more recent researches1 based on a much more extensive command of material4 ,the two chief authorities on this subject at the present day1 ,dr4 ,dragendorff and ,m4 ,dchelette1 are agreed in their main conclusions that the centre of this fabric must be sought in ,gaul1 and since the appearance of the latter's treatise on the ,gaulish potteries1 there seems little doubt that it was in the first century at ,graufesenque near ,rodez in the ,cevennes 7,condatomagus71 in the succeeding period at ,lezoux in ,auvergne1 where extensive remains of potteries have come to light4 ,dr4 ,dragendorff based his arguments on the following facts3 7#a7 ,the potters' names are largely ,gaulish4 7#b7 ,names are found in other parts which are known to be from a ,gaulish centre such as ,lezoux4 7#c7 ,gallic epigraphical peculiarities1 such as dotted circle for ,o1 cursive ,d for ,d1 and ,,ov for ,u1 are found in the inscriptions4 7#d7 ,even names of an undoubted ,latin type1 such as ,julios and ,priscos1 end in the ,gallic termination -os4 7#e7 ,cursive forms such as #aead;,attic alpha reversed for ,a1 #aeab;cursive ,e for ,e1 #aeab;cursive ,f for ,f1 and cursive ,l for ,l1 are frequently found1 as also in ,gaulish inscriptions of the second century4 ,that he was working on the right lines has been now shown by ,m4 ,dchelette1 who has employed as the basis of his researches the more conclusive evidence of discoveries1 especially of finds of moulds and remains of potteries4 ,but of this more will be said subsequently4 ,on the other hand there were two large potteries in ,germany1 at ,rheinzabern1 near ,speier1 and at ,westerndorf1 in ,southern ,bavaria1 where ornamented vases were undoubtedly made4 ,they were apparently not largely exported1 but many of the stamps also occur on the plain wares from these potteries1 implying that the ornamental vases must also have been made by the local men4#cddd ,the pottery of ,westerndorf begins about the middle of the second century4 ,dragendorff notes that of all the ,gaulish potters' stamps only forty-one have been found in ,italy1 and many of these only in ,cisalpine ,gaul1 while others are very rare4 ,in regard to the forms1 the chief fact to be noted is that new shapes and methods of decoration now appear with the growth of the provincial potteries1 unknown in ,italy1 and the earlier bowls and dishes are not found 7for instance7 at ,rheinzabern4#cdde ,one form of dish 7,no4 #cb7 is new1 but another 7,no4 #ca7 is clearly developed from the ,italian type 7,no4 #ah74 ,an essentially ,gaulish form of deep bowl or cup is ,no4 #cc2 another with handles 7,no4 #cd7 is only found at ,banassac4 ,the mortaria with spout and pebbles inserted for grinding 7see below1 p4 #eea7 now first make their appearance1 especially in the ,limes forts and in ,britain4 ,many of the forms clearly indicate an imitation of metal4 ,dchelette notes that of the forms given by ,dragendorff 7,nos4 #ae-ee7 about twenty in all are found in ,gaul1 including the three used for moulded wares 7see below1 and p4 #eja74cddf ,to these he adds sixteen new forms1 which he numbers #ef to #ga1 and for the vases with barbotine or appliqu decoration six more 7#gb-gg7 must be included in the list4#cddg ,the next feature to be considered in these vases is the decoration1 which is not confined1 as in the ,italian wares1 to reliefs obtained from moulds1 but is also produced by ornaments applied to the surface of the vase1 either in the form of separate figures or medallions modelled by hand or made from moulds and then attached1 or by the method known as en barbotine 7see below1 pp4 #eab1 #ebi74 ,sometimes the decoration takes the form of impressed or incised patterns 7p4 #eae71 but these are more characteristic of the commoner wares4 ,for the present we may limit the discussion to vases in which the decoration is produced at the same time in the mould4#cddh ,vases of this type exhibit a remarkable monotony of form1 being1 as already noted1 practically confined to two varieties of the bowl or deep cup1 one with curved1 the other with straight1 sides 7,forms #bi and #cj ,figs4 #bba1 #bbb71 at least up to the middle of the first century4 ,in the latter half of that century these are supplemented by a third variety 7,form #cg ,fig4 #bbc71 and at the same time a gradual diminution in the sharpness of the outlines1 as in the reliefs themselves1 becomes apparent4 ,no direct connection with the ,arretine ware can be traced1 either in the forms or in the decoration4 ,the potters' stamps are found at first in the interior1 as on the plain wares1 but subsequently on the exterior1 in the middle of the design4 ,at first there is a general absence of figure subjects1 and the designs are purely ornamental1 or else animals1 such as birds or hares1 are introduced as mere decorative elements4 ,an important distinction from the ,italian wares should be noted1 viz4 that in the latter the wreaths or scrolls which play such an important part in the decoration are composed of single detached leaves or flowers1 whereas in the provincial wares the whole wreath is modelled in one continuous system1 either formed of undulating motives1 as at ,graufesenque1 or of a straight wreath or band of ornaments1 as at ,lezoux4#cddi ,on the other hand the figure compositions are never continuous until the 0free0 style comes in at ,lezoux with the second century1 but are broken up by ornaments into metope-like groups4 ,the typical arrangement is that of a wreath between rows of beads or raised dots1 with a triple band of hatched lines or 8machine-turned0 ornament above1 and rays or pear-shaped ornaments below1 pointing downwards4 ,sometimes the wreath is duplicated2 or the frieze is broken up into metope-like groups of animals bordered by ornament1 as in the first-century bowls found in ,france and ,italy1 which ,dchelette attributes to the potteries of ,condatomagus 7,graufesenque in the ,cevennes74#cdej ,with the introduction of the hemispherical bowls 7form #cg7 comes a new system1 in which the upper edge is left plain1 followed by a band of egg-and-tongue ornament2 then comes the main frieze1 and below this a simple wreath4 ,this form and method first appear at ,lezoux about ,a4,d4 #gj1 and at ,rheinzabern with the beginning of the next century4 ,the final stage is reached when the decoration consists of figures either arranged in medallions and arcades1 or freely in friezes1 a system which obtains exclusively at ,westerndorf1 and on the bulk of the terra sigillata found in ,britain4 ,along with these changes in arrangement goes a steady artistic degeneration4 ,as regards the subjects1 it may be generally observed that the conceptions are good1 but the execution is poor4 ,in many cases they are obviously imitations of well-known works1 and it is curious that no ,gaulish subjects occur4 ,the types include representations of gods and heroes1 warriors and gladiators1 hunters and animals4 ,in general they are of ,hellenistic origin1 and include all such subjects as are characteristic of the art of the period4#cdea ,at first1 however1 purely decorative motives hold the field1 in imitation of the ,arretine ware1 and it is not until after the disappearance of the latter that figure decoration is found4 ,we have imitations of sculpture1 as in the types of ,venus bathing or the ,diana la biche1 and of the ,hellenistic reliefs with genre and idyllic subjects1 as in the scenes with fowlers or fishermen4#cdeb ,the 8new-,attic0 reliefs furnish models for types1 as in other branches of ,roman art 7see pp4 #cfh1 #dhi71 and ,eros1 ,herakles1 and ,dionysiac subjects are universally popular4 ,among the mythological types ,dragendorff has collected the following#cdec3 ,zeus1 ,poseidon1 ,apollo1 ,hephaistos1 ,hermes1 ,aphrodite1 ,artemis1 and ,athena2 ,dionysos1 ,herakles1 ,victory1 ,fortune1 and ,cupids2 ,amazons1 ,giants1 sea-monsters1 ,gryphons and ,sphinxes1 ,pygmies and cranes2 ,bellerophon1 ,aktaeon1 the rape of the ,leukippidae1 and ,romulus and ,remus suckled by the wolf4 ,the gladiatorial subjects closely follow the types of ,roman art1 and the favourite theme1 a combat of two in which one is worsted1 resembles a common type on the lamps 7p4 #daf74cded ,thus1 though the style of art is essentially provincial1 the subjects draw their inspiration exclusively from classical sources4#cdee ,a series of examples from ,britain may be noted as covering in their subjects the ground indicated2 they are mostly from ,roach-,smith's extensive collection1 now in the ,british ,museum4#cdef ,they include a vase with figures in separate compartments3 ,diana1 ,minerva1 ,hercules1 ,bacchus1 a man with a cup1 and ,satyrs and ,nymphs2 another with ,hercules in the ,garden of the ,hesperides killing the serpent1 ,diana1 warriors1 and panels of ornament2 a third with ,bacchus and a tiger1 ,luna1 and ,genii with torches4 ,others have ,apollo with ,diana or pursuing ,daphne2 ,diana and ,actaeon2 copies of statues of ,venus 7of the ,cnidian or ,medici type72 the labours of ,hercules1 ,bacchanalian orgies and processions1 and such deities as ,victory1 ,fortune1 ,cupids1 and ,anubis1 as well as ,satyrs and ,fauns1 ,gryphons1 ,sphinxes1 and ,tritons4 ,on the vase of ,divixtus illustrated in ,plate ,,lxviii4 fig4 #b1 the subjects are ,venus at her toilet1 ,diana with a stag1 and a ,silenus carrying a basket of fruit4 ,the subjects from daily life include hunting scenes of various kinds2 dogs pursuing stags1 boars1 or hares2 combats of bestiarii with various animals2 musicians1 and gladiators4 ,ornamentation of a purely decorative character includes animals and trees1 and representations of fruit1 flowers1 and foliage1 either in scrolls or interspersed with other objects4 ,roach-,smith also gives a curious example from ,hartlip in ,kent#cdeg with two separate friezes of figures and the potter's stamp ,,sabini,m#cdeh2 on the upper band are ,leda and the swan and a seated goddess with cornucopia2 on the lower1 ,diana with a deer1 under a canopy1 and ,victory crowning a warrior1 the various groups being several times repeated4 ,the style is very rude1 and though the subjects are classical1 the figures and designs are very barbaric1 almost mediaeval in appearance4#cdei ,the terra sigillata fabrics appear to have lasted on down to the end of the fourth century in the provinces1 but are by that time not only rare1 but exceedingly degenerate4 ,some found at ,andernach can be attributed to the reign of ,magnus ,maximus 7,a4,d4 #chh71 and in others1 apart from the style1 the costume of the figures resembles that of the fourth century#cdfj2 the potters' stamps by this time have entirely ceased4 99 99 99 99 99 ,the names of potters which1 as we have seen1 so frequently occur on the provincial wares are nearly all ,gaulish in form or origin1 and this1 it has been noted1 is one of the strongest arguments for the ,gaulish origin of the pottery4 ,the stamps are usually quadrangular in form1 but sometimes circular or oval1 or in the form of a human foot2 they are depressed in the surface of the vase1 but the letters are in relief4 ,there is considerable variation in the form of the letters1 which are often cursive 7see p4 #ejd71 often ligatured1 and frequently single letters or whole words are impressed backwards4 ,the names are either in the nominative1 with or without ,f1 ,,fec1 ,,fecit1 or in the genitive with ,,of1 ,,offic1 etc41 ,m1 or ,,manv2 the ,gaulish word ,,avot for ,,fecit is also found4#cdfa ,it is rare to find a potter with more than one name1 and probably few of the ,gaulish potters were ,roman citizens#cdfb2 on the other hand1 there are few undoubted examples of slaves' names4 ,some groups of names seem to indicate partnerships1 such as ,,vrsvs ,,felix1 ,,primi ,,pater7ni71 ,,secvnd7i7 ,,rvfin7i72 in other cases the name of the father is also given1 as ,,tornos ,,vocari ,f7ilius71 ,,vacasatvs ,,brariati ,f1#cdfc but it is not impossible that the formula may mean1 8,tornos the slave of ,vocarius10 or1 8,vacasatus the slave of ,brariatus made 7fecit740 ,in ,aquitania stamps occur with ,,fam7uli7 or ,,nepotis added after the name4 ,some groups of names are peculiar to certain localities1 ,amabilis1 ,belsus1 ,domitianus1 ,placidus1 etc41 being found only in ,germany2 other potters give a hint of their origin1 adding to their names ,,arve or ,,ar for ,arvernus1 the district of the ,arverni1 corresponding to the modern ,auvergne4 ,vases are found at ,lezoux with the stamp ,,rvtenvs ,,fecit#cdfd2 here the name may be a deliberate intention of the ,rutenian potter1 to show that the vase was not made locally4 ,the name ,disetus1 which is found on the ,rhine1 occurs in ,gallia ,belgica in the form ,diseto1 the variety being due either to differences in date or in the place of fabric4 ,among peculiarities in the stamps may be mentioned an instance1 given among those from ,britain1 where the potter from ignorance or caprice has impressed the stamp of an oculist1 intended for a quack ointment1 on the bottom of a cup 7found in ,london1 and now in the ,british ,museum74#cdfe ,it reads3 ,q ,,ivl ,,senis ,,cr ,,ocod ,,ad ,,aspr 7crocodes1 an ointment made from saffron74 ,in #aijb some interesting graffiti were found on pottery at ,graufesenque 7cf4 those given on p4 #bci71 being apparently notes made by the potters1 such as ,,vinar7ia71 ,,acet7abula71 ,,tar7ichos71 and so on1 as well as the names of the potters and the quantity of the contents in each case4#cdff ,but it is not possible to ascertain the forms corresponding to the names given in graffito4 ,some peculiarities of the potters' stamps may be noted among those from ,westerndorf and ,rheinzabern1 in which certain combinations occur on the same vase4#cdfg ,thus at ,westerndorf we find3 ,,comitialis ,,fe -- ,,css ,,erot ,,comitialis ,f -- ,,css ,,er ,,css ,,maianvs,f ,,sedatvs ,f -- ,,css ,,er ,,css ,,maianvs -- ,,css ,,er at ,rheinzabern3 ,,cerial ,,fe -- ,,constant ,,comitialis ,,fe -- ,,ioventi ,,latinni ,,secvndaiani#cdfh ,the names ,comitialis and ,cerialis are found on stamps interspersed among the designs1 and therefore made with the vase in the mould1 but those with ,,css occur on the rim1 and were therefore added subsequently4 ,it will be noted from the above examples that the names like ,comitialis--,primitivos is another instance--are common to more than one fabric1 but those in the second series are peculiar to one2 the latter1 therefore1 refer to the actual potter 7figulus71 the former to the designer of the decoration 7sigillarius71 whose moulds were employed in more than one place4 ,it is an interesting parallel to the and of the ,greek vases4 ,this conclusion receives additional confirmation from the discovery of certain types of decoration both at ,rheinzabern and ,westerndorf1 showing that there was a system of exchange between the two potteries4#cdfi ,the name ,,css is only found at ,westerndorf1 and it has been supposed that it denotes ,c4 ,septimius ,secundianus1 a name which occurs in the neighbourhood4 ,the name of ,comitialis is found on a vase from ,london in the ,british ,museum1 presumably imported from ,germany4#cdgj ,representations of potters are not unknown in ,gaulish art2 and there are also allusions to them in inscriptions4 ,some are depicted wearing the tunic only1 and thereby proclaiming their servile condition2 others wear the cloak also1 as for instance one ,casatus ,caratius1 fictiliarius1 who is represented on a stele at ,metz holding a fluted vase like those made in black ware4#cdga ,on another1 ,l4 ,aurelius ,sabinus is represented1 with an amphora1 olla1 and lagena in the background1 and an inscription which runs1 ,l4 ,aurelius ,sabinus doliarius fecit sibi et suis4#cdgb ,several inscriptions found in ,germany speak of negotiatores artis cretariae1 and may be assumed to refer to what we should call 8commercial travellers8 or 8agents0 for the sale of the finer wares4 ,in an inscription found at ,wiesbaden ,secundus ,agricola is mentioned in this capacity1 and in another from ,dornburg1 ,secundinus ,silvanus1 a native of ,britain4#cdgd ,m4 ,messius ,fortunatus1 whose name actually occurs on pottery1 is described in inscriptions as being also pavimentarius 7road-maker7 and paenalarius 7cloak-maker74#cdge ,apart from the potters' stamps1 some interesting inscriptions have been found on the vases from ,rottenburg in ,germany4 ,there are examples with the names of the consuls for ,a4,d4 #bcg1 ,didius ,caelius ,balbinus and ,m4 ,clodius ,pupienus ,maximus 7the first year of their reign74#cdgf ,others have the names of the legions stationed in the colonia of ,sumlocene or ,solicinium1 which this site represents1 with the dates ,a4,d4 #afi 7,,locen ,a ,v ,c ,,mlvi71 #bdh 7,c ,,sti ,a ,v ,c ,,cdi71 and #cjc1 and the names of the twenty-first and twenty-second legions4#cdgg ,incised inscriptions on ,roman pottery are common throughout the provinces1 as the pages of the ,corpus indicate1 but are more usually found on the plain wares than on the terra sigillata4 ,among the more interesting examples is a vase in the ,louvre1 of the first century after ,christ1 on the neck of which is incised ,,genio ,,tvrnacensivm1 8,to the ,genius of ,turnacum0 7,tournay7#cdgh2 another found at ,ickleton in ,cambridgeshire#cdgi had 7ex ho7,c ,,amici ,,bibvnt1 8,friends are they who drink from this02 a third from ,leicester1 ,,verecvnda ,,lvdia ,,lvcivs ,,gladiator1 supposed to refer to a love-token or present from a gladiator to his mistress4#cdhj ,a vase of black ware from ,taplow1 ,bucks1 in the ,british ,museum has a ,greek inscription4 99 99 99 99 99 ,we next come to the discussion of the vases decorated in the method known as en barbotine4#cdha ,this is exceedingly rare in ,italy1 and it is probable that the vases there found are importations2 the process seems to have been invented in ,gaul or ,germany1 and the only parallel thereto in earlier ceramic art is in the method employed for the gilded vases of the fifth and fourth centuries 7see ,vol4 ,i4 p4 #baj74 ,at its first appearance it occurs on vases of common grey or black unglazed ware1 found at ,andernach with coins of ,claudius and ,nero1#cdhb but by the end of the first century it is also employed on glazed wares1 red or black1 and even on the enamelled glazed vases of ,gallic or ,german origin4 ,the ornamentation is at first exceedingly simple1 consisting of plain leaves1 chains of rings1 or raised knobs1 as on the examples found in ,italy2 but it developed rapidly1 and the patterns become very varied4 ,its chief merit is that it is essentially a free1 not a mechanical method1 and some of the specimens from the ,rhine and ,britain have really effective compositions of animals and interwoven scrolls4 ,even human figures find a place2 but towards the end of its popularity the ornamentation encroaches upon and finally ousts the figure subjects1 and degeneration is manifested in artificiality and crowding of detail4 ,in the earlier examples there is a marked preference for a slip presenting a contrast of colour to the clay1 and we find white used on red and black ware1 brown on buff ware 7early ,german vases in the form of human heads71 and so on4#cdhc ,in ,gaul1 barbotine is limited to subsidiary decorative patterns1 and is never used for figures as in ,germany and ,britain 7see below and p4 #edd72 it is very common in the ,north of ,france4 ,at ,lezoux it was employed in the earlier period of that pottery 7,a4,d4 #ej-ajj7 for simple leaf-patterns1 in the later 7,a4,d4 #ajj-bfj7 to complete the decoration of vases with appliqu reliefs 7p4 #ebi74cdhd ,the black glazed wares decorated en barbotine are characteristic of the second century1 and extend down to the fourth4#cdhe ,the clay is actually red1 with thin walls1 but is covered with a black or dark-brown varnish1 often with a metallic lustre1 which when too much baked turns to red1 and thus presents the appearance of terra sigillata4 ,the barbotine is either of the same colour as the clay1 the varnish being subsequently added over it1 or composed of white or yellow slip and applied after the varnish4 ,the decoration usually takes the form of leaves or scrolls1 or of simple raised knobs2 but figures of dogs1 hares1 and deer are found1 and occasionally men4 ,on the red or terra sigillata wares the barbotine process is not found earlier than the middle of the first century2 there is none1 for instance1 at ,andernach4 ,it is practically unknown in ,italy1 and a few fragments from that country in the ,louvre and ,dresden ,museums are probably importations4 ,moreover1 it is confined to forms which only appear with the development of the provincial potteries4 ,the earliest specimens are found with coins of the ,flavian epoch at ,trier and ,xanten2 it occurs also in ,germany and ,britain1 and there are examples at ,speier from ,rheinzabern1 but it does not seem to have been made at ,westerndorf4 ,the ornamentation is very limited in its scope1 and from a strictly artistic point of view it was not really suited for any but simple patterns of leaves 7especially those of the ivy or of lanceolate form7 or for running animals4 ,figures of hunters1 gladiators1 or bestiarii are occasionally found4 ,from the very nature of the process no fine details were possible1 and all must be executed in long1 thin1 and soft lines4 ,sometimes1 however1 scrolls in barbotine were combined with figures of men and animals made from moulds1 as on the ,lezoux ware described below 7p4 #ebi74 ,potters' stamps are rare1 but ,dragendorff gives examples from ,cologne1 ,bonn1 and ,speier4#cdhf ,it has been pointed out by the same authority that the influence of glass technique is strongly marked1 not only in the method1 which suggests the imitation of threads and lumps of spun glass1 but also in the forms1 which frequently occur in the provincial glass ware of the period1 then rising into prominence4#cdhg ,examples of ,british barbotine ware are given on ,plate ,,lxix4 ,the other method of decoration to which we have alluded1 that of indented ornamentation1 is undoubtedly an imitation of glass technique1 and the forms 7flasks and small cups or bowls without feet or handles1 of ovoid or spherical form7 are equally characteristic of that material4#cdhh ,the decoration consists of linear patterns and sharply-cut ornaments in the shape of an olive or barley-corn1 often combined with naturalistic foliage4 ,this ware may be dated by coins between ,a4,d4 #ajj and #bej2 there are no examples with potters' stamps1 but it seems to have been made at ,lezoux1 ,trier1 and ,westerndorf1 and exported to ,britain and elsewhere4 ,what may be described as a variety of this technique1 but occurring in the red glazed wares1 is a method of decoration in rows of linear incised patterns1 usually in small rectangular panels of hatched lines4 ,these belong to the time of the decadence of the ceramic industry1 i4e4 to the fourth century1 and are found chiefly in ,north and ,east ,france and ,germany1 not in ,central or ,southern ,gaul4 ,there are examples from the ,department of ,marne in the ,british ,museum 7,morel ,collection74 ,the patterns are made with wooden stamps1 not with the usual running wheel4 ,dchelette thinks the method originated in ,germany with the vases of the ,la ,tne period4#cdhi ,in order to elucidate further the development and characteristics of the provincial ,roman pottery1 it may be found serviceable to turn our attention to the various sites which are known to have been centres of manufacture1 or which have yielded pottery in large quantities1 and at the same time to indicate the main points of difference between the fabrics of ,gaul1 ,germany1 and ,britain4 #b4 ,,the ,,fabrics ,,of ,,gaul ,the pottery of ,gaul presenting the closest relationship1 both artistically and chronologically1 with that of ,italy1 it will be most convenient to accord it precedence4 ,hitherto a general survey of the ,gaulish fabrics has hardly been possible1 as the materials had not been collected and studied as a whole2 and such a task was obviously beyond the capacity of any one who had not the advantage of a personal acquaintance with the mass of material now available in all parts of ,france4 ,but since the indispensable and exhaustive work of ,m4 ,dchelette has appeared1 it has rendered superfluous all the previous literature on this particular subject4 ,this scholar has earned the gratitude of students by his careful study of the pottery excavated on certain sites in ,southern ,france1 by means of which much light has been thrown on the ,gaulish fabrics of the first century1 at the time when the sigillata industry was just taking root in ,gaul1 and had hardly freed itself from ,italian influences4 ,in one section of his work he deals with the finds made in #ahie-aijj at ,saint-,rmy on the ,allier1 about four miles from ,vichy1#cdij in another with those of #aija-jb at ,graufesenque1 near ,rodez1 in the ,cevennes region1#cdia and thirdly with the important fabrics of ,lezoux4#cdib ,with these and others of more or less importance we shall deal successively in the following pages4 99 99 99 99 99 ,at ,saint-,rmy no traces of actual furnaces were found1 but fragments of moulds1 etc41 showed clearly that it was an important centre1 not only for pottery1 but also for terracotta figures4 ,as a rule little chronological evidence is to be obtained from finds in ,france owing to the confused and unstratified condition of the remains1 or from absence of scientific records2 but in the present case we are fortunate in possessing a series of homogeneous types belonging to the earliest period of sigillata ware in ,gaul2 an entire uniformity of clay1 technique1 form1 and decoration shows that they must all belong to one circumscribed epoch1 in spite of the absence of coins or other definite evidence4 ,at the same time it has been possible not only to connect them with finds at ,mont ,beuvray 7,bibracte71 near ,autun1 which can be dated not later than #e ,b4,c41 at ,ornavasso1 on ,lago ,maggiore 7coins of ,augustan epoch71 and at ,andernach 7also ,augustan1 see pp4 #ejb1 #ecc71 but also to obtain a clue to their originals and prototypes4 ,illustration3 ,from ,dchelette4 ,,fig4 #bbd4 ,,vase ,,of ,,st4-,r,,my ,,fabric4 ,the forms of the vases fall under five clearly-defined heads3 a poculum1 or tumbler-shaped vessel1 a scyphus with flat-topped handles1 a straight-sided open bowl1 flasks with or without handles1 and of conical form or pear-shaped 7see ,fig4 #bbd74 ,all the vases are of white clay1 with reliefs1 but there are no potters' stamps1 and the execution is often imperfect2 the secret of the red ware seems as yet unknown1 but there is evidence that it was gradually substituted for the white1 and the typical bowl with sloping sides and continuous scrolls of foliage 7,dragendorff's ,no4 #bi ,fig4 #bba7 introduced here as elsewhere4 ,in the ,saint-,rmy fabrics this bowl only has a single row of ornament1 a tongue-pattern1 scrolls1 or arcading round the lower part4 ,the general conclusion reached by ,m4 ,dchelette is that down to the end of the first century ,b4,c4 two kinds of pottery were introduced into ,gaul3 the ,arretine ware1 which occurs at ,bibracte with the stamps of ,annius1 ,memmius1 and ,tettius1 and a class of small goblets and flasks of yellowish clay which in many respects resemble the ,saint-,rmy type4 ,the latter sometimes bear the name of ,,aco ,,acastvs1#cdic a potter who appears to have worked in the region of ,savoy or ,piedmont1 and who was inspired by the ,arretine technique and style of signature4 ,his ware also occurs in ,lombardy at ,ornavasso1 and at ,klagenfurt in ,pannonia1 where a fragment was found 7,fig4 #bbe7 with his name and an inscription which runs3 8,life is short1 hope is frail2 come1 7the lights7 are kindled2 let us drink1 comrades1 while it is light40#cdid ,he certainly belongs to the ,augustan epoch1 and may be regarded as the immediate inspirer of the ,saint-,rmy fabrics4 ,hence about the beginning of the first century of our era it may be inferred that the potters of ,saint-,rmy and district began to 8exploit0 the ,italian technique1 but following the ,gallo-,italic method of ,aco rather than the ,arretine4 ,the typical decorative motive by which this pottery may be recognised is a kind of arcading1 which from having floriated points gradually tends to assume a purely vegetable form4 ,some of the vases are only ornamented with rows of raised points1 and this feature occurs on others with the potters' names ,l4 ,sarius ,surus and ,buccio ,norbanus4 ,figure decoration is found only on the pear-shaped flasks1 in the form of animals 7,fig4 #bbd7 and bearded heads4 ,to the same period belongs a series of vases manufactured at ,vichy and ,gannat in the same district4#cdie ,illustration3 ,from ,dchelette4 ,,fig4 #bbe4 ,,vase ,,of ,,aco 7,,first ,,century ,,after ,,christ71 ,,with ,,inscription4 99 99 99 99 99 ,the results obtained from ,graufesenque1 in the ,department of ,aveyron1 have been even more remarkable4 ,this place represents the ancient ,condatomagus1 in the country occupied by the ,ruteni1 and appears to have been a great centre of the terra sigillata industry4 ,although it is not mentioned by ,pliny1 yet there must have been in his time large exports southwards from this part of ,gaul1 even as far as ,campania4 ,m4 ,dchelette has shown that it supplied not only ,gaul and ,italy1 but even ,africa1 ,spain1 and ,britain1 to a greater extent than any other centre--that1 in fact1 from ,a4,d4 #ej to #ajj it was the seat of the most important pottery in the whole empire4#cdif ,remains of pottery were first discovered in #ahhb by the ,abb ,crs1 including a series of moulds1 which made it certain that this was a centre of fabric4 ,these discoveries were largely supplemented by further excavations in #aija-jb4 ,among the moulds are those of certain potters which are only found here1 and consequently afford satisfactory evidence that such potters can be localised in this region4 ,the potters were not itinerant1 nor were the moulds transferred from one pottery to another2 but the important central pottery seems to have attracted a group of smaller ones to collect round it1 just as we find ,cincelli linked to ,arezzo 7p4 #dhc71 and the moulds could be exchanged from one to another within this limited area4 ,the local pottery of ,gaul1 which in the first century ,b4,c4 had reached a high level1#cdig was interrupted about the time of ,augustus by the invasion of ,italian methods1 by which it was very rapidly ,romanised1 and ,gaul became a mere tributary of ,roman industry4 ,at first two kinds of technique were practised--one with a white or yellow clay1 as at ,saint-,rmy and ,bibracte2 the other in the ordinary red ware1 which appears to have been employed exclusively at ,condatomagus and ,lezoux1 at first following on the lines of the ,arretine ware1 but subsequently attempting new developments4 ,artistically it is inferior to the ,arretine1 but it is much more varied4 ,besides the terra sigillata proper1 or moulded ware with reliefs1 which is by far the most numerous1 we find in ,gaul several other varieties of technique3 appliqu medallions1 separately moulded and attached with barbotine1 in imitation of the ,greek metal 2 barbotine decoration2 a class of so-called 8marbled0 vases2 and incised decoration of simple linear patterns made with a tool in the moist clay1 but with bold and skilful execution4 ,but practically the wares found at ,graufesenque are limited to the moulded class1 and the others1 which will be described subsequently1 only became general in the second century1 when the ,lezoux potteries came to the front and those of ,graufesenque were exhausted4 ,in the terra sigillata wares three forms assume marked prominence1 those illustrated in ,figs4 #bba-bbc2 they are found in fairly equal proportions1 but the earliest form1 which we may call for convenience ,no4 #bi1 has a slight preponderance4 ,we shall see later that similarly the latest form 7,no4 #cg7 prevails at ,lezoux2 this form was introduced about ,a4,d4 #gj4 ,the intermediate ,no4 #cj is found at both1 but more frequently at ,graufesenque4 ,the only other found in the moulded wares is a bowl on a high stem1 which closely follows the type of the ,arretine krater seen in ,fig4 #bai2 it is therefore either common to ,arretium and ,condatomagus1 or represents a transition from one fabric to the other4#cdih ,dchelette quotes an instance with the stamp ,,volvs1 which recalls the ,arretine potter ,volusenus4#cdii ,about three-fourths of the vases are ornamented1 the decoration falling into two categories3 7#a7 an earlier class with ornament only1 occurring on the forms #bi and #cj 7see ,plate ,,lxvii472 7#b7 a later with figures1 such as animals or gladiators1 the forms being ,nos4 #cj and #cg4 ,of the ornamental motives on form #bi1 there are five principal types#cejj3 7a7 simple winding scrolls2 7b7 scrolls combined with figures in medallions2 7c7 scrolls combined with panels of 8arrow-head0 pattern2 7d7 bands of semicircles enclosing volutes which terminate in rosettes2 7e7 figures in metopes4 ,in this form the decoration is almost always in two friezes1 a natural consequence of the shape of the vase2 the metopes or geometrical compartments only come in with form #cg4 ,in the latter form seven successive types of decoration may be distinguished3 77 a transitional system with metopes1 derived from the older form#ceja2 77 metopes with wavy borders1 a ---------------------------------------- -------------- ,,plate ,,lxvii ,illustration3 ,,gaulish ,,pottery ,,of ,,first ,,century ,,after ,,christ 7,,graufesenque ,,fabric7 7,,british ,,museum74 ---------------------------------------- -------------- diagonal or cruciform pattern often occupying alternate panels 7cf4 ,plate ,,lxvii4 fig4 #b7cejb2 77 large medallions1 often combined with inverted semicircles 7chiefly found at ,lezoux3 cf4 ,plate ,,lxviii4 fig4 #c72 77 arcading 7rare at ,graufesenque72 77 arcading and semicircles combined2 77 large foliage-patterns or vine-leaves1 often interspersed with animals2 77 friezes of 8free0 figures 7not found at ,graufesenque3 cf4 ,plate,l,x,v,i,i,i4 fig4 #a74 ,in regard to the figure subjects1 mythological types are rare1 and generally there is not so much variety as at ,lezoux4 ,dchelette reckons #agg different types in all1 of which #aab are peculiar to the fabric1 whereas no less than #gic are peculiar to ,lezoux4#cejc ,hence1 he points out1 the origin of any ,gaulish vase may be determined from the nature of the types alone4 ,in artistic execution they are unequal1 some being copies of popular themes1 others of a nave and unsophisticated character4 ,gaulish elements are conspicuously absent4 ,although the difference from the ,arretine style is strongly marked1 there is yet the same tendency to display the influence of toreutic prototypes1 and even of the 8new ,attic0 reliefs and the genre types of the ,hellenistic period4#cejd ,but others are original and non-classical in style1 and there is no homogeneity4 ,each pottery doubtless had its favourite subjects--a point which may prove of use in determining the separate fabrics4 ,in any case1 figure-subjects only prevailed for a short period at ,condatomagus1 whereas at ,lezoux and in ,germany they extend over a considerable period4 ,for ,gaul did not become ,romanised before the reign of ,titus2 hence the previous absence of mythological themes4 ,the potter ,libertus 7see below1 p4 #ebg71 who worked at ,lezoux about ,a4,d4 #ajj1 stands out as the foremost potter and modeller in ,gaul1 who1 brought up on classical traditions1 influenced the whole pottery of the country4 ,the question of the chronology of these ,rutenian fabrics depends more upon the results of comparison with other sites than on the internal evidence of the finds4 ,none of this pottery1 for instance1 is found at ,bibracte1 which was deserted about the beginning of our era2 but at ,andernach vases with ,rutenian potters' stamps are found with coins ranging from ,augustus to ,nero4 ,they are also abundant at ,xanten1 ,neuss1 and ,vechten in ,holland4 ,evidence may also be obtained from the ,german ,limes1 where form #bi disappears about ,a4,d4 #cj4 ,the exportation of ,rutenian wares1 therefore1 began about the reign of ,tiberius4 ,their wide distribution may be traced by a study of the inscriptions in the thirteenth and other volumes of the ,latin ,corpus4#ceje ,in ,britain they are found in ,london#cejf and at ,silchester4 ,out of thirty-four ornamented vases from the latter site in the ,reading ,museum1 ,m4 ,dchelette attributes exactly half to ,condatomagus1 representing the first century1 and the other half to ,lezoux1 representing the second4#cejg ,in ,italy this ware is found at ,rome and ,pompeii1 and of the typical ,rutenian subjects some twenty have been noted among the terra sigillata in ,roman museums4 ,the potters ,bassus1 ,jucundus1 ,mommo1 and others of ,rutenian origin are found at ,rome1 whereas the only one from the ,auvergne district there is ,albucius#cejh2 and the same names occur at ,pompeii1 especially that of ,mommo1 whose stamps are characteristic4#ceji ,the latter group of vases1 moreover1 supply1 as in other cases1 important evidence for dating the ,rutenian vases2 they show1 not only that ,mommo and the others were in full activity before ,a4,d4 #gi1 but that mythological subjects--not found on the ,pompeian examples--were only introduced towards the end of the pottery's activity4 ,another well-known potter who appears to have worked at ,condatomagus is ,vitalis1 whose signature in full or in the form ,,of ,,vita is well known there4 ,he is also found as far afield as ,carthage and on the east coast of ,spain4#ceaj ,this is additional testimony to the extent and quantity of exportations from this centre1 and to its position as the most flourishing manufacture in the ,roman empire at the time4 ,this popularity it could never have acquired if the fabrics of ,arretium1 ,mutina1 and ,puteoli had not now reached their decadence2 nor1 if those of ,auvergne1 such as ,lezoux1 or of the ,rhenish provinces had been already in full activity1 would the ,rutenian wares have penetrated into ,central ,gaul and ,germany4 ,m4 ,dchelette notes as an interesting fact that in some collections of ,roman pottery debased wares with ,arretine stamps are to be seen1 apparently not later than ,a4,d4 #hj1 and evidently imitations of ,rutenian ware#ceaa2 these bear the names of ,l4 ,rasinius ,pisanus and ,sex4 ,m4 ,f41 of whom mention was made in the last chapter 7p4 #dhe74 ,there is no evidence that this pottery was in existence after ,a4,d4 #ajj1 and its rapid disappearance is certainly due to the rise of ,lezoux1 where1 as noted below1 ,rutenian potters' stamps are not uncommon in the first century4 ,dchelette has collected forty-three names of ,rutenian potters1 which are distributed over two hundred and thirty-two vases or fragments known to him4#ceab ,on form #bi the stamps are only found in the interior of the vases1 and hence are not found on the moulds1 but both were probably made by the same potters4 ,vases of the other two forms are often unsigned4 ,of individuals ,mommo occurs sixty-three times1 ,germanus thirty-eight4 ,the same writer points out that the evidence from ,graufesenque would overthrow any theory of itinerant potters1 if on no other grounds1 from the fact that the moulds of a particular potter are only found on the one spot4 ,a group of vases which must be mentioned here1 though a very small one and not strictly belonging to the terra sigillata1 is that of the yellow ware with red marbling4#ceac ,it consists of a small group of bowls and dishes with a dull yellow slip covered with veins of a red colour1 producing a variegated effect4 ,eight of these were found at ,trier1 one with the stamp of ,primus1 and there are a few others in ,german museums4 ,in ,southern ,gaul1 as at ,arles1 they are more common1 and others have been found at ,lyons and ,vichy4 ,the ,british ,museum possesses one from ,bordighera and three from ,arles1 and they are also known in ,sardinia and ,southern ,italy2 there are two at ,naples from ,pompeii with the stamp of ,primus4#cead ,the latter fact gives a terminus ante quem for their date1 and it is probable that some place in ,southern ,gaul was the centre of the fabric4 ,dragendorff suggested ,arles1 where stamped examples have been found2 but ,dchelette points out that all the potters' names are ,rutenian1 and this is conclusive evidence in favour of ,graufesenque2 in any case we have here an instance of exportation from ,gaul into ,italy4 ,it is not certain in what manner the marbling has been produced2 it is probably an imitation of glass4 99 99 99 99 99 ,yet another example of a fabric which was imported from ,gaul into ,italy is to be seen in the pottery of ,banassac1 a class of vases with inscriptions of a convivial character1 with letters in relief encircling the body4#ceae ,the form is that of the hemispherical bowl ,no4 #cg1 the appearance of which at ,pompeii shows that it was developed before ,a4,d4 #gi4 ,they are found in large numbers in the south of ,france1 especially at ,nismes1 ,orange1 ,vienne1 ,montans 7,tarn71 as well as ,banassac2 at the latter place fragments have been found on the site of a pottery1 showing that they were made there4 ,the most notable example 7,fig4 #bbf7 was found at ,pompeii1 and is now in the ,naples ,museum#ceaf2 it is inscribed ,,bibe ,,amice ,,de ,,meo1 8,drink1 friend1 from my 7cup710 the letters being separated by leaves1 and is of ordinary red terra sigillata ware4 ,here1 again1 it is possible to date the fabric in the first century1 not later than the reign of ,vespasian4 ,on the local specimens are found such sentiments as ,gabalibus felicit7er71 ,remis 7felici7ter1 ,sequanis feliciter#ceag2 veni ad me amica2 bonus puer2 bona puella2 the two last-named recalling the seaside mugs of the nineteenth century4 ,the convivial inscriptions we shall meet with again in a later fabric from the region of the ,rhine 7p4 #ech74 ,terra sigillata was also made here and at ,montans in the ,department of ,tarn2 the decoration is in the form of metopes1 denoting the transitional period 7about ,a4,d4 #gj74 ,no potters' names are found on the inscribed vases4 ,illustration3 ,from ,mus4 ,borb4 ,,fig4 #bbf4 ,,vase ,,of ,,banassac ,,fabric1 ,,found ,,at ,,pompeii4 99 99 99 99 99 ,the pottery of ,lezoux1 in ,auvergne1 was first carefully studied by the late ,m4 ,plicque1#ceah who excavated there on a large scale in #ahgi and succeeding years1 and obtained as a result of his researches no less than three thousand different potters' names1 as well as the substructures of about a hundred and sixty furnaces1 forty of which were in good preservation1 comprising sixty-six distinct manufactories4 ,about twenty-three more manufactories were traced along the principal roads and the banks of the ,dore and ,allier4 ,he also found numerous remains of tools1 potters' wheels1 and other apparatus4 ,in addition1 he excavated some two hundred tombs containing quantities of pottery1 which seemed to imply a general use of it in funeral ceremonies4 ,the potteries here seem to have been already in full working order in the time of ,vespasian1 and lasted down to about ,a4,d4 #bfj4 ,the earliest date to be obtained from the evidence of coins is about ,a4,d4 #gj1 but the earliest fabrics seem to go back to the time of ,claudius2 the date of destruction of the site is indicated by coins of ,gallienus and ,saloninus found among the burnt ruins4 ,a large proportion of the vases have potters' stamps1 but there is no rule about the signatures4#ceai ,in the vases of form #bi the names are in the interior1 denoting the masters of the potteries2 in the later forms they are on the exterior1 having been placed on the inside of the mould before baking1 usually among the ornament4 ,the ordinary formula is ,,of1 ,m1 or ,f1 with the name in the genitive4 ,as to the distribution of ,lezoux vases1 there was1 as noted below1 little exportation before ,a4,d4 #ajj1 but after that time they prevail over ,britain and ,germany4 ,dchelette gives ninety-two examples with potters' stamps in ,britain1 including twenty-one names4 ,a few specimens have been found in ,north ,italy2 ,paternus occurs at ,turin1 ,albucius at ,rome4 ---------------------------------------- -------------- ,,plate ,,lxviii ,illustration3 ,,gaulish ,,pottery ,,found ,,in ,,britain2 ,,lezoux ,,fabric2 ,a4,d4 #gj-bej 7,,brit4 ,,mus474 ---------------------------------------- -------------- ,of the moulded or terra sigillata wares twelve different forms are found1 of which as elsewhere three prevail to the exclusion of the others4#cebj ,the krater type 7,dragendorff's ,no4 #aa7 is only found in the earliest period1 about ,a4,d4 #dj-ej1 and as already noted 7p4 #ebj7 forms #bi and #cj are not so common as at ,graufesenque1 while form #cg1 which practically took the place of #bi1 occurs in great quantities4 ,dchelette distinguishes three chronological epochs of development1 covering respectively the periods ,a4,d4 #dj-ge1 #ge-ajj1 and #aaj-bfj4ceba ,in the first period the decoration of form #bi develops in the same manner as at ,graufesenque1 but with this important variation1 that the running scroll is replaced by a straight pattern of vine or oak leaves1 or bands of rosettes or circles4 ,the colour of the glaze is lighter than at ,graufesenque1 the reliefs more delicately modelled4 ,the potters of this period1 all of whom use form #bi1 are ,atepomarus1 ,cobnertus1 ,danomarus1 ,iliomarus1 and ,petrecus4 ,it will be noted that these are all ,gaulish names1 whereas those at ,graufesenque are all ,latin4 ,to the second period 7,a4,d4 #ge-aaj7 belong the bowls of form #cg with transitional or metope decoration1 or in the 8free0 style1 which is employed by ,libertus1 an important potter of ,trajan's reign4 ,exportations now first begin1 and examples are found on the ,limes1 but generally speaking they are few in number1 and while the ,rutenian potteries existed the output must have been limited4 ,after the reign of ,trajan1 however1 large numbers were exported to ,britain and ,germany4 ,the cruciform ornamentation 7p4 #eba7 is found on the forms #cj and #cg1 and a peculiar type of egg- or astragalus-pattern 7borrowed from ,arretium7 is used by ,butrio and ,libertus4 ,figure subjects1 introduced by ,libertus1 now become general1 especially animals and hunting-scenes 7see for an example ,plate ,,lxviii4 fig4 #a74 ,the typical potters of the period are ,butrio1 ,libertus1 ,carantinus1 ,divixtus 7,plate ,,lxviii4 fig4 #b71 ,juliccus1 ,laxtucissa1 and ,putrius4 ,the third period 7#aaj-bfj7 is represented almost exclusively by the form #cg with decoration in 8free0 style or large medallions and wreaths2 a few examples of form #cj and the olla 7,dchelette's ,no4 #fh3 cf4 p4 #ebi7 are found4 ,the chief potters' names are ,advocatus1 ,banuus1 ,catussa1 ,cinnamus 7,plate ,,lxviii4 fig4 #c71 ,doeccus1 ,lastuca1 ,paternus1 and ,servus4 ,of these1 ,paternus belongs to the period of the ,antonines1 and he and ,cinnamus1 says ,m4 ,dchelette1 represent the apogee of the prosperity of ,lezoux1 and of its export commerce4 ,the period of degeneration is marked by the appearance of barbotine decoration and imitations of metal 7see below74 ,it is difficult to say exactly when the potteries came to an end1 but there is no evidence that terra sigillata was manufactured after the third century1 and ,plicque is probably right in attributing their destruction to the ,german invaders in the reign of ,gallienus4 ,the wares characteristic of the earlier period include dolia of coarse clay and other plain fabrics1 as well as the various types of terra sigillata4 ,among the latter are examples of importations from the ,graufesenque and ,banassac potteries and other places in the ,aveyron district1 but the majority are of local manufacture4 ,these include1 besides the moulded red wares with figured decoration and potters' stamps1 orange-red wares1 yellow polished wares 7often micaceous71 and black ware with barbotine ornamentation1 on which potters' stamps are not found4 ,lezoux was also a centre for the enamelled glazed wares which have been described in ,chapter ,,iii4 ,in the later period the red wares are ornamented with figures from moulds1 or with barbotine1 or have lion's-head spouts 7see below74 ,the marbled vases 7p4 #ebc7 are also found1 and in the third century the vases with appliqu reliefs1 with incised or hollowed-out ornamentation1 or bronzed in imitation of metal1 are the prevailing types4#cebb ,the salient points of difference between the earlier and later fabrics1 says ,plicque1 are these4 ,the clay of the earlier is only baked to a small degree of heat and is not vitreous1 but is exceedingly porous4 ,it is also frequently full of micaceous particles4 ,subsequently it becomes more vitreous but less porous2 it is more compact and sonorous1 free from mica1 and more brilliant and lustrous4 ,in the earlier1 the forms are artistic and symmetrical1 the ornament sober and elegant1 remarkable for its taste and simplicity4 ,the figures are enclosed in medallions1 and the ornaments consist of rays or rounded leaves1 rows of beads1 and guilloche-patterns4 ,in the later1 the art degenerates1 the ornamentation becoming heavy and overcrowded1 and the figures are broken up and badly arranged2 the forms of the vases1 too1 become heavier4 ,the principal decorative pattern is the egg-and-tongue round the rim4 ,in the potters' stamps of the two first periods the letters have frequent ligatures and abbreviations2 the names are often in the nominative or with ,,officina preceding the name4 ,later1 the letters are coarser and ligatures are rare2 the names are usually in the genitive1 followed by ,m 7manu7 or ,,of7ficina74 ,the characteristic #aeab,u for ,v found in the middle of the second century should be noted4 ,among the subsidiary fabrics of ,lezoux the most remarkable is that of the vases with appliqu reliefs4#cebc ,they are formed entirely on the wheel1 and the decoration is made separately from moulds 7p4 #ddj71 and attached with barbotine1 either in the form of a medallion or with an irregular outline1 varying with the figure4 ,barbotine in many cases is also employed for foliage patterns filling in the background4 ,the usual form is that of a spherical or ovoid vase 7,plate ,,lxix4 fig4 #b71 which may perhaps be termed an olla1#cebd with short neck and no handles4 ,it may be noted in passing that such shapes could not conveniently be moulded1 hence the variation of form when we pass from terra sigillata to other methods of decoration4 ,in the third century this combined process largely supplanted the moulded wares at ,lezoux4 ,the paste and glaze1 however1 are identical with the terra sigillata4 ,no potters' signatures have been found on these vases1 but they occur all over ,gaul1 including ,belgium and ,switzerland1 and also in ,britain4 ,in the ,british ,museum 7,romano-,british ,room7 there are two very fine specimens found at ,felixstowe in ,suffolk1 one of which is that given on ,plate ,,lxix4 ,roach-,smith mentions others from ,london1 ,york1 and ,richborough1#cebe and they are also known at vreux in ,france4 ,a good but imperfect example from ,gaul is in the ,morel ,collection1 now in the ,british ,museum1 and has figures of ,herakles and ,maenads4 ,the modelling in some cases is admirable1 especially in the ,felixstowe vases1 and in the ,london specimens published by ,roach-,smith1 with masks and figures of ,cupid4 ,these vases represent the latest stage of the ceramic industry of ,lezoux4 ,another class of vases made at this centre which may be mentioned here includes a series of paterae1 oinochoae1 and trullae 7p4 #dgj7 with ornamented handles1 all obviously made in imitation of metal4#cebf ,of the paterae there is a good example in the ,british ,museum from the ,towneley ,collection1 ornamented with athletic contests and cock-fights round the edge4 ,m4 ,dchelette 7ii4 p4 #cai7 thinks some of the oinochoae made at ,vichy may be imitations of the bronze jugs which are found at ,pompeii1 but many seem to be of a later date4 ,during the period ,a4,d4 #ajj-djj1 and especially in the third century1 a class of red wares appears at ,lezoux in the form of large bowls with spouts in the shape of lions' heads4#cebg ,these were wrongly identified by ,plicque with the acratophorus 7p4 #dfd71 but they are clearly mortars 7pelves1 mortaria71 in which food was ground or cooked1 the spout serving the purpose of straining off liquid4 ,the lions' heads are made from moulds and attached with barbotine4 ,some of these have potters' names4 ,as a class they must be distinguished from the plain mortaria of grey or yellow ware described below 7p4 #eea74 99 99 99 99 99 ,with the ,south of ,france it is necessary to connect a series of medallions with reliefs1 intended for attachment to vases of terra sigillata ware4#cebh ,in one or two cases the vases themselves have been preserved1 but usually the medallions alone remain2 there are also examples of the moulds in which they were made4#cebi ,nearly all of these have been found in the valley of the ,rhone1 at ,orange or ,vienne1#cecj the rest in other parts of ,france1 such as ,lezoux1 along the ,rhine1 or at ,rome 7two examples74 ,they were probably made at ,vienne2 but there was also a fabric in ,germany1 examples of which occur at ,cologne1 ,trier1 and ,xanten4 ,the subjects of the reliefs are very varied1 ranging from figures of deities to gladiators or even animals2 they frequently bear inscriptions1 and their date is the third century after ,christ4 ,illustration3 ,,fig4 #bbg4 ,,medallion ,,from ,,vase ,,of ,,southern ,,gaul3 ,,scene ,,from ,,the ,,cycnus 7,,british ,,museum74 ,as long ago as #ahgc ,froehner published a series from ,orange1#ceca with such subjects as ,apollo1 ,venus ,victrix1 ,mars and ,ilia1 a figure of ,lugdunum personified1 the freeing of ,prometheus and the death of ,herakles1 ,dionysos and ,ariadne1 a bust of ,hermes1 a gladiator1 a cock and hens1 and a bust of the ,emperor ,geta1 the last-named serving as an indication of date for the whole series4 ,several were inscribed1 that with ,venus ,victrix having ,,cera ,,felicis1 which probably refers to the wax in which the figures were first modelled1 though some have thought that it represents the ,greek 774 ,another trio from ,orange#cecb represent respectively3--7#a7 a chariot race in the circus1 with the inscriptions ,,feliciter1 ,,logismus 7a horse's name71 and ,,prasin7a7 ,f7actio71 8the green party02 7#b7 ,fig4 #bbg1 a scene from a play1 probably the ,cycnus1 in which ,herakles is saying to ,ares1 the would-be avenger of his son1 87,invicta7 virtus nusquam terreri potest10 the god proclaiming 8,adesse ultorem nati me credas mei02 in the background1 on a raised stage or 1 are deities2 7#c7 an actor in female costume4 ,there are also three in the ,hermitage ,museum at ,petersburg1 of which two represent ,poseidon1 the third ,hermes4#cecc ,caylus also gives a representation of a vase with three such medallions1 with busts of ,pluto and ,persephone1 ,mars and ,ilia1 and two gladiators4#cecd ,where gladiators with names appear it may be assumed that they are portraits of real people1 and ,dchelette argues from this that the vases were made specially in connection with gladiatorial 7or theatrical7 performances4 ,illustration3 ,from ,gaz4 ,arch4 ,,fig4 #bbh4 ,,medallion ,,from ,,vase ,,of ,,southern ,,gaul3 ,,atalanta ,,and ,,hippomedon4 ,an interesting group found at ,vienne and ,vichy#cece have subjects taken from the ,thirteenth ,iliad1 such as ,deiphobos and the ,locrian ,ajax1 or ,hector fighting the ,achaeans4 ,among the remaining examples known the most interesting are three from ,orange1 one of which represents a festival in honour of ,isis1 the other two1 the victory of ,hippomedon over ,atalanta 7,fig4 #bbh71 with an inscription of three lines3 ,respicit ad malum pernicibus ignea plantis1 ,quae pro dote parat mortem quicumque fugaci ,velox in cursu cessasset virgine visa4#cecf ,reference has already been made to a paper by ,m4 ,blanchet1 in which he gives a list of the sites in ,gaul on which pottery appears to have been made 7see p4 #ddc74 ,but in the majority of these cases plain wares must have been the only output4 ,moulded wares1 as ,dchelette points out1 required skill and resource to produce4#cecg ,in any case1 very few types are found on moulded wares which cannot be also associated with ,graufesenque or ,lezoux1 and any made on other sites must have followed the same methods of decoration4#cech ,the places given in ,blanchet's list cover practically the whole extent of ,france1 though the principal centres of activity were always the ,aveyron and ,allier districts and the ,rhone valley4 ,in the neighbourhood of ,lezoux1 for instance1 vases were made at ,clermont-,ferrand1 ,lubi1 ,st4-,bonnet1 and ,thiers4 ,at ,noutre1 ,indre-et-,loire1 was an important pottery1 not yet fully investigated2 and others were at ,rozier 7,lozre71 ,auch 7,gers71 ,montauban1 ,luxueil 7,haute-,sane71 ,st4-,nicholas near ,nancy1 and ,aoste 7,isre71 where vases of characteristic originality were made4#ceci ,but it is not likely that any future investigations will displace ,graufesenque and ,lezoux as the chief centres for ,gaulish terra sigillata4 #c4 ,,the ,,fabrics ,,of ,,germany ,in ,germany the oldest and one of the most important sites for pottery is ,andernach1#cedj between ,bonn and ,coblenz1 where however1 it must be borne in mind1 there was no local manufacture2 its importance is mainly as a site yielding valuable chronological evidence4 ,the finds extend from the beginning of the first century down to about ,a4,d4 #bej1 the earlier objects finding parallels in cemeteries at ,trier and ,regensburg which can be similarly dated4 ,generally speaking1 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 ,limes1 which cover the period from ,a4,d4 #ajj to #bej4 ,terra sigillata with reliefs is comparatively rare1 though1 as we have seen1 it was at an early period exported from ,gaul1 and the pottery consists chiefly of ordinary wares1 red1 grey1 and black1 usually of good and careful execution1 with thin walls4 ,much of this common pottery may be assumed to be of local manufacture4 ,the characteristic types of the first century are simple jugs of plain ware without slip for funerary or domestic use2 vases with white slip 7also found at ,regensburg72 black ware bowls and dishes1 sometimes with potters' stamps2 black and grey cinerary urns4 ,these forms include small urns and the usual cups and bowls with straight or sloping sides1 replaced after ,a4,d4 #ajj by spherical-bodied jars with narrow necks4 ,the decoration comprises all the varieties we have included in the foregoing survey3 barbotine1 incised linear patterns1 impressed patterns made with the thumb1 and raised ornaments such as plain knobs or leaves worked with the hand4 ,in the third century painted decoration is introduced1 as in the black ware drinking-vessels with inscriptions described below 7p4 #ecg74 ,at ,xanten 7,castra ,vetera71 lower down the ,rhine1 large quantities of terra sigillata have been found1 which can be dated by means of coin-finds from the beginning of the first century down to the third4 ,during this period a steady degeneration in the pottery may be observed1 although glass fabrics correspondingly improve2 in the time of the ,antonines the clay is coarse and often artificially coloured with red lead or other ingredients1 producing what was formerly known as 8false ,samian0 ware4#ceda ,an exceptionally interesting centre1 and in some respects the most important in ,germany1 is that at ,westerndorf on the ,inn1 between ,augsburg and ,salzburg1 where the coins range from about ,a4,d4 #afj to #ccj4 ,it was first explored in #ahjg and as long ago as #ahfb the results were carefully investigated and summarised by ,von ,hefner in a still valuable treatise4#cedb ,the pottery includes terra sigillata of the later types1 and plain red1 yellow1 and grey wares1 sometimes covered with a non-lustrous grey or reddish slip1 or with black varnish1 the latter have very thin walls and are baked very hard4 ,the decoration of the terra sigillata comprises all the usual types1#cedc the forms being also those prevalent elsewhere1 with the addition of a covered jar or pyxis1 but the figures are confined to the cylindrical or hemispherical bowls 7,nos4 #cj and #cg74cedd ,the plain wares include cinerary urns1 deep bowls or jars1 with simple ornament1 open bowls with impressed patterns1 and mortaria4 ,of some peculiarities of the potters' stamps we have already spoken 7p4 #eaj72 they are found in the form of oblongs or human feet1 and more rarely in circles1 half-moons1 or spirals1 the letters being both in relief and incised4 ,trade marks were sometimes used1 the potter ,sentis1 for instance1 using a thorn-twig by way of a play on his name4 ,names are both in the nominative and genitive1 with some abbreviated form in the one case of ,,fecit1 in the other of ,,manvs or ,,officina4#cede ,local names are clearly to be seen in those of ,belatullus1 ,iassus1 and ,vologesus4 ,another important centre of fabric in ,germany is ,rheinzabern 7,tabernae ,rhenanae7 near ,speier1 which probably shared with ,westerndorf a monopoly of the moulded wares4#cedf ,the pottery found here is mostly in the ,speier ,museum2 it is almost all of form #cg1 with its typical decoration1 and the fabric does not seem to have been established before the second century4 ,the chief potters' names are ,belsus1 ,cerialis1 ,cobnertus1 ,comitialis1 ,julius1 ,juvenis1 ,mammillianus1 ,primitivus1 and ,reginus4 ,the ,british ,museum possesses moulds for large bowls with free friezes of animals1 one with the stamp of ,cerialis#cedg2 there was little export to ,gaul1 but a considerable amount to ,britain4 ,m4 ,dchelette notes the similarity of the types to those of ,lezoux1 and suggests that ,rheinzabern is an offshoot from the latter pottery4 ,this site has also produced barbotine wares1#cedh which bear a remarkable superficial resemblance to that of ,castor 7see below1 p4 #edd71 and have been wrongly identified therewith#cedi2 but they are not found at ,castor1 and in point of fact differ widely in artistic merit1 being far superior to the ,british fabric1 as has been pointed out by ,mr4 ,haverfield4#ceej ,the ornamentation is a formal and conventional imitation of classical models1 whereas the ,castor ware is only classical in its elements1 and is otherwise barbaric yet unconventional4 ,it is possible that ,trier1 and in fact all places mentioned in a preceding chapter 7p4 #dec7 as sites of kilns may be regarded as centres of manufacture1 though in only a few cases was anything made beyond the ordinary plain wares4 ,of the latter a useful summary has been made by ,koenen1#ceea chiefly from the technical point of view1 which it may be worth while to recapitulate4 ,he divides the pottery of the ,rhine district 7which may be taken as typical7 into three main classes3 the first transitional from the ,la ,tne period#ceeb to ,roman times2 the second1 native half-baked cinerary urns2 the third1 ,roman pottery1 ousting the other two4 ,the first two classes cover the local hand-made wares of grey1 brown1 or black clay1 which are clearly of native make1 and like the similar wares of ,britain and ,gaul hardly come under the heading of ,roman pottery1 though subsequently they felt its influence4 ,the ,roman pottery proper 7which can be well studied in the museums of ,bonn1 ,trier1 and elsewhere on the ,rhine7 is divided by ,koenen into three periods3 ,early1 ,middle1 and ,late ,empire4 ,roman wares first appear with coins of ,augustus1 and at this period exercise much influence on the ,la ,tne types1 producing a sort of mixed style1 usually of greyish or black clay with impressed or incised ornament1 subsequently replaced by barbotine4 ,the terra sigillata is either of the superior deep red variety with sharp outlines and details1 which we have seen to emanate from ,gaul1 or else plain ware of a light red hue 78false ,samian071 without ornament4#ceec ,but as ,hlder has pointed out1#ceed the settlement of the chronology of ,german pottery 7apart from the sigillata7 is particularly difficult1 because we are dealing with a purely utilitarian fabric1 which consequently preserved its forms unaltered through a considerable period2 moreover1 there must have been many local fabrics and little exportation1 which makes comparison difficult4 ,illustration3 ,,fig4 #bbi4 ,,german ,,jar ,,with ,,convivial ,,inscription 7,,british ,,museum74 ,to the ,german fabrics belong a group of vases with painted inscriptions found on the ,lower ,rhine1 and less frequently in ,north and ,east ,france4#ceee ,they occur in the second century at the ,saalburg1 and last down to the fourth2 large numbers have also been found at ,trier1 and other examples at ,mesnil and taples 7,gessoriacum7 in ,france4#ceef ,the usual form is that of a round-bellied cup or jar 7,fig4 #bbi71 with a more or less high stem and plain moulded mouth4 ,their ornamentation is confined to berries1 vine-tendrils1 and scrolls1 at first naturalistic1 afterwards becoming conventionalised2 but their chief interest lies in the inscriptions1 which1 like those of the ,banassac type described above 7p4 #ebd71 are of a convivial character4 ,they are painted in bold well-formed capitals1 in the same white pigment which is used for the ornamentation2 the following examples will serve as specimens3 ,,amas ,,me1 ,,amo1 ,,amo ,,te ,,condite4#ceeg ,,ave1 ,,ave ,,copo1 ,,avete4#ceeh ,,bellvs ,,sva7deo874#ceei ,,bibe1 ,,bibatis1 ,,bibamvs ,,pie1 ,,bibe ,,vivas1 ,,bibe ,,vivas ,,mvltis ,,annis4#cefj ,,da ,,bibere1 ,,da ,,mervm1 ,,da ,,mi1 ,,da ,,vinvm4#cefa ,,de ,,et ,,do1 ,,dos 7 74#cefb ,,eme4#cefc ,,faventibvs4#cefd ,,felix4#cefe ,,fe7r7,o ,,vinvm ,,tibi ,,dvlcis4#ceff ,,gavdio4#cefg ,,imple4#cefh ,,lvde4#cefi ,,misce1 ,,misce ,,mi1 ,,misce ,,vivas4#cegj ,,mitte ,,mervm4#cega ,,pete4#cegb ,,reple1 ,,reple ,,me ,,copo ,,meri4#cegc ,,seses ,,zeses 4#cegd ,,sitio1 ,,sitis4#cege ,,vale1 ,,valiamvs4#cegf ,,vinvm1 ,,vinvm ,,tibi ,,dvlcis4#cegg ,,vita4#cegh ,,vive1 ,,vivas1 ,,vivamvs1 ,,vivas ,,felix1 ,,vive ,,bibe ,,mvltis4#cegi ,to this list must be added a remarkable vase of the same class found at ,mainz in #ahhh1cehj with the inscription ,,accipe ,m7esi7,,tie7n7,s ,,et ,,trade ,,sodali1 8,take me when you are thirsty and pass me on to your comrade40 ,above the inscription are seven busts of deities1 ,sol1 ,luna1 ,mars1 ,mercury1 ,jupiter1 ,venus1 and ,saturn1 representing the seven days of the week2 both the design and the inscription1 however1 are incised1 not painted4 #d4 ,,roman ,,pottery ,,in ,,the ,,netherlands1 ,,spain1 ,,and ,,britain ,in ,holland and ,belgium finds of terra sigillata and potters' stamps are recorded from various sites1 such as ,arentsburg1 ,rossem1 ,rousse1 near ,oudenarde1 ,voorburg1 between ,utrecht and ,leyden1 and ,wyk-by-,durstede1 and also at ,utrecht4#ceha ,at ,vechten near ,utrecht1 the ancient ,fictio on the road from ,lugdunum 7,leiden7 to ,noviomagus 7,nimeguen7 finds were made in #ahfh which confirm the activity of the ,rutenian potters in the first century4#cehb ,these discoveries included coins extending from the ,republican period down to ,trajan1 and terra sigillata of the ,graufesenque type1 with many names of potters belonging to that region4 ,in ,spain finds have been made on various sites1 and there are numerous examples in the museum at ,tarragona#cehc2 at ,murviedro1 the site of the ancient ,saguntum1 which1 as we have seen1 is mentioned by ,pliny and ,martial as an important centre1 various kinds of ,roman ware have come to light1 some with potters' stamps1 but no evidence remains of potteries or of any local manufacture4 99 99 99 99 99 ,in ,britain--at least in ,england--finds of ,roman pottery have been so plentiful and so universal that it is difficult to select typical centres for discussion4 ,it must also be borne in mind that1 with the exception of the plain wares and a few other fabrics1 such as the ,castor ware1 we have not to deal with local manufactures4 ,a certain quantity of terra sigillata may have been imported from ,germany 7e4g4 from ,westerndorf71#cehd but by far the greater proportion is from ,gaul1 as is shown by the potters' names4 ,we propose in the first place to review briefly the types of terra sigillata which occur in ,britain4#cehe ,the bowls of forms #bi and #cj1 which are found in ,germany in the first century1 do not occur on the ,roman ,wall1 and we have already seen that they are not later than ,hadrian's time2 but they are common in the ,south of ,britain1 as at ,london and ,colchester4 ,roach-,smith#cehf and other earlier writers have published specimens of these older forms decorated with figures which have been found in ,london1 ,bath1 ,york1 ,caerleon1#cehg and elsewhere4 ,the earliest dateable examples of form #cg have been found with coins of ,nerva at ,churchover in ,warwickshire#cehh2 this type is indeed common all over ,britain1 and is one of the few varieties of terra sigillata occurring in the ,north4 ,it is found at ,south ,shields1 along the ,roman ,wall1 and in ,scotland at ,birrens in ,dumfriesshire4#cehi ,pottery of the second century is represented by a variety of the same form1 with a moulded ridge breaking the outline in the middle#ceij2 this would seem to be a type which also occurs in ,germany during the second and third centuries4 ,mr4 ,haverfield states that this form is found at ,south ,shields and in ,yorkshire1 and is imitated at ,silchester4 ,of the principal subjects on these we have already given some description 7p4 #ejh74 ,finally1 there is the wide shallow type1 approximating to the mortar or pelvis1 the upper part of which forms externally a flat1 vertical band1 projecting beyond and forming a tangent with the general curve of the bowl2 this is usually ornamented with lions' heads in relief4 ,this variety is not earlier than the second century1 and is also found in the third2 we have already seen that it was made at ,lezoux4#ceia ,it is important to note that all the places mentioned as yielding bowls of forms #bi and #cj were occupied at least as early as ,a4,d4 #he1 perhaps as early as ,a4,d4 #ej4 ,but the style of these bowls may have lasted longer2 at all events1 the varieties are so numerous as to show a development for which some time is required4 ,there is also a distinct development in the plain band round the upper edge of the bowl1 which1 at first a mere beading1 becomes broader and more vertical by degrees4 ,it may1 however1 be assumed that1 as none are found north of ,york1 it disappeared from ,britain1 as from ,gaul and ,germany1 before ,a4,d4 #ajj4 ,the ware formerly known as 8false ,samian0 7,dragendorff's hellroth7#ceib appears in several varieties4 ,the light red or orange colour is produced by a kind of slip of pounded pottery laid over the surface4 ,vases of this type1 glazed within and without with a thin reddish-brown and somewhat lustrous glaze1 occur in ,london1 and a good specimen was found many years ago at ,oundle in ,northants1 but has since disappeared4#ceic ,it was a fine vase1 of light-red clay with red-brown glaze1 resembling the ,gaulish terra sigillata1 and had some claim to artistic merit4 ,the subject was ,pan holding up a mask1 and three draped figures1 and it bore the stamp of the ,gaulish potter ,libertus 7,,of ,,liberti71 who1 as we have seen1 worked at ,lezoux4#ceid ,this ware is often coarse1 and ornamented externally with rude white scrolls painted in opaque colour1#ceie and there is a variety found at ,castor1 of red glazed ware with a metalloid lustre1 the clay itself varying from white to yellowish-brown or orange4#ceif ,both shapes and ornaments resemble those of the ,castor black ware 7see below71 and it seems likely that this is actually a local fabric1 the difference in colouring being due to the degree of heat employed in the firing4 ,the number of potters' names found on these wares in ,britain is very large1 those in the seventh volume of the ,latin ,corpus amounting to about #a1ejj4ceig ,this list1 published in #ahgc1 of course superseded all those previously drawn up by the ,hon4 ,r4 ,c4 ,neville1 by ,roach-,smith1 and by ,thomas ,wright4#ceih ,roach-,smith1 however1 performed a useful service in tabulating the list of names found in ,london along with those from ,douai and other sites in ,france1#ceii which went far to prove the ,gaulish origin of the ,british terra sigillata4 ,it is not1 therefore1 necessary to discuss the potters' names found in ,britain in further detail4#cfjj ,besides the potters' stamps1 incised inscriptions sometimes occur on the pottery1 giving the owner's name or other items of information 7see above1 p4 #eab74 ,to give a detailed account of all the sites in ,britain on which ,roman pottery has been found would be a task entailing more labour and occupying more space than the results would justify4 ,not only do the sites cover almost the whole of the country from the ,roman ,wall to the ,isle of ,wight1 and from ,exeter to ,norfolk1 but the disinterring of the material from miscellaneous and often unscientific records1 or from scattered and uncatalogued collections1 would be a truly gigantic achievement4 ,it should1 however1 be achieved2 but this will only be by co-operation1 each county performing its share of the work1 as has been done in a few cases4 ,the ,society of ,antiquaries has issued archaeological surveys of certain counties1#cfja which without entering into details tabulate the sites of ,roman remains2 and it is to be hoped that forthcoming volumes of the ,victoria ,county ,history will do for other counties what those already published have done for ,hampshire1 ,norfolk1 ,northants1 etc4 ,the most representative collections are those of the ,british ,museum and the ,guildhall in ,london1 and of the provincial museums at ,colchester1 ,reading1 ,york1 and elsewhere4 ,we now turn to the consideration of the local products of ,romano-,british potters4 ,exclusive of the plain unornamented wares which were made in many places1 as the numerous remains of kilns show 7cf4 p4 #ded71 there are only three distinct fabrics to be mentioned4 ,in all of these the ware is black1 with or without a glaze1 but the style of ornamentation varies4 ,by far the most important centre1 not only for the quantity of pottery it has yielded and the extent of its furnaces1 but also for the artistic merit of its products1 is that of ,castor1 in ,northamptonshire4 ,of the numerous traces of furnaces and workshops discovered here1 in the neighbouring villages of ,wansford1 ,sibson1 ,chesterton1 and in the ,bedford ,purlieus1 we have already spoken in a previous chapter 7p4 #ddd ff472 it now only remains to discuss the technical and artistic aspects of the pottery4 ,artis has recorded that the pieces of pottery found in or near the kilns show great variety of form and style1 including the red imitations of terra sigillata1 pieces ornamented with 8machine-turned0 patterns1#cfjb and dark-coloured ware with reliefs or ornament in white paint4 ,but the characteristic and commonest ,castor ware has a white paste coloured by means of a slip with a dark slate-coloured surface2 the usual form is that of a small jar on a stem with plain cylindrical mouth4 ,some are merely marked with indentations made by the potter's thumb1#cfjc or with rude patterns laid on the intervening ridges2 but others have designs laid on en barbotine in a slip of the same colour as the vase1 and others of rarer occurrence are decorated in white paint with conventional foliated patterns1#cfjd somewhat resembling the ,rhenish wares described on p4 #ecg4 ,haverfield reproduces a fragment of a vase on which are painted in white and yellow a man's head in peaked cap1 and an arm holding an axe4#cfje ,the barbotine variety is the most typical1 and is by no means confined to this site4 ,it is often found in ,central and ,eastern ,england1 and even in the ,netherlands4 ,one of the finest specimens was found at ,colchester in #ahec1cfjf containing calcined bones1 and ornamented with figures over which inscriptions are incised4 ,the subjects1 arranged in friezes1 include two stags1 a hare1 and a dog1 interspersed with foliations2 two men training a dancing-bear1 one of whom holds a whip and is protected by armour2 and a combat of two gladiators 7murmillo and ,thrax7 of a type familiar to us from ,roman lamps 7see p4 #daf74 ,over the heads of the men with the bear is inscribed1 ,,secvndvs ,,mario2 over the gladiators1 ,,memn7o7,n ,,sac ,,viiii and ,,valentinv ,,legionis ,,xxx1 respectively4 ,the meaning of the inscriptions is not quite clear1 but the last one certainly seems to allude to games taking place at the post of the thirtieth legion--i4e4 the ,lower ,rhine4 ,for this and other reasons ,mr4 ,haverfield is of opinion that the vase may have been made in that district and not at ,castor1 and it is not1 of course1 impossible that such ware was not confined to ,britain4#cfjg ,this would1 at any rate1 explain its presence in the ,netherlands4 ,mr4 ,arthur ,evans has noted the presence of an unfinished piece of ,castor ware in a kiln at ,littlemore1 near ,oxford4#cfjh ---------------------------------------- -------------- ,,plate ,,lxix ,illustration3 ,,types ,,of ,,romano-,,british ,,pottery3 ,,castor ,,ware1 ,,etc4 ,,the ,,vase ,,with ,,incised ,,patterns ,,is ,,from ,,gaul 7,,british ,,museum74 ---------------------------------------- -------------- ,hunting-scenes are also very popular1 especially a huntsman spearing a boar1 or a hare or deer chased by stags1 as on a fine vase found at ,water ,newton1 ,hunts1 in #ahbg4cfji ,a specimen in the ,british ,museum with a race of four-horse chariots is illustrated on ,plate ,,lxix4 ,roach-,smith gives a remarkable specimen with a mythological subject1 that of ,herakles and ,hesione#cfaj2 the subject is curiously treated1 ,hesione being chained down with heavy weights4 ,another interesting but fragmentary vase from ,chesterford in ,essex has figures of ,jupiter1 ,mars1 ,mercury1 and ,venus1 and it may be assumed that the complete subject was that of the seven deities represented by the days of the week4#cfaa ,otherwise the potter is content with animals1 such as dolphins or fishes1 or mere foliations1 ivy-wreaths1 engrailed lines1 and other ornamental patterns4#cfab ,in regard to the technique of these wares1 ,artis notes that the indented patterns were made while the vase was 8as pliable as it could be taken from the lathe02 for the barbotine the thumb or a rounded instrument was employed4 ,figures of animals were executed with a kind of skewer on which the slip was placed1 a thicker variety being used for certain parts to heighten the relief1 and a more delicate instrument for features and other details4 ,no subsequent retouching was possible4 ,the vases were glazed subsequently to the application of the barbotine2 on the other hand1 the decoration in white paint was made after glazing4 ,the glaze was1 as we have seen in ,chapter ,,xxi41 p4 #ddh1 produced by a deposit of carbon1 by the process known as 8smothering02 it varies in quality1 being either dark without any metallic lustre1 or with a metalloid polish resembling that produced with black-lead4 ,the date of the ,castor ware is difficult to ascertain1 but it must begin fairly early in the ,roman period1 on account of its affinities with late ,celtic pottery4 ,dchelette 7ii4 p4 #caj7 would date the ware towards the end of the third century4 ,as has already been pointed out 7p4 #ecf71 it is only the elements of the decoration that are classical2 they are treated in a rude1 debased manner1 with the free unconventional handling characteristic of barbaric art4 8,they are not an imitation1 but a recasting0 according to the traditions of late ,celtic or ,gaulish art1#cfac such as is displayed1 for instance1 in the ancient ,british and ,gallic coinage4 ,the fantastic animals1 the treatment of the scrolls1 and the dividing ornaments of beading1 etc41 between the subjects are essentially unclassical4 ,potters' stamps on this ware are exceedingly rare1 an almost isolated instance being ,,camaro ,f on a vase found at ,lincoln4#cfad ,two other local varieties of black ware peculiar to ,britain are those known respectively as ,upchurch and ,new ,forest ware4 ,although no remains of kilns have been found in the former district1 the pottery is obviously local1 and its manufacture appears to have extended along the banks of the ,medway from ,rainham to ,iwade1 over what are now marshes1 but was then firm ground4 ,the remains consist of a thin finely-moulded bluish-black fabric1 with graceful and varied forms1 ornamented with groups of small knobs in bands1 squares1 circles1 wavy1 intersecting1 or zigzag lines1 or a characteristic pattern of concentric semi-circles resting on bands of parallel vertical lines 7,plate ,,lxix4 fig4 #f74 ,this ware has also been found on the ,continent1 and may either have been exported or else made in other places besides ,upchurch2 it is probably of quite late date4#cfae ,the clay is soft and easily scratched1 and is covered with a polish or lustre produced by friction2 the composition is fine1 and the walls thin and well turned4 ,it varies in tone from greyish1 like that of ,london clay1 to a dull black4 ,the vases are mostly small 7cups1 bottles1 jugs1 small jars1 and occasional mortaria71 and some have ribbed sides2 the ornamentation is always either in the form of impressed lines or raised patterns made by applying pieces of clay before the vase was baked4 ,no potters' stamps have come to light1 nor is this ware found with coins or other ,roman remains4 ,rough earthenware was also made in the ,medway district1 of a red1 yellow1 or stone colour4 ,the ,new ,forest ware is found in the north-west part of the ,forest1 between ,fordingbridge and ,bramshaw4#cfaf ,it is sometimes spoken of as 8,crockhill ware10 from the local name of the site of the furnaces1 of which traces were found in #aheb4 ,the pottery consists of two varieties1 one of thin1 hard1 slate-coloured ware1 with patterns of leaves or grass painted in white 7,plate ,,lxix4 fig4 #e72 these are small jars1 averaging six inches in height1 sometimes moulded by the potter's thumb into an undulating circumference4 ,there are points of resemblance with the ,castor ware4 ,the other variety consists of a thicker ware1 with a dull white-yellowish ground and coarse foliated patterns painted in red or brown1 usually platters or dishes4 ,it is a rude and inartistic fabric1 of obviously native origin and resembling ,celtic rather than any ,roman or ,italian pottery4 ,it is found on other sites in ,hampshire1 such as ,bitterne 7,clausentum71 and even as far north as ,oxford4#cfag ,the date is probably the third century of our era4 ,with the kilns there were found heaps of potsherds which had been spoiled in the baking and rejected2 they were vitrified so as to resemble stoneware1 and when again submitted to the action of fire1 cracked and split4 ,the glaze with which the local blue clay had been covered was of a dark-red colour and alkaline nature1 but had probably been affected by imperfect firing4 #e4 ,,plain ,,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 wares4 ,although from the very simplicity of its character it defies scientific classification1 yet it must be remembered that this common ware was not likely to have been exported very far from the place of its origin1 and therefore where any differences can be observed in the nature or appearance of the clay1 in peculiarities of form or of technique1 it is not impossible to establish the existence of a local fabric4 ,but up to the present little has been done except in isolated instances4 ,certain local wares have been recognised in ,britain1 as will be noted below1 besides the ,castor1 ,upchurch1 and ,new ,forest wares1 some of which almost come under this heading2 and others1 again1 in ,gaul4 ,similarly in ,germany1 attempts have been made by ,koenen and other writers to classify the plain pottery whether according to form or on other principles 7see above1 p4 #ecf74 ,many years ago a rough but in some respects convenient classification was made by ,brongniart#cfah on the basis of the colour of the clay employed1 which he distinguished under four heads3 7#a7 pale yellow or white wares2 7#b7 red wares1 varying to reddish-brown2 7#c7 grey or ash-coloured wares2 7#d7 black wares4 ,in the first division he included the large1 often coarse1 vases1 such as the dolia and amphorae2 under the second head ,roman ware of the first century1 and under the third that of subsequent date2 while the fourth class comprised ,gallo-,roman and other provincial wares4 ,a somewhat similar system1 in some respects even less chronological1 was attempted by ,buckman1#cfai who distinguished brown ware as a separate fabric4 ,the obvious defect of these systems is that they are neither chronological nor according to fabrics1 and that their basis is in many respects a purely accidental one2 but at the same time they have proved convenient for discussing plain ware which does not admit of much consideration apart from its forms and the general appearance of its composition4 ,and at all events they enable us to discuss examples of certain shapes under one head1 inasmuch as the amphorae and dolia are nearly all of the first class1 the mortaria or pelves of the third1 cups1 dishes1 and flasks of the second and fourth1 and so on4 ,the yellow ware#cfbj is distinguished by its coarse clay1 of a greyish-white or yellow colour1 varying to dirty white1 grey1 or red4 ,it is to this division that all the larger vases belong1 such as those used for storing wine and other commodities or for funerary purposes1 and the innumerable fragments of dolia and amphorae which compose the ,monte ,testaccio at ,rome4#cfba ,some of these vases were made on the wheel1 but others were modelled by hand and turned from within4 ,those used in burial were usually of a globular form1 or even dolia with the necks and handles broken off1 and contained cinerary urns and glass vessels4 ,we also find lagenae1 trullae 7saucepans71 and mortaria made in this ware4 ,another remarkable variety may be described as a kind of olla2 its peculiarity is that it is modelled in the form of a human head1 much in the same style as the primitive vases of ,troy 7,vol4 ,i4 p4 #beh74 ,a vase of this type found at ,bootham1 near ,lincoln1 had painted on the foot ,d7e7,o ,,miircvrio1 8,to the god ,mercury18 in brown letters4#cfbb ,the clay is light yellow1 with a slip of the same colour4 ,a finer variety of this clay1 often of a rosy tint1 or white and micaceous1 was used for making the smaller vases1 which are thin and light1 and all turned on the wheel4#cfbc ,they are sometimes ornamented with bands1 lines1 hatching1 or leaves1 slightly indicated in dull ochre1 laid on and fired with the vase4 ,some specimens are covered with a flat white slip1 of a more uniform character than that employed on the ,athenian vases4 ,in others the clay is largely mixed with grains of quartz4 ,in ,britain little jars of a very white clay have sometimes been found1 as well as small bottles and dishes1 painted inside with patterns in a dull red or brown4 ,they seem to have formed a kind of finer ware for ornamental purposes1 as well as for the table4 ,the second class1 that of the red wares1 forms by far the largest division of ,roman plain pottery1 and comprises most of the kinds used for domestic purposes2 it is found in all forms and sizes1 all over ,europe1 often covered with a coating or slip1 white1 black1 or red4 ,this class may be considered to include all varieties of red and reddish-brown ware1 but as a rule the clay varies in colour from pale rose to deep coral1 and in quality from a coarse gritty composition to a fine compact and homogeneous paste4 ,it is usually without a glaze1 and sometimes the clay is largely micaceous4 ,to enumerate all the shapes which illustrate this ware is unnecessary1 but the ,romano-,british and ,morel ,collections in the ,british ,museum--and in fact any representative collection of ,roman pottery--exhibit all the principal varieties1 from the cinerary urn to the so-called 8tear-bottle0 or unguent vase4 ,the principal shapes are also illustrated in the treatises of ,hlder and ,koenen4 ,among sepulchral vases of this ware were the ollae in which the ashes of slaves were placed in the columbaria at ,rome1 tall jars with moulded rims and flat saucer-shaped covers4#cfbd ,in ,roman tombs in ,gaul and ,britain these ollae are usually placed inside large dolia or amphorae1 to protect them from the weight of the superincumbent earth4#cfbe ,in ,britain they have been found at ,lincoln1 on the sites of ,roman settlements along the ,dover ,road1 at ,colchester1 and in other places1 and as many as twenty thousand are recorded as having been found at ,bordeaux4#cfbf ,after the introduction of ,christianity this practice seems to have been abandoned1 but vases of smaller size continued to be placed round the bones of the dead4 ,the grey wares were usually made of fine clay1 of which there were two varieties3 a sandy loam like that of which bricks are made on the borders of the chalk formations in ,england1 and a heavy stone-coloured paste1 sonorous when struck1 which has been compared to the clay of modern ,staffordshire ware4 ,the colour of the first-named is light and its texture brittle1 and it was chiefly used for mortaria1 or for cooking-vessels which were exposed to the heat of the fire4 ,the mortaria resemble modern milk-pans1 being flat1 with overlapping edges and a grooved spout opening in front4 ,they appear to have been used both for cooking1 many bearing traces of the action of fire1 and for grinding food or other commodities1 the latter purpose probably explaining the presence1 in the interior of many examples1 of small pebbles1 or a hard coating of pounded tile1 to counteract the effects of trituration4 ,they are usually of a hard coarse texture1 but compact and heavy1 and their colour varies from pale red to bright yellow or creamy white4 ,illustration3 ,,fig4 #bcj4 ,,roman ,,mortarium ,,from ,,ribchester 7,,british ,,museum74 ,they are frequently stamped with the name of the potter1 placed in a square or rectangular panel on the rim and often arranged in two lines4 ,the names are either single1 denoting the work of slaves1 as ,albinus1 ,brixsa1 ,catulus1 ,sollus1 and ,marinus1 or double and occasionally even triple1 for the work of freedmen1 as ,q4 ,valerius1 ,sex4 ,valerius1 ,q4 ,averus ,veranius1 and so on4#cfbg ,the example given in ,fig4 #bcj is from ,ribchester in ,lancashire1 and bears the stamp ,,boried7us7 ,f7ecit74 ,a mortarium recently dug up in ,bow ,lane1 ,london1 now in the ,guildhall ,museum1 has the name of ,averus ,veranius with ,o ,,garr ,,fac in smaller type between the words1 apparently referring to the place of manufacture4#cfbh ,one of the commonest names is that of ,ripanus ,tiberinus1 who gives the name of the place where he worked3 ,,ripanvs ,,tiber ,f ,,lvgvdv ,,fact1 ,ripanus ,tiber7inus7 f7ecit72 ,lugudu7ni7 fact7um74#cfbi ,the potters' names are usually accompanied by the letters ,,of or ,f4 ,the mortaria vary from seven to twenty-three inches in diameter1 and are found in ,england1 ,france1 ,germany1 and ,switzerland4 ,of the second or heavier variety a curious vase in the form of a human head was found at ,castor#cfcj2 much of the ,new ,forest ware also comes under the same heading1#cfca including the small cups with pinched-in sides1 some being covered with a slip of micaceous consistency4 ,of black ware many varieties have been found in ,gaul and ,britain1 besides the special local wares which have already been described4 ,some were employed as funerary urns1 but the majority are of small size1 and in quality they vary from the extremest coarseness to a fine polished clay1 producing an effect almost equal to the ,greek or ,etruscan black wares4 ,the finest specimens of plain black ware are to be seen in the vases with a highly polished surface1 presenting a metallic appearance and an olive hue which almost approximates to that of bronze4 ,examples of this ware are found in ,gaul at ,lezoux1 in ,britain at ,castor1 and elsewhere4#cfcb ,in the first century after ,christ a superior kind of black ware seems to have been made in ,northern ,gaul and ,germany1 described by ,dragendorff as 8,belgic black ware40#cfcc ,the clay is bluish-grey1 with black polished surface produced like that of the bucchero ware by smoke1 not like the black glaze of later ,roman ware4 ,a similar variety of grey ware exists1 but without glaze or polish4 ,the forms of the vases vary very much from the ,roman1 including a typical high1 slim urn and other more squat forms1 closely imitating metal2 they bear some relation to those of the ,la ,tne period1 and are ,celtic or ,gaulish rather than ,german4#cfcd ,such ornamentation as they bear is exclusively linear1 and never in relief4 ,there is1 however1 a ,roman form of plate which often occurs1 and1 generally speaking1 the fabric may be described as a continuation of pre-,roman pottery influenced by ,italy4 ,it is well represented at ,xanten and ,andernach1 but is not found on the ,limes1 and is rare in ,britain2 it does not seem to have been made after the beginning of the ,flavian epoch1 when it was largely superseded by the ordinary ,roman black glazed wares4 ,a special kind of black ware seems to have been made in the valley of the ,rhone1 consisting of pots of a coarse1 gritty paste with micaceous particles1 breaking with a coarse fracture of a dark red colour4 ,they have been mostly found at ,vienne1 where they seem to have been made4 ,the bottom of the vase is usually impressed with a circular stamp with the potter's name in late letters1 as ,l ,,cassi ,o1 ,f7ir7,,minvs ,f1 ,,sevvo ,f1 ,,similis ,f 7from ,aix74#cfce ,the well-known name of ,fortis has also been found on black ware from ,aix4 ,in ,britain black ware is1 as elsewhere1 exceedingly common1 and a typical group of the smaller varieties is afforded by a series of five found in a sarcophagus at ,binsted in ,hampshire1 now in the ,british ,museum1#cfcf consisting of two calices1 a jar 7olla71 an acetabulum1 and a kind of candlestick4 ,the ,upchurch ware largely belongs to this category1 and much of the same kind has been found at ,weymouth4 ,brown ware of a very coarse style is often found with other ,roman remains1 consisting of amphorae and other vessels for domestic use4 ,examples of amphorae and jugs with female heads modelled on the necks have been found at ,richborough and elsewhere4#cfcg ,at ,wroxeter the excavations yielded two new classes of pottery1 one consisting of narrow-necked jugs and mortaria1#cfch very beautifully made from a white local clay1 which has been identified with that found at ,broseley in the neighbourhood1 nowadays supplying material for the manufacture of tobacco-pipes4 ,the surface is decorated with red and yellow stripes4 ,the other kind is a variety of red ware which has been styled 8,romano-,salopian10 made from clay obtained in the ,severn valley1 and differing from the common ,roman ware4#cfci ,it is1 however1 exceedingly doubtful whether these types should be classed under the heading ,roman4 ,in conclusion1 it may be noted that although all provincial museums contain more or less complete collections of the ordinary plain fabrics1 they are for the most part of strictly local origin1 and not in themselves sufficient for general study4 ,but since the acquisition of the ,morel ,collection by the ,british ,museum the student has ample facilities for investigating there not only the fabrics of ,britain1 but also those of ,gaul1 of which an exhaustive series is now incorporated in our national collection4 99 99 99 99 99 ,with this review of the ceramic industries of the ,roman ,empire1 we conclude our survey of the pottery of the classical world4 ,we have followed its rise from the rough1 almost shapeless products of the ,neolithic and earliest ,bronze ,age1 when the potter's wheel was as yet unknown 7on classical soil71 and decoration was not attempted1 or was confined to the rudest kinds of incised patterns4 ,we have traced the development of painted decoration from monochrome to polychrome1 from simple patterns to elaborate pictorial compositions1 and so to its gradual decay and disappearance under the luxurious and artificial tendencies of the ,hellenistic ,age1 when men were ever seeking for new artistic departures1 and a new system of technique arose which finally substituted various forms of decoration in relief for painting4 ,and lastly1 we have seen how this new system established itself firmly in the domain of ,roman art1 until with the gradual decay of artistic taste and under the encroachments of barbarism1 it sank into neglect and oblivion4 ,we observe1 too1 with a melancholy interest1 that while other arts1 such as architecture1 painting1 and metal-work1 have left some sort of heritage to the later ,european civilisations1 and like the runners in the ,greek torch-race vitai lampada tradunt1 this is not so in the case of pottery4 ,this art had1 it would seem1 completely worn itself out1 and had1 in fact1 returned to the level of its earliest beginnings4 ,the decorative element disappears1 and pottery becomes1 as in its earliest days1 a mere utilitarian industry1 the secrets of its former technical achievements irrevocably lost1 its ornamentation reduced to the simplest and roughest kinds of decoration1 and its status among the products of human industry once more limited to the mere supplying of one of the humblest of men's needs4 ,but this was inevitable1 and we must perforce be content2 for have we not seen1 in the course of its rise and fall1 a reflection of the whole history of ,greek art1 from the humble beginnings in which ,pausanias descried the touch of something divine which presaged its future greatness8 ,it is unnecessary to recapitulate the manner in which the successive stages of ,greek art are mirrored in the pottery1 from the first efforts of the ,athenian potter down to the eclecticism of the ,arretine ware4 ,let it suffice to say that the object of this work has been twofold3 firstly1 to show the many-sided interests of the historical study of ancient pottery2 secondly1 to point out its value to the student of ancient art and mythology3 and that it is the modest hope of the writer that this object has been in some measure fulfilled4 ----- ,footnote #cdba3 ,see a correspondence in the ,gentleman's ,magazine1 #ahdd-de1 reprinted in the ,gentleman's ,magazine ,library1 ,romano-,british ,remains1 ii4 p4 #edg ff4 ,footnote #cdbb3 ,bonner ,jahrbcher1 xcvi4 p4 #hb4 ,footnote #cdbc3 ,ergebnisse von ,olympia1 iv4 p4 #bjf3 cf4 ibid4 v4 p4 #ghc4 ,footnote #cdbd3 ,cyprus ,mus4 ,cat4 p4 #ic1 and index1 s4v4 ,samian4 ,footnote #cdbe3 ,m4 ,dchelette's epoch-making work on ,roman pottery in ,gaul only appeared after this chapter was in type4 ,to make proper use of it would have necessitated practically re-writing the chapter2 but ,i have remodelled it where absolutely essential1 and given frequent references to his work in foot-notes1 which it is hoped may suffice in some measure4 ,moreover for some of the fabrics ,i have had the advantage of his articles previously published in the ,revue ,archol4 xxxviii4 7#aija7 and the ,revue des tudes ,anciens1 v4 7#aijc71 which he has since incorporated in his book4 ,footnote #cdbf3 ,terra ,sigillata1 in ,bonner ,jahrbcher1 xcvi4 7#ahie71 p4 #ah ff4 ,footnote #cdbg3 ,see ,bonner ,jahrb4 lxxxvi4 p4 #aeb ff42 ,koenen1 ,gefsskunde1 p4 #hh4 ,footnote #cdbh3 ,c4,i4,l4 x4 #hjee1 #d-i2 #hjef1 #e1 #df-eb1 #bhj ff42 ibid4 v4 #haae1 #ig4 ,footnote #cdbi3 ,see ,dchelette1 i4 p4 #af2 ,bonner ,jahrb4 ci4 p4 #bb4 ,footnote #cdcj3 ,cf4 ,dragendorff's ,nos4 #ae-ag 7plates #a-b7 with ,nos4 #a-c 7plate #a74 ,footnote #cdca3 ,for examples from ,andernach1 see ,bonner ,jahrb4 lxxxvi4 pl4 #f1 #af1 pl4 #g1 #ah4 ,footnote #cdcb3 ,see ,dchelette1 i4 p4 #ff1 and below1 p4 #ebj4 ,footnote #cdcc3 ,bonner ,jahrb4 xcvi4 p4 #hf4 ,footnote #cdcd3 ,it was deserted about #e ,b4,c4 ,see ,dchelette1 i4 p4 #ic4 ,footnote #cdce3 ,bonner ,jahrb4 xcvi4 p4 #hg ff4 ,footnote #cdcf3 ,festschr4 fr ,joh4 ,overbeck1 p4 #afh2 cf4 ,bonner ,jahrb4 lxxxvi4 p4 #aee4 ,footnote #cdcg3 ,bonner ,jahrb4 lxxxvi4 pl4 #e1 #ba1 pl4 #f1 #d1 #i-aj3 cf4 ,dragendorff's ,nos4 #ai-bj4 ,footnote #cdch3 ,op4 cit4 xcvi4 p4 #hg4 ,footnote #cdci3 ,for other typical stamps see ,dragendorff in ,bonner ,jahrb4 xcvi4 p4 #ie2 ibid4 lxxxvi4 p4 #afd ff41 lxxxix4 p4 #ea ff4 ,footnote #cddj3 ,c4,i4,l4 vii4 #accf1 #gij is an isolated example of the black ware found in ,london4 ,footnote #cdda3 ,bonner ,jahrb4 xcvi4 p4 #ajc ff42 ,dchelette1 i4 p4 #fd ff4 ,footnote #cddb3 ,ill4 ,rom4 ,lond4 p4 #ih4 ,footnote #cddc3 ,collect4 ,antiq4 vi4 p4 #gj2 ,ill4 ,rom4 ,lond4 loc4 cit4 ,footnote #cddd3 ,see ,bonner ,jahrb4 xcvi4 p4 #aje4 ,footnote #cdde3 ,see ibid4 p4 #aaj1 pls4 #b-c1 figs4 #ca-ee1 for later provincial forms4 ,footnote #cddf3 ,see his vol4 i4 p4 #bi1 with plates #b-e4 ,footnote #cddg3 ,ibid4 ii4 pls4 #a1 #b4 ,footnote #cddh3 ,see ,bonner ,jahrb4 xcvi4 p4 #abf ff4 ,footnote #cddi3 ,cf4 the vases given in ,plate ,,lxvii4 figs4 #a1 #b1 and ,dchelette1 i4 pp4 #gj1 #ahj1 pl4 #f4 ,footnote #cdej3 ,see below1 p4 #ebj ,footnote #cdea3 ,see generally ,dchelette1 i4 p4 #bai4 ,footnote #cdeb3 ,ibid4 ii4 p4 #ia ff4 ,footnote #cdec3 ,an exhaustive list of types1 figures1 and ornaments of all kinds1 as found in the ,graufesenque and ,lezoux fabrics1 is given by ,dchelette in his second volume1 p4 #e ff4 ,footnote #cded3 ,see ,roach-,smith1 ,ill4 ,rom4 ,lond4 p4 #ie4 ,footnote #cdee3 ,see also the useful list given by ,von ,hefner in ,oberbayr4 ,archiv1 xxii4 7#ahfc71 p4 #bh ff41 giving the chief types on ,german wares from ,westerndorf and elsewhere4 ,footnote #cdef3 ,see ,cat4 of ,london ,antiqs4 ,nos4 #aeh ff4 pl4 #h2 ,ill4 ,rom4 ,lond4 p4 #hi ff42 ,collect4 ,antiq4 passim2 also ,plate ,,lxviii4 ,footnote #cdeg3 ,collect4 ,antiq4 ii4 p4 #ac4 ,footnote #cdeh3 ,cf4 ,c4,i4,l4 xiii4 #ajjaj1 #afhb4 ,footnote #cdei3 ,hence ,roach-,smith was inclined to date the vase as late as the fifth century2 but recent researches show that this is impossible4 ,even in the first century vases of this debased style are found4 ,there were two potters of the name of ,sabinus in the first century in ,gaul 7,dchelette1 i4 p4 #big74 ,footnote #cdfj3 ,bonner ,jahrb4 xcvi4 p4 #aci3 cf4 ,roach-,smith1 ,collect4 ,antiq4 ii4 p4 #ae4 ,footnote #cdfa3 ,see ,c4,i4,l4 xiii4 part #c1 p4 #aba4 ,footnote #cdfb3 ,ibid4 p4 #abj4 ,an example from ,britain is ,l4 ,cosconius ,virilis 7,c4,i4,l4 vii4 #accf1 #cdf3 cf4 ,roach-,smith1 ,collect4 ,antiq4 i4 p4 #aee74 ,footnote #cdfc3 ,c4,i4,l4 xiii4 #ajjjf1 #ie1 on a mortarium4 ,footnote #cdfd3 ,c4,i4,l4 xiii4 #ajjaj1 #afgj4 ,footnote #cdfe3 ,c4,i4,l4 vii4 #acad3 cf4 ,rev4 ,arch4 xxiv4 7#ahid71 p4 #eg4 ,footnote #cdff3 ,dchelette1 i4 p4 #hf1 pl4 #ac2 ,rev4 ,arch4 iii4 7#aijd71 p4 #ge ff4 ,the names of vessels include the interesting word pannae1 whence our 8pan40 ,footnote #cdfg3 ,see ,oberbayr4 ,archiv fr vaterl4 ,gesch4 xxii4 7#ahfc71 p4 #ch1 pl4 #d1 fig4 #a2 ,c4,i4,l4 iii4 #fjaj1 #fh2 ,dchelette1 i4 p4 #baj4 ,footnote #cdfh3 ,bonner ,jahrb4 xcvi4 p4 #acf4 ,footnote #cdfi3 ,oberbayr4 ,archiv1 xxii4 7#ahfc71 p4 #dc4 ,footnote #cdgj3 ,c4,i4,l4 vii4 #accg1 #bb4 ,footnote #cdga3 ,orelli1 #dahi2 ,blanchet in ,bullet4 ,archol4 #ahih1 p4 #bi1 and id41 ,mlanges ,gallo-romaines1 ii4 7#aijb71 p4 #aji4 ,footnote #cdgb3 ,see ,marquardt1 ,privatleben der ,rmer1 p4 #fdh1 note #g4 ,footnote #cdgc3 ,henzen1 #gbeh2 ,blanchet1 loc4 cit43 cf4 ,c4,i4,l4 iii4 #ehcc4 ,footnote #cdgd3 ,steiner1 ,cod4 ,inscr4 ,danub4 et ,rheni1 ii4 p4 #cje2 ,orelli1 #bjbi4 ,footnote #cdge3 ,orelli1 #dcjb2 ,henzen1 #gbei2 ,blanchet1 loc4 cit4 ,footnote #cdgf3 ,steiner1 op4 cit4 i4 p4 #eh1 ,no4 #acj4 ,other names of consuls from #aii to #bbh are given in ,bonner ,jahrb4 xv4 p4 #fa 7these are in graffito74 ,footnote #cdgg3 ,steiner1 ii4 p4 #cdi ff41 ,nos4 #afdi-ea1 #afec1 #affa2 ,bonner ,jahrb4 xv4 p4 #ec ff4 ,footnote #cdgh3 ,gaz4 ,arch4 #ahgg1 p4 #ahj2 ,roach-,smith1 ,collect4 ,antiq4 iii4 pl4 #ca1 p4 #aic4 ,footnote #cdgi3 ,journ4 ,brit4 ,arch4 ,assoc1 iv4 p4 #cfd4 ,footnote #cdhj3 ,c4,i4,l4 vii4 #acce1 #d4 ,footnote #cdha3 ,for the technique of this process see above1 p4 #ddb1 and ,brongniart1 ,trait1 i4 p4 #dbe4 ,footnote #cdhb3 ,there is an example of this ware from ,cologne in the ,british ,museum 7,greek and ,roman ,department71 and others at ,turin and ,trier4 ,dchelette 7ii4 p4 #cji7 states that it is found in the first century ,b4,c4 ,footnote #cdhc3 ,see ,bonner ,jahrb4 xcvi4 p4 #aaa ff42 ,hlder1 ,formen der rm4 ,thongef4 p4 #h4 ,footnote #cdhd3 ,dchelette1 ii4 p4 #cji4 ,footnote #cdhe3 ,koenen1 ,gefsskunde1 p4 #aja4 ,footnote #cdhf3 ,bonner ,jahrb4 xcvi4 p4 #abj4 ,footnote #cdhg3 ,op4 cit4 p4 #aba3 cf4 ,mus4 ,borb4 v4 #ac4 ,footnote #cdhh3 ,see for examples ,dchelette1 ii4 pl4 #e2 ,bonner ,jahrb4 lxxxiv4 pl4 #b1 figs4 #b-e1 p4 #aji2 ,roach-,smith1 ,ill4 ,rom4 ,lond4 p4 #ic2 ,oberbayr4 ,archiv41 #ahfc1 pl4 #d1 fig4 #aa2 and ,plate ,,lxix4 fig4 #d4 ,footnote #cdhi3 ,vol4 ii4 p4 #cbe4 ,footnote #cdij3 i4 p4 #da ff4 ,footnote #cdia3 i4 p4 #fd ff4 ,footnote #cdib3 i4 p4 #ach ff4 ,footnote #cdic3 ,c4,i4,l4 xiii4 #ajjji1 #c2 ,dchelette1 i4 p4 #ca ff4 ,footnote #cdid3 ,c4,i4,l4 iii4 ,suppl4 #abjac1 #c2 ,dchelette1 i4 p4 #cd4 ,footnote #cdie3 ,dchelette1 i4 p4 #fj4 ,footnote #cdif3 ,see also ,jullian in ,revue des tudes ,anciens1 i4 7#ahii71 p4 #aeb4 ,footnote #cdig3 ,painted vases with ,geometrical decoration were widely exported1 even to ,bohemia3 see ,rev4 ,arch4 xxvi4 7#ahie71 pls4 #e1 #f1 p4 #aif ff42 ,gaz4 ,arch4 #ahha-b1 pls4 #c-d1 p4 #ag4 ,footnote #cdih3 ,see ,dchelette1 i4 p4 #ff2 it is the form numbered #aa by ,dragendorff4 ,footnote #cdii3 ,op4 cit4 i4 p4 #fh3 cf4 ,c4,i4,l4 xi4 #fgjj1 #hba4 ,footnote #cejj3 ,see ,dchelette1 i4 pls4 #f1 #g1 p4 #fi4 ,footnote #ceja3 ,op4 cit4 i4 pl4 #h1 p4 #gd4 ,footnote #cejb3 ,see also op4 cit4 pl4 #i1 p4 #gc4 ,footnote #cejc3 ,see his vol4 i4 p4 #ge for further details4 ,footnote #cejd3 ,a figure of ,artemis is derived from the type given by ,hauser1 ,neuattische ,reliefs1 pl4 #a1 fig4 #i3 for a genre type1 cf4 the fishermen figured by ,dchelette1 ,rev4 des tudes ,anciens1 v4 p4 #ee 7 ,vases de la ,gaule1 ii4 p4 #ia1 type ,no4 #eef74 ,footnote #ceje3 ,the list of names given by ,dchelette1 i4 p4 #ha1 will render it possible to trace ,rutenian potters on these sites in ,c4,i4,l4 xiii4 part #c1 fasc4 #a3 see also vols4 vii4 7,britain71 x4 7,campania71 xv4 7,rome71 etc41 and ,dchelette1 i4 p4 #aje ff4 ,footnote #cejf3 ,examples in ,british and ,guildhall ,museums4 ,footnote #cejg3 ,op4 cit4 i4 p4 #aab4 ,footnote #cejh3 ,cf4 ,c4,i4,l4 xv4 #ejei1 #ebgc1 #ecee2 #dide4 ,footnote #ceji3 ,c4,i4,l4 x4 #hjee1 #bg3 cf4 ,dchelette1 i4 p4 #if ff4 ,footnote #ceaj3 ,c4,i4,l4 ii4 #digj1 #eei from ,tarraco1 and the vase published in ,rev4 ,arch4 xxxiii4 7#ahih71 p4 #ajj1 fig4 #aa1 from ,carthage4 ,footnote #ceaa3 ,vol4 i4 p4 #aac4 ,footnote #ceab3 ,op4 cit4 i4 p4 #gi4 ,footnote #ceac3 ,bonner ,jahrb4 xcvi4 p4 #ig 78,marmorirung073 see also ,dchelette1 i4 p4 #fg4 ,footnote #cead3 ,c4,i4,l4 x4 #hjef1 #bhc4 ,footnote #ceae3 ,see ,bonner ,jahrb4 xcvi4 p4 #aja2 ,gaz4 ,arch4 #ahgg1 pl4 #bh1 p4 #agb ff42 ,dchelette1 i4 p4 #abj ff4 ,footnote #ceaf3 ,mus4 ,borb4 vii4 pl4 #bi2 ,c4,i4,l4 x4 #hjef1 #d2 ,dchelette1 i4 p4 #aba4 ,footnote #ceag3 ,dchelette 7i4 p4 #abe7 notes in these names a direct proof of exportation2 they were carried about by the negotiatores or agents 7p4 #eaa7 to the different regions named4 ,footnote #ceah3 tude de la ,cramique ,arverno-romaine 7#ahhg74 ,m4 ,dchelette has embodied most of ,plicque's researches in his own account of the potteries 7i4 p4 #ach ff474 ,footnote #ceai3 ,see ,dchelette1 i4 pp4 #aee1 #aid ff4 for lists of names1 with types used by each and places where found4 ,footnote #cebj3 ,see ,dchelette1 i4 pls4 #d1 #e1 ,nos4 #fc-ga1 and p4 #adi4 ,footnote #ceba3 ,op4 cit4 p4 #agh ff4 ,footnote #cebb3 ,see ,plicque's summary in his tude de la ,cramique ,arverno-rom4 p4 #aj ff4 ,footnote #cebc3 ,see generally ,dchelette1 ii4 p4 #afg ff42 also ,rev4 ,arch4 ii4 7#aijc71 pl4 #ag1 p4 #chg4 ,footnote #cebd3 ,cf4 the ,greek stamnos 7,vol4 ,i4 p4 #afd74 ,footnote #cebe3 ,ill4 ,rom4 ,lond4 pp4 #hf1 #ig1 pl4 #bi2 ,cat4 of ,london ,antiqs4 pl4 #g1 fig4 #b2 ,richborough1 p4 #gd4 ,footnote #cebf3 ,dchelette1 ii4 p4 #caf4 ,footnote #cebg3 ,dchelette1 ii4 p4 #cba4 ,footnote #cebh3 ,on the technical aspect of these1 see above1 p4 #dda2 for all other information reference should be made to ,dchelette1 ii4 p4 #bce ff4 ,footnote #cebi3 ,froehner1 ,coll4 ,grau1 ,no4 #acec4 ,footnote #cecj3 ,dchelette states that seventy-nine have been found at ,vienne1 thirty-three at ,lyons1 and twenty-nine at ,orange4 ,footnote #ceca3 ,muses de ,france1 pls4 #ad-af1 p4 #eb ff4 ,footnote #cecb3 ,gaz4 ,arch4 #ahgg1 pl4 #ab1 p4 #ff4 ,the second of these has passed into the ,british ,museum 7in the ,morel ,collection74 ,see ,fig4 #bbg1 and ,dchelette1 ii4 p4 #bij4 ,footnote #cecc3 ,stephani1 ,vasens4 #acec2 id41 ,compte-,rendu1 #ahgc1 p4 #fg4 ,footnote #cecd3 ,recueil1 vi4 #ajg3 see ,dchelette1 ii4 pp4 #bcf1 #bej1 #bec1 #bid4 ,footnote #cece3 ,gaz4 ,arch4 #ahhi1 p4 #ej1 pl4 #ae4 ,footnote #cecf3 ,see also ,gaz4 ,arch4 #ahhj1 pl4 #cj1 p4 #agh for examples from ,nismes2 ,froehner1 ,coll4 ,grau1 #acea1 #aceb2 ,rev4 ,arch4 xix4 7#ahib71 pl4 #aa1 p4 #cac2 ,daremberg and ,saglio1 iii4 art4 ,forma1 figs4 #cahd1 #cahe2 ,c4,i4,l4 xii4 #efhg4 ,all previous literature is now superseded by ,dchelette's work 7vol4 ii4 p4 #bce ff474 ,footnote #cecg3 ,op4 cit4 i4 p4 #bg4 ,footnote #cech3 ,ibid4 p4 #bjd4 ,footnote #ceci3 ,ibid4 ,the form employed is his ,no4 #fi4 ,footnote #cedj3 ,see ,hettner in ,festschrift fr ,j4 ,overbeck1 p4 #afe ff42 ,koenen in ,bonner ,jahrb4 lxxxvi4 p4 #aeb ff4 ,footnote #ceda3 ,see ,fiedler1 ,castra ,vetera1 p4 #dj2 ,bonner ,jahrb4 v4 p4 #dbb1 pls4 #ac-d2 and for stamps1 ,steiner1 ,cod4 ,inscr4 ,danub4 et ,rheni1 ii4 p4 #bbe1 ,no4 #acag4 ,footnote #cedb3 ,oberbayr4 ,archiv fr vaterlndische ,geschichte1 xxii4 7#ahfc71 p4 #a ff4 ,footnote #cedc3 ,a useful summary is given by ,von ,hefner1 p4 #bh4 ,footnote #cedd3 ,cf4 ibid4 pl4 #d1 figs4 #a-g4 ,footnote #cede3 ,ibid4 p4 #db4 ,footnote #cedf3 ,see ,roach-,smith1 ,ill4 ,rom4 ,lond4 p4 #ii2 ,dchelette1 i4 p4 #baj4 ,footnote #cedg3 ,in the ,greek and ,roman ,department1 found at ,mainz4 ,footnote #cedh3 ,dchelette1 ii4 p4 #cai4 ,footnote #cedi3 ,archaeologia1 lvii4 p4 #ajd4 ,footnote #ceej3 ,victoria ,county ,hist4 of ,northants1 p4 #baa4 ,footnote #ceea3 ,gefsskunde in den ,rheinlanden1 p4 #fe ff4 ,for various finds of pottery in ,germany see also ,bonner ,jahrb4 lxxiv4 p4 #adg2 lxxxiv4 p4 #ajh ff42 lxxxix4 p4 #a ff4 ,footnote #ceeb3 ,see ,rev4 ,arch4 xxxix4 7#aija71 p4 #ea ff4 ,footnote #ceec3 ,see also generally ,von ,hefner1 op4 cit42 ,bonner ,jahrb4 xcvi4 p4 #hg ff41 and index to vols4 #a-fj2 ,wolff in ,westdeutsche ,zeitschr4 fr ,gesch4 u4 ,kunst1 xviii4 7#ahii71 p4 #bac4 ,footnote #ceed3 ,formen der rm4 ,thongefsse1 p4 #aa4 ,footnote #ceee3 ,bonner ,jahrb4 xiii4 p4 #ajf ff41 xxxv4 p4 #df1 lxxxvii4 p4 #fa ff41 xcvi4 p4 #aja2 ,dchelette1 ii4 p4 #caa1 p4 #cab1 note #c4 ,footnote #ceef3 ,roach-,smith1 ,collect4 ,antiq4 i4 pl4 #d1 p4 #c4 ,footnote #ceeg3 ,bonner ,jahrb4 xiii4 p4 #aab2 lxxxvii4 p4 #fb2 ,steiner1 ,cod4 ,inscr4 ,danub4 et ,rhen4 ii4 p4 #aie1 ,no4 #abeb 7from ,neuss73 cf4 ,virg4 ,ecl4 iii4 #dg4 ,footnote #ceeh3 ,steiner1 op4 cit4 p4 #ajj2 ,gerhard1 ,berlins ant4 ,bildw4 ,no4 #afhg2 ,roach-,smith1 ,collect4 ,antiq4 i4 pl4 #d1 p4 #c2 ,bonner ,jahrb4 lxxxvii4 p4 #fc4 ,footnote #ceei3 ,bonner ,jahrb4 xiii4 p4 #aac4 ,footnote #cefj3 ,ibid4 xiii4 pp4 #aji1 #aac1 lxxxvii4 p4 #fd2 ,steiner1 op4 cit4 p4 #aee2 and in ,b4,m4 7,,bibe74 ,footnote #cefa3 ,bonner ,jahrb4 xiii4 pp4 #ajg1 #ajh1 xxxv4 p4 #dg1 lxxxvii4 p4 #fe2 ,b4,m4 7,fig4 #bbi74 ,footnote #cefb3 ,op4 cit4 xxxv4 p4 #di4 ,footnote #cefc3 ,op4 cit4 xxxv4 p4 #dh1 lxxxvii4 p4 #ff4 ,footnote #cefd3 ,op4 cit4 xiii4 p4 #aac4 ,footnote #cefe3 ,op4 cit4 xiii4 p4 #aaa1 lxxxvii4 p4 #ff2 ,b4,m4 ,footnote #ceff3 ,op4 cit4 xxxv4 p4 #di4 ,footnote #cefg3 ,op4 cit4 xiii4 p4 #aaa1 lxxxvii4 p4 #fg4 ,footnote #cefh3 ,op4 cit4 lxxxvii4 p4 #fg2 ,collect4 ,antiq4 i4 p4 #c4 ,footnote #cefi3 ,levezow1 ,berliner ,verzeichniss1 p4 #cff1 ,no4 #adgj2 ,bonner ,jahrb4 lxxxvii4 p4 #fh ,footnote #cegj3 ,bonner ,jahrb4 xiii4 p4 #ajg1 lxxxvii4 p4 #fi4 ,footnote #cega3 ,ibid4 ,footnote #cegb3 ,op4 cit4 xxxv4 p4 #di1 lxxxvii4 p4 #gj4 ,footnote #cegc3 ,op4 cit4 xiii4 p4 #ajf1 xxxv4 p4 #dh1 lxxxvii4 p4 #gh3 cf4 ,b4,m4 7,,reple ,,copo ,,da74 ,footnote #cegd3 ,op4 cit4 xxxv4 p4 #dh1 lxxxvii4 p4 #gg4 ,footnote #cege3 ,op4 cit4 xiii4 p4 #ajf1 xxxv4 p4 #dg1 lxxxvii4 p4 #ga2 ,levezow1 op4 cit4 ,no4 #adfi4 ,footnote #cegf3 ,op4 cit4 xiii4 p4 #aaj2 ,levezow1 ,no4 #adga4 ,footnote #cegg3 ,op4 cit4 xiii4 p4 #ajg1 xxxv4 p4 #di1 lxxxvii4 p4 #gb4 ,footnote #cegh3 ,op4 cit4 lxxxvii4 p4 #gb2 ,b4,m4 ,footnote #cegi3 ,op4 cit4 xiii4 p4 #aaj1 xxxv4 p4 #dh1 lxxxvii4 p4 #gc2 ,b4,m4 7,,vivas74 ,footnote #cehj3 ,zeitschr4 des ,vereins zur ,erforsch4 d4 rhein4 ,gesch4 u4 ,altert4 iv4 7#aijj71 p4 #bff4 ,footnote #ceha3 ,for stamps found here and at ,voorburg1 see ,steiner1 ,cod4 ,inscr4 ,danub4 et ,rhen4 ii4 p4 #bgf1 ,no4 #addi1 p4 #bic1 ,no4 #adhd4 ,footnote #cehb3 ,bonner ,jahrb4 xlvi4 p4 #aae2 ,dchelette1 i4 p4 #ajc4 ,they are now in the ,leiden ,museum4 ,footnote #cehc3 ,see ,c4,i4,l4 ii4 #digj1 and p4 #eab2 ,brongniart1 ,trait1 i4 p4 #dec2 ,dchelette1 i4 p4 #af2 and above1 pp4 #dgi1 #dii4 ,footnote #cehd3 ,see above1 p4 #ecf4 ,footnote #cehe3 ,see ,haverfield in ,cumberland and ,westm4 ,arch4 ,soc4 ,trans4 xv4 p4 #aia4 ,footnote #cehf3 ,ill4 ,rom4 ,lond4 pls4 #bd-h1 p4 #hi ff42 ,richborough1 pl4 #c4 ,footnote #cehg3 ,wellbeloved1 ,eburacum1 pl4 #af2 ,scarth1 ,aquae ,solis1 pl4 #dc2 ,lee1 ,isca ,silurum1 pls4 ,,ii1 #ab4 ,footnote #cehh3 ,vict4 ,county ,hist4 of ,warwickshire1 i4 p4 #bcj4 ,footnote #cehi3 ,arch4 ,aeliana1 x4 p4 #bfh2 ,proc4 ,soc4 ,ant4 ,scot4 xxx4 7#ahif71 p4 #agi ff42 ,haverfield1 loc4 cit4 ,footnote #ceij3 ,haverfield's fig4 #h 7loc4 cit474 ,footnote #ceia3 ,haverfield1 op4 cit41 pl4 #g1 fig4 #g1 p4 #aic2 and see p4 #ebh above4 ,footnote #ceib3 ,cf4 ,roach-,smith1 ,collect4 ,antiq4 ii4 p4 #ce1 and see above1 p4 #ejb4 ,footnote #ceic3 ,roach-,smith1 ,collect4 ,antiq4 iv4 pl4 #ag1 p4 #fc2 ,victoria ,county ,hist4 of ,northants1 p4 #bai4 ,footnote #ceid3 ,see ,dchelette1 i4 p4 #bhb1 ii4 p4 #ga1 ,no4 #dbe4 ,footnote #ceie3 ,artis1 ,durobrivae1 pl4 #cj1 figs4 #a1 #d4 ,footnote #ceif3 ,handbook to ,british ,pottery in ,mus4 of ,pract4 ,geol4 #ahic1 p4 #gb4 ,footnote #ceig3 vii4 #accd-cf4 ,supplementary lists are given in ,arch4 ,journal1 xxxv4 p4 #bhi4 ,footnote #ceih3 ,see ,c4,i4,l4 vii4 p4 #bch for bibliography4 ,footnote #ceii3 ,ill4 ,rom4 ,lond4 pp4 #ajb1 #ajg4 ,footnote #cfjj3 ,general reference may also be made to the archaeological journals of the ,london and provincial societies1 and to the volume of the ,gentleman's ,magazine ,library on ,romano-,british ,remains2 also for ,norfolk1 ,northants1 ,hampshire1 and other counties1 to the respective volumes of the ,victoria ,county ,history4 ,footnote #cfja3 ,cumberland and ,westmoreland1 ,hereford1 ,hertford1 ,kent1 and ,lancashire4 ,footnote #cfjb3 ,see ,haverfield1 in ,vict4 ,county ,hist4 of ,northants1 p4 #bjh1 fig4 #bi4 ,footnote #cfjc3 ,cf4 ,haverfield1 figs4 #cb1 #cc4 ,footnote #cfjd3 ,ibid4 fig4 #cc4 ,footnote #cfje3 ,ibid4 p4 #bji4 ,footnote #cfjf3 ,roach-,smith1 ,collect4 ,antiq4 iv4 pl4 #ba1 p4 #hb2 ,vict4 ,county ,hist4 of ,northants1 p4 #baa2 ,c4,i4,l4 vii4 #acce1 #c4 ,footnote #cfjg3 ,but see above1 p4 #ecf1 and ,dchelette1 ii4 p4 #caa4 ,footnote #cfjh3 ,arch4 ,journ4 liv4 p4 #cdi4 ,footnote #cfji3 ,artis1 ,durobrivae1 pl4 #bh2 ,vict4 ,county ,hist4 of ,northants1 p4 #baa1 fig4 #cd3 cf4 ibid4 p4 #aij fig4 #ah1 p4 #aib 7from ,bedford ,purlieus74 ,footnote #cfaj3 ,collect4 ,antiq4 iv4 pl4 #bd4 ,footnote #cfaa3 ,ibid4 iv4 p4 #ia3 cf4 the vase mentioned on p4 #eci4 ,footnote #cfab3 ,brit4 ,arch4 ,assoc4 ,journ4 i4 p4 #e ff4 ,footnote #cfac3 ,haverfield1 in ,vict4 ,county ,hist4 of ,northants1 p4 #bab4 ,footnote #cfad3 ,arch4 ,journ41 xiii4 p4 #agc3 cf4 ,c4,i4,l4 vii4 #accf1 #bbj4 ,footnote #cfae3 ,see on this ware ,roach-,smith1 ,collect4 ,antiq4 vi4 p4 #agh1 pl4 #cf1 and ,ill4 ,rom4 ,lond4 p4 #hb2 ,wright1 ,uriconium1 p4 #bdg ff41 and ,celt1 ,roman1 and ,saxon#d1 p4 #bfj4 ,footnote #cfaf3 ,haverfield1 in ,vict4 ,county ,hist4 of ,hants1 i4 p4 #cbf4 ,footnote #cfag3 ,archaeologia1 xxxv4 p4 #ia2 ,arch4 ,journ4 liv4 p4 #cdh2 x4 p4 #h2 xxx4 p4 #cai2 ,proc4 ,soc4 ,antiq4 #ast ,ser4 ii4 p4 #bhe1 iv4 p4 #afg4 ,footnote #cfah3 ,trait1 i4 p4 #cha4 ,footnote #cfai3 ,roman ,art in ,cirencester1 p4 #gg4 ,footnote #cfbj3 ,see ,blmner1 ,technol4 ii4 p4 #fe4 ,footnote #cfba3 ,c4,i4,l4 xv4 p4 #efj2 ,ann4 dell' ,inst4 #ahgh1 p4 #aai ff4 ,footnote #cfbb3 ,proc4 ,soc4 ,ant4 #bnd ,ser4 iii4 7#ahfg71 p4 #ddj 7now in ,b4,m473 cf4 ,artis1 ,durobrivae1 pl4 #di4 ,footnote #cfbc3 ,brongniart1 i4 p4 #dce4 ,footnote #cfbd3 ,see ,daremberg and ,saglio1 s4v4 ,olla4 ,footnote #cfbe3 ,cf4 ,wright1 ,celt1 ,roman1 and ,saxon#d1 p4 #cei ff42 ,archaeologia1 xii4 pl4 #ad1 p4 #ajh2 ,brit4 ,arch4 ,assoc4 ,journ4 i4 p4 #bci2 and see above1 p4 #deg4 ,footnote #cfbf3 ,brongniart1 i4 p4 #dcg4 ,footnote #cfbg3 ,see generally ,c4,i4,l4 vii4 #accd4 ,footnote #cfbh3 ,journ4 ,brit4 ,arch4 ,assoc4 xlvi4 7#ahij71 p4 #aef2 other examples at ,colchester and ,exeter and ,guildhall 7,cat4 p4 #ajd1 ,no4 #fda1 ,q ,,eriv ,,germanvs73 see also ,c4,i4,l4 vii4 #accd1 #fc4 ,footnote #cfbi3 ,roach-,smith1 ,ill4 ,rom4 ,lond4 p4 #hi2 ,c4,i4,l4 vii4 #accd1 #dc4 ,footnote #cfcj3 ,artis1 ,durobrivae1 pl4 #di1 fig4 #a4 ,footnote #cfca3 ,see ,vict4 ,hist4 of ,hants1 i4 p4 #cbf4 ,footnote #cfcb3 ,cf4 ,plicque1 ,cramique ,arverno-romaine1 pp4 #af1 #cj4 ,footnote #cfcc3 ,bonner ,jahrb4 xcvi4 p4 #hh4 ,footnote #cfcd3 ,ibid4 p4 #hi2 ,hettner in ,festschr4 fr ,joh4 ,overbeck1 p4 #agj4 ,footnote #cfce3 ,c4,i4,l4 xii4 #efhe1 #aie1 #cfb1 #hca1 #hde2 ,b4 ,m4 ,cat4 of ,terracottas1 ,e #ade-dg 7wrongly included in that volume among tile-stamps74 ,footnote #cfcf3 ,arch4 ,journ4 ix4 p4 #ab4 ,footnote #cfcg3 ,roach-,smith1 ,richborough1 p4 #gd2 ,wright1 ,celt1 ,roman1 and ,saxon#d1 p4 #bha2 others in ,b4,m4 ,footnote #cfch3 ,wright1 ,uriconium1 p4 #bea4 ,examples may be seen in the ,shrewsbury ,museum4 ,footnote #cfci3 ,wright1 ibid4 p4 #beb1 and ,celt1 ,roman1 and ,saxon#d1 p4 #bgh4 ,,index ,,note4--,names of artists and -names not included in this list will be found in those given in ,vol4 ,,ii4 p4 #bgc ff4 ,abaskantos1 lamp-maker1 i4 #ajh ,abecedaria1 ii4 #caa1 and see ,alphabet ,abella1 vases from1 i4 #ha2 fabric of1 i4 #dhd ,acanthus-patterns1 ii4 #bbc ,acetabulum1 ii4 #dfi ,achaeans in ,cyprus1 i4 #bde1 and see #bge ,achelos1 ii4 #hc1 #aja ,achilles on vases1 ii4 #abj ff42 fight over body of1 i4 #cbc ,acids used for cleaning vases1 i4 #dj1 #da ,aco ,acastus1 potter1 ii4 #eag ,acratophorum1 ii4 #dfd ,acrobats1 ii4 #afe1 #ahb ,actors on vases1 i4 #dgc1 ii4 #afj ff41 #aig ,adjuvate1 sodales1 inscription on lamp1 ii4 #daa1 #dbb ,admetos and ,alkestis1 ii4 #ajb1 #adj1 #caj1 #cab ,adonis1 ii4 #db ,adrastos1 ii4 #aai ,aecetiae pocolom1 i4 #dij ,aegean pottery1 i4 #bfb ff41 #bge ---- ,islands1 vase-finds in the1 i4 #ed ff4 ,aegina1 personified1 ii4 #ai1 #hb2 vases from1 i4 #ed1 #cjh1 #dib ,aegisthos1 death of1 ii4 #ach ,aeneas on vases1 ii4 #abi1 #ace2 on lamps1 ii4 #dad1 #dba ,aeolis1 finds in1 i4 #fb2 pottery of1 i4 #cci1 #cdg1 #cef ,aeolus1 ii4 #ad ,aeson1 vase-painter1 i4 #ddd ,aesop on vase1 ii4 #aea2 on lamp1 ii4 #dae2 fables of1 on lamps1 ii4 #daf 8,affected0 amphorae1 i4 #chg ,africa1 types of tombs in1 i4 #cf2 vases from1 i4 #fg2 ,ionic pottery of1 i4 #cdj ff42 relations with ,ionia1 i4 #cee2 lamps from1 ii4 #cii1 #djf1 #dbg2 bust of1 on lamp1 ii4 #dab 1 i4 #ih ,agamedes and ,trophonios1 ii4 #adj ,agamemnon on vases1 ii4 #abf1 #acg ,agia ,paraskevi 7,cyprus71 i4 #ce1 #ff1 #bdf ,agon1 ii4 #hi1 #aid ,agra1 mysteries of1 ii4 #bg1 #ajd ,agriculture on vases1 ii4 #aga ,agrigentum1 see ,girgenti ,agrios1 myth of1 ii4 #ada ,agrippa1 painter on terracotta1 i4 #aai1 ii4 #cff ,aigeus1 ii4 #ajh ,aithra1 ii4 #bd ,ajax1 son of ,oleus1 ii4 #acd1 #ace ---- son of ,telamon1 ii4 #abd1 #abh1 #abi2 death of1 ii4 #acc1 #caj ,akamas and ,demophon1 ii4 #ace 1 i4 #ahf 1 i4 #agc ,akratos1 i4 #hh1 ii4 #fd 1 i4 #ig ff4 ,aktaeon on vases1 ii4 #ce1 #caj2 on lamps1 ii4 #dad2 on ,gaulish pottery1 ii4 #ejh ,aktor and ,astyoche1 ii4 #adc 1 i4 #acc ,alabastron1 i4 #aif1 #cjh1 #cab1 #dib ,alba ,longa1 i4 #gi2 hut-urns from1 ii4 #bhh ,alcaeus quoted1 i4 #acc2 on vases1 ii4 #aea ,alexander the ,great on ,arretine vase1 ii4 #did ,alexandria1 vases from1 i4 #fg1 #adf2 porcelain ware of1 i4 #abi2 wine-amphorae from1 i4 #aed ff4 ,alexandrine subjects on vases1 i4 #ejb2 in ,gaulish terracottas1 ii4 #chf2 on ,roman lamps1 ii4 #dah2 on ,arretine vases1 ii4 #dhi ,alkestis1 see ,admetos ,alkmena1 i4 #dhj1 ii4 #ai ,alkyoneus1 ii4 #ajj ,allegory on vases1 i4 #ba ,allier1 valley of1 as centre for ,gaulish terracottas1 ii4 #chj ff42 for pottery1 ii4 #ecc2 clay of1 ii4 #dcd ,allifae1 pottery of1 ii4 #dge1 #dgh 1 ii4 #agi1 #bjj ,alphabet1 introduction into ,greece and early varieties1 ii4 #bde ff42 scheme of early varieties1 ii4 #bdh2 ,attic1 i4 #ab1 ii4 #bdf1 #bfh2 early ,etruscan1 ii4 #bif1 #caa ,altemura1 vases from1 i4 #he ,alyzia1 inscribed tile from1 i4 #ajb ,amasis1 king of ,egypt1 i4 #cde ---- potter1 i4 #cha ff41 #chg ---- vase-painter1 i4 #dci ,amathus1 pottery from1 i4 #cf1 #ff1 #adg1 #bej1 #bec ,amazons on vases1 ii4 #ii1 #aaa1 #acb1 #add1 #aie2 on lamps1 ii4 #dae ,america1 museums of1 i4 #bf1 #cj ,amorgos1 pottery from1 i4 #ef1 #bfb ,amphiaraos1 i4 #gf1 #cah1 ii4 #aah ,amphion1 ii4 #aag ,amphitrite1 ii4 #bc1 #ahi ,amphitruo of ,rhinthon1 see i4 #dgc ,amphorae1 forms of ,greek1 i4 #aec ff42 ,apulian1 i4 #afb1 #dfi2 ,attic1 i4 #bie1 #cfh1 #cgb1 #daa2 ,chalcidian1 i4 #cbb2 ,melian1 i4 #eg1 #cja2 ,nicosthenic1 i4 #che2 ,panathenaic1 i4 #df1 #fi1 #hd1 #acb1 #ade1 #chh ff42 8,tyrrhenian10 i4 #afj1 #cbd2 8affected10 i4 #chg2 8false-necked10 i4 #bdf1 #bga2 ornamentation of1 i4 #cge1 ii4 #bcd2 prices paid for1 i4 #dd ff42 ancient examples at ,erythrae1 i4 #bje2 used as wine-jars1 i4 #aed ff42 ,roman1 ii4 #dfj ff4 1 i4 #ahf ,ampulla1 ii4 #dfe ,amyklae1 pottery from1 i4 #eb ,amykos1 ii4 #aae ,amymone1 ii4 #bd ,anakles1 potter1 i4 #chd ,anakreon on vases1 ii4 #aeb ,analyses of pottery1 i4 #bjc1 ii4 #cja1 #dce ,ananke1 ii4 #fi1 #ij 1 ii4 #agh ,andernach1 ,roman pottery from1 ii4 #ejj1 #ejb1 #eji1 #ebb1 #ecc ,andokides1 potter1 i4 #chf1 #dja1 ii4 #beh ,andromache and ,astyanax1 ii4 #aca ,andromeda1 ii4 #aac 1 ii4 #ge ,animals on early vases1 see ,chapters ,,vi4-,,viii4 passim2 as subjects on vases1 ii4 #ahd ff42 on lamps1 ii4 #dah2 as pets1 ii4 #afh1 #agc ,annia ,arescusana1 potter1 ii4 #cfg ,annum novum faustum felicem1 inscription on lamps1 ii4 #cih1 #dbj ,ansae lunulatae1 ii4 #bhg ,antaios1 i4 #dca1 ii4 #ajj ,antefixal ornaments1 ,greek1 i4 #ig ff42 ,etruscan1 ii4 #cag2 ,roman1 ii4 #cdc ff41 and see #cfe1 #cga ,ante-,homerica1 subjects from1 ii4 #d1 #aai ff4 ,antepagmentum1 ii4 #cae1 #cfe ,anthedon1 vases from1 i4 #ec ,antonius ,epaphras1 ,m41 potter1 ii4 #cfg ,anzi1 vases found at1 i4 #hc1 #dha ,apate1 ii4 #ij ,apes on vases1 i4 #cee1 ii4 #ahe ,aphidna1 early pottery from1 i4 #di1 #bgh ,aphrodite1 in terracottas1 i4 #abc ff42 dedications to1 at ,naukratis1 i4 #cde2 representations of1 on vases1 ii4 #db ff41 #aia2 on cup in ,b4 ,m41 i4 #dcd1 #deg2 with ,persephone1 ii4 #bh1 #db2 at ,judgment of ,paris1 ii4 #abb2 on mural reliefs1 ii4 #cfh2 in ,gaulish terracottas1 ii4 #che2 on lamps1 ii4 #daj2 and see ,venus ,apollo1 dedications to1 i4 #aci1 #cde2 representations of1 on vases1 ii4 #bi ff41 #ahi2 in ,gigantomachia1 ii4 #ac1 #ae2 with ,herakles1 ii4 #cc1 #ig1 #ajc2 on mural reliefs1 ii4 #cfh2 on lamps1 ii4 #dji2 and see ,helios ,apollodoros1 vase-painter1 i4 #dci ,apollonia1 vases from1 i4 #fj ,appius1 ,l41 potter1 ii4 #dij ,appliqu reliefs1 i4 #aai1 #dig2 at ,lezoux1 ii4 #ebi2 and see ,apuleius quoted1 ii4 #djc ,apulia1 vases from1 i4 #hc ff42 local pottery of1 ii4 #cbc ff42 painted pottery of1 i4 #dfh ff41 #dhe1 #dhf2 shapes1 i4 #add1 #aga1 #agh1 #agi1 #dfi2 ornamentation1 i4 #dfh1 ii4 #bce2 arrangement of subjects on1 ii4 #bji2 inscriptions on1 ii4 #bga ff42 sepulchral subjects on1 i4 #add1 #dgf1 ii4 #aeg2 scenes from ,under-world on1 ii4 #fg ff4 ,aqueducts1 use of brick in1 ii4 #ccf ,archemoros1 ii4 #aah 1 ii4 #ib ,archers1 ii4 #agg1 #agh1 #aii ,archikles1 potter1 i4 #cgd1 #chd ,architecture1 terracotta used in1 i4 #ia ff42 in ,etruria1 ii4 #cad ff42 at ,rome and ,pompeii1 ii4 #ccj ff42 use of bricks and tiles in1 i4 #ia ff41 ii4 #ccf ff41 #cdc2 use of vases in1 ii4 #deg2 treatment of1 in vase-paintings1 ii4 #bje ff42 imitations of1 in arrangement of designs1 i4 #cgh1 ii4 #bjg2 in patterns1 ii4 #baa ,archons1 names of1 on vases1 i4 #fi1 #cij 1 i4 #afg ,ares on vases1 ii4 #da1 #aij2 in ,gigantomachia1 ii4 #ac1 #ae2 on lamps1 ii4 #dji ,arezzo1 pottery found at1 i4 #bi1 #gb1 ii4 #dgi1 #dha2 potters' tools and stamps from1 i4 #bjg1 ii4 #dch1 #dci1 #dic2 and see ,arretium ,argolis1 pottery from1 i4 #ea2 as centre of fabric1 i4 #bgd1 #bih1 #cjg1 #ccf2 inscriptions in alphabet of1 i4 #cjh1 #cce1 #ceg1 ii4 #bdi ,argonauts on vases1 i4 #ddb1 ii4 #aae1 and see ii4 #ajd ,argos1 vases from1 i4 #eb ---- guardian of ,io1 ii4 #bj ,ariadne on vases1 ii4 #eg1 #aaj1 #bih ,aridikes and ,telephanes1 painters1 i4 #cab1 #cbj1 #cie ,arimaspi1 ii4 #adh ,aristonos1 vase of1 i4 #afh1 #big1 ii4 #bdi ,aristophanes quoted or referred to1 i4 #acb1 #adc1 ii4 #bff ---- vase painter1 i4 #ddd ,arkesilaos of ,kyrene1 i4 #cda ff41 ii4 #adi2 cup with subject of1 i4 #dd1 #cda ff41 ii4 #adi1 #bej ---- sculptor and modeller1 ii4 #cgb ,arles1 pottery from1 ii4 #ebd ,armed foot-race1 ii4 #afd ,armento1 vases from1 i4 #hc ,arming of warriors1 ii4 #age ,armour1 how represented1 ii4 #aih ,arrangement of subjects on vases1 ii4 #bjf ff4 ,arretine vases1 ii4 #dgi ff42 connection of1 with ,gaulish ware1 ii4 #ejj1 #eag ff4 ,arretium as centre of fabric1 ii4 #dcb1 #dge1 #dgg2 and see ,arezzo ,artemis1 on lamps1 i4 #ajg1 ii4 #dji2 on vases1 ii4 #cj ff41 #ce1 #aij2 in ,gigantomachia1 ii4 #ac1 #ae2 as ,aidos1 ii4 #ij2 ,asiatic1 i4 #ef1 #bhi1 #cja1 ii4 #ce2 ,diktynna1 i4 #dig1 ii4 #ce ,artis on kilns at ,castor1 ii4 #dce1 #ddg ff4 ,artistic aspects of study of vases1 i4 #ac1 and see i4 #bj ,artists' signatures1 ii4 #bdd1 #beg ff41 #bgb2 list of1 ii4 #bgc ff42 ,athenian1 i4 #cgi ff41 #dbj ff41 ii4 #beg ff4 1 1 i4 #agi 1 i4 #agi ,aryballos1 i4 #abg1 #aig1 #cjj2 ,corinthian1 i4 #cab2 later type1 i4 #dab1 #dib ,ashmolean ,museum1 see ,oxford ,asia personified1 ii4 #ha ,asia ,minor1 vase-collections in1 i4 #cj2 tombs of1 i4 #cd2 vase-finds in1 i4 #fa1 #ccj1 #cef2 lamps from1 i4 #ajh2 porcelain ware from1 i4 #abi ,asiatic art1 influence of1 on ,arretine ware1 ii4 #dhi2 and see ,ionic ,asine1 pottery from1 i4 #eb ,asklepios1 ii4 #gf2 on lamp 7871 ii4 #daf ,askos1 i4 #aai1 #abi1 #aii2 local ,apulian1 ii4 #cbe1 #cbf ,assariik1 pottery from1 i4 #fd1 #bhj1 #cdj ,assos1 pottery from1 i4 #fb ,assteas1 vase-painter1 i4 #ha1 #hc1 #dgb1 #dgd1 #dgh ff41 ii4 #ajd1 #bga ,assyrian bricks and cylinders1 i4 #f1 #g2 enamels1 i4 #h2 textile fabrics1 i4 #cab1 #ccc1 #ccd2 influence on ,greek pottery1 i4 #bie1 #ccc2 and see ,oriental ,asti1 see ,hasta on tiles1 i4 #aja ,astyanax1 ii4 #aca1 #acd ,atalante1 ii4 #ada1 #adb2 on ,gaulish vase1 ii4 #ecb ---- in ,lokris1 vases found at1 i4 #ec ,ate1 ii4 #ij ,ateius1 ,cn41 potter1 ii4 #ejj ,athamas 7871 see ,salmoneus ,athena1 on vases1 i4 #cbc1 ii4 #cg ff42 types of1 ii4 #aij2 statues of1 ii4 #dj1 #acd1 and see ,palladion2 ,parthenos on vases1 i4 #ddi1 #dea2 ,promachos1 i4 #chi2 with ,poseidon on vase1 i4 #dfd1 #dig1 ii4 #bd2 on lamp1 ii4 #dji2 birth of1 i4 #cgj1 #cif1 ii4 #ae1 #bid2 birth-type used for other scenes1 i4 #chh2 with ,herakles1 ii4 #ch1 #aje2 in ,trojan scenes1 ii4 #ci1 #acc2 at ,judgment of ,paris1 ii4 #abb ,athenaeus on shapes of vases1 i4 #adh ff42 on drinking-cups1 i4 #ahj ff4 on tile from ,marathon1 i4 #ii ,athenian artists or potters1 i4 #cgi ff41 #dba ff41 ii4 #bee ff42 migration of1 to other parts1 i4 #dfd1 #dfe2 festivals1 ii4 #aef2 horsemen or knights1 ii4 #aff1 #agg1 #agi2 sepulchral reliefs1 i4 #dgg1 ii4 #aeh2 tribal heroes1 ii4 #adj2 vases made for ,cyprus1 i4 #bee2 exported to other parts1 i4 #aa1 #dje1 #deh1 #dfd2 influenced by ,ionian1 i4 #bid1 #bie1 #chh2 contrasted with ,ionian1 i4 #ccb1 #cef2 chronology of1 i4 #dja ff41 #dfc1 ii4 #bgj2 and see generally ,dipylon1 ,proto-,attic1 ,black-figured1 ,red-figured2 white lekythi1 i4 #dh1 #ed1 #hf1 #acb1 #adb1 #aif1 #ded ff41 ii4 #aeg ,athens1 history of1 in connection with vases1 i4 #aa1 #cfi1 #dah1 #dfc2 finds of vases at1 i4 #ab1 #cc1 #df ff42 of lamps1 i4 #ajh2 museum of1 i4 #bf1 #cj1 #dh2 ,acropolis1 finds on1 i4 #cc1 #dh1 #ach1 #djb2 tombs at1 i4 #cc1 #dg1 #adb1 #adg2 modern forgers at1 i4 #dc2 potters' quarter at1 i4 #hi1 #bca2 public measure at1 i4 #ace2 early artistic position of1 i4 #bce1 #bib1 #cfi2 art of painting at1 i4 #cif ff41 #dji1 #dda ff41 #ded2 pottery of1 see ,chapters ,,vi41 ,,vii41 ,,ix4-,,xi4 passim2 its native origin1 i4 #bj1 #bgh2 inscriptions on vases1 ii4 #bee ff41 and see ,attic2 termination of vase-painting at1 i4 #dfc ff4 ,athletes on vases1 i4 #dag1 #dgf1 ii4 #afb ff42 attire of1 ii4 #aig ,atilius1 ,k41 potter1 i4 #ejb ,atlantes of terracotta at ,pompeii1 ii4 #cgd ,atlas1 ii4 #ge ,atreus and ,thyestes1 ii4 #ada ,attegia tegulicia1 ii4 #cdb ,attic alphabet1 i4 #ab1 ii4 #bdf1 #bfh2 dialect1 ii4 #bcg1 #bee2 inscriptions1 i4 #bia1 #bif1 #cbe1 #cgj1 #cgi1 ii4 #bee ff42 palaeography of1 ii4 #bfh ff42 comedy reflected on vases1 i4 #dgc1 #dhc1 #dhd2 legends on vases1 ii4 #ach ff4 ,attica1 finds of pottery in1 i4 #di1 #bgh ff42 and see ,athens ,auge1 i4 #dgd1 ii4 #ajd ,aulis1 scenes at1 ii4 #abd ,aurae1 ii4 #ha1 #aic ,auster1 stamp of1 ii4 #ddj ,australis on ,roman tile1 ii4 #cei ,austria1 vase-collections of1 i4 #bh ,auvergne1 potteries in1 ii4 #ejd2 and see ,lezoux ,avot for fecit1 ii4 #chb1 #eji ,babylonia1 bricks of1 i4 #f1 #h1 #ia1 #id2 cylinders and tablets1 i4 #g2 enamels1 i4 #h ,bacchic scenes1 see ,dionysiac ,bacchylides and vase-paintings1 ii4 #f ,baking1 of terracottas1 i4 #aaf2 of vases1 i4 #bad ff42 ovens for1 i4 #aje2 and see ,kilns ,ball-games1 ii4 #afg ,banassac1 fabric of1 ii4 #ebd ,banquet-scenes1 ii4 #ahj ff42 use of kylix in1 i4 #ahh ,barbarians on vases1 i4 #dbj1 ii4 #agh ff4 ,barbotine decoration1 i4 #acj1 #baj1 ii4 #dch1 #ddb1 #eje1 #eab2 in ,germany1 ii4 #eac1 #ecf2 at ,lezoux1 ii4 #ebh1 #ebi2 at ,castor1 ii4 #edd ,bargates1 potter1 ii4 #dhc ,bari1 vases from1 i4 #hd1 #hf2 local pottery of1 ii4 #cbf 8,base-ring0 ware 7,cypriote71 i4 #bdb ,basile and ,echelos1 ii4 #bg1 #adj ,bathing-scenes1 ii4 #afe1 #agc ,baths1 use of tiles in1 i4 #ajc1 ii4 #cdb1 #cdf2 use of bricks in1 ii4 #cca1 #cce1 #cci2 vessels used for1 i4 #agf ---- of ,caracalla1 arrangements of1 ii4 #cdg ,bears on lamps1 ii4 #cih 8,belgic0 black ware1 ii4 #eeb ,bellerophon on vases1 ii4 #aad2 on lamps1 ii4 #dad ,benghazi1 vases from1 i4 #fh2 porcelain ware from1 i4 #abi2 and see ,cyrenaica ,berlin ,museum1 i4 #be1 #bh ,bibe1 amice1 de meo on ,gaulish vase1 ii4 #ebd 1 i4 #afd 8,bilingual0 vases1 i4 #chg ,biremes on ,geometrica vases1 i4 #bia1 ii4 #agh ,blacas krater1 i4 #dji1 #ddc1 ii4 #gh1 #gi ,black punctured ware 7,cypriote71 i4 #bdb ---- slip ware 7,cypriote71 i4 #bda ---- varnish1 i4 #baj1 #bai ff41 #cga1 #dje ---- wares 7,etruscan71 ii4 #bia2 mentioned in ,latin literature1 ii4 #cjd2 plain ,roman1 ii4 #eeb2 and see ,etruria1 ,naukratis1 etc4 ,black-bodied amphorae1 i4 #aea2 other vases1 i4 #bba ,black-figured vases1 i4 #bai1 #cfh2 from ,cyprus1 i4 #bee2 from ,ionia1 i4 #ccj1 #cef ff42 technique of1 i4 #bai1 #cgj2 shapes1 i4 #cgb ff42 ornamentation1 i4 #cge ff41 ii4 #bcd2 subjects1 i4 #cgf ff42 artists of1 i4 #cgi ff41 ii4 #bgd2 arrangement of subjects on1 ii4 #bjg2 -names on1 ii4 #bgg2 transition to ,r4,f41 i4 #chf1 #cic1 #djj2 treatment of eye on1 compared with ,r4,f41 i4 #djh2 subjects compared with ,r4,f41 i4 #daf ff42 varieties of amphora in1 i4 #aei ,blanchet on ,gaulish terracottas1 ii4 #chj ff42 on kilns in ,france1 ii4 #ddc1 #dea2 on ,gaulish pottery-centres1 ii4 #ecc ,boar-hunts on vases1 i4 #cae1 ii4 #aff2 and see ,calydonian ,boat-shaped vases1 i4 #ahf2 lamps1 ii4 #djc ,bhlau on ,geometrical pottery1 i4 #bhf ff42 on ,proto-,attic1 i4 #bib2 on ,phaleron ware1 i4 #bih2 on ,ionic pottery1 i4 #ccf ff4 ,boeotia1 pottery from1 i4 #eb2 tiles from1 i4 #ajb2 terracottas from1 i4 #aah1 #abc1 #bij2 ,mycenaean pottery from1 i4 #bgd2 ,geometrical1 i4 #eb1 #aei1 #bhf2 bronze fibulae of1 i4 #bij2 ,proto-,corinthian vases1 i4 #cjg2 later local fabrics1 i4 #cjj1 #cia1 #dea2 vases with reliefs1 i4 #dig2 alphabet of1 ii4 #beb2 artists' signatures1 ii4 #beb1 #bgc ,boiae1 foundation of 7871 ii4 #adc ,bologna1 vases from1 i4 #gb2 ,villanuova civilisation at1 ii4 #bhe ,bolsena1 vases from1 i4 #gc1 #eja ,bomarzo1 vases from1 i4 #gd 1 i4 #aih ,borax1 use of1 for red glaze1 ii4 #dcg ,boreades1 ii4 #ha1 #aae1 #aaf ,boreas1 ii4 #hj1 #aae1 #aid ,boriedus1 potter1 ii4 #eea ,boston ,museum1 i4 #bf1 #cj2 vase in1 ii4 #dhc ,bowls1 ,megarian or ,homeric1 i4 #ej1 #ec1 #acd1 #ahe1 #dii2 for libations1 i4 #adj1 #aib1 ii4 #dga2 8,italian ,megarian10 ii4 #dij2 forms of ,gaulish1 ii4 #eja1 #ebj ff42 and see ,calix1 ,patera1 ,phiale ,boxers1 ii4 #afc ,braziers1 i4 #aje ,bricks1 use of1 in ,babylonia1 i4 #f1 #ia2 in ,greece1 i4 #hi ff42 in ,etruria1 ii4 #cad2 at ,rome1 ii4 #cca1 #ccf1 #cdj1 #ceb2 at ,pompeii1 ii4 #ccg2 sun-dried1 i4 #ia ff41 ii4 #cca1 #cce2 baked1 i4 #ie1 ii4 #ccd ff42 sizes of ,roman1 ii4 #ccb2 methods of construction in1 ii4 #ccg ff42 stamps and inscriptions on1 ii4 #ceb ff42 and see ,tiles ,bridal scenes1 see ,marriage ,britain1 vase-collections in1 i4 #bg2 use of brick in1 ii4 #ccb1 #ccg1 and see #cce2 tiles from1 ii4 #cdf1 #cdh1 #ceh1 #cei1 #cfc2 terracotta statuettes from1 ii4 #cgi1 #chd2 kilns found in1 ii4 #ddd1 #dde1 #ded2 wine-amphorae1 ii4 #dfa2 ,roman pottery found in1 ii4 #edj ff42 imported wares1 ii4 #ejd1 #edj2 subjects1 #ejh2 types and chronological sequence1 ii4 #edj2 barbotine wares in1 ii4 #eac1 #edd2 ,rutenian1 ii4 #ebb2 ,lezoux ware1 ii4 #ebi2 8false ,samian0 ware1 ii4 #eda2 potters' names from1 ii4 #edb2 local fabrics1 ii4 #edc ff42 plain wares1 ii4 #edi ff42 and see ,castor1 ,new ,forest1 ,upchurch ,british ,museum1 i4 #ag1 #bd1 #bg2 prices paid by1 for vases1 i4 #dc ff4 ---- ,school at ,athens1 excavations of1 i4 #eg1 #bfb1 #bfe 1 i4 #ahf ,brongniart on ,greek vases1 i4 #bjc2 on bucchero1 ii4 #cja2 on plain ,roman wares1 ii4 #dcg1 #edh ,bronze1 workers in1 ii4 #aga2 imitations of1 in bucchero ware1 ii4 #cjc2 in ,roman pottery1 ii4 #ebh1 #eeb ---- ,age in ,cyprus1 i4 #ce1 #ff1 #bjf1 #bcg ff42 in ,italy1 ii4 #bhc ff42 porcelain ware of1 i4 #abg ,brunn on ,melian reliefs1 i4 #abj ,brushes used for painting vases1 i4 #bbg ,brygos1 potter1 i4 #dba1 #dcg1 ii4 #bef ,bucchero ware in ,cyprus1 i4 #bdb2 in ,etruria1 ii4 #bhi1 #bie1 #cja ff4 ,bucket1 see 1 ,situla ,bularchos1 painter1 i4 #cfa1 #cfc ,burgon vases1 i4 #de1 #dg1 #eg1 #ade1 #bhe1 #bie ,burial scenes1 and use of vases in1 see ,funeral ,burlesques1 ii4 #aei2 and see ,caricatures1 ,comedy ,busiris1 ii4 #ajb ,busts of terracotta 7funereal71 i4 #abc ,butades1 i4 #ih1 #aaj ,butrio1 potter1 ii4 #ebg ,cacus1 ii4 #ajj ,cadus1 ii4 #dfc2 and see ,caecilius ,saevus1 ,l41 lamp-maker1 ii4 #djf1 #dbc1 #dbe1 #dbh ,caere1 see ,cervetri ,caeretan hydriae1 i4 #aff1 #cec ff41 ii4 #cjh2 allied fabrics1 i4 #cef ff4 ,caesar1 ,c4 ,julius1 his finds of vases at ,corinth1 i4 #acd ,caistor-by-,norwich1 kiln at1 ii4 #dde1 #ddi ,calene phialae1 i4 #ejb1 and see ii4 #dij ,calidius ,strigo1 potter1 ii4 #dhb ,calix1 ii4 #dfh2 and see ,bowl1 ,kylix ,calvi 7,cales71 vases from1 i4 #ha1 #aai1 #adf1 #aia1 #ejb ,calydonian boar-hunt1 ii4 #aad1 #bid ,calyx-patterns1 ii4 #bba ,cambridge1 ,fitzwilliam ,museum1 i4 #bg ,cambridgeshire1 ,roman tombs in1 ii4 #cea1 #def ,campania1 vases found in1 i4 #hj1 #adf2 amphorae of1 i4 #afb1 #dfi1 #dhd2 fabrics of1 i4 #dfg ff41 #dhb ff42 local1 i4 #bbg1 #dhd2 ,roman pottery in1 ii4 #dge1 #dgh ,candelabrum-amphorae1 i4 #afb ,canino1 i4 #dd1 #gf2 and see ,vulci ,canoleius1 ,l41 potter1 i4 #ejb ,canopic jars 7,etruscan71 ii4 #cjd ,canosa1 vases from1 i4 #hd1 #aah1 #adf1 #dhg ,capedo1 capis1 ii4 #dga ,capitoline ,jupiter1 temple of1 ii4 #cad1 #cga1 and see i4 #aaf2 statue of1 ii4 #cad1 #cgb ,capua1 vases from1 i4 #ha1 ii4 #dhh1 #dic2 tiles from1 i4 #ih1 #ajc2 vases with gilding from1 i4 #baj1 #bca1 #dih2 forgeries made at1 i4 #db ,caria1 pottery from1 i4 #fd1 #ccj1 #cdj ,caricatures on vases1 i4 #cib ,carthage1 lamps from1 ii4 #cig1 #cii1 #dje1 #dbb2 ,gaulish vase at1 ii4 #ebc ,casks1 see ,dolium1 ,pithos ,castor1 kilns of1 ii4 #dce1 #dcg1 #ddd1 #ddf ff42 ware of1 ii4 #edc1 and see #ddb1 #ecf ,catagrapha1 i4 #cig1 #dee ,catalogues of vases1 i4 #bf ff42 and see ,bibliography in ,vol4 ,i4 ,catinus and catillus1 ii4 #dfi ,cato on terracotta sculpture at ,rome1 ii4 #cgc ,caudebec1 terracotta figure from1 ii4 #chd ,cave-dwellings1 pottery from1 i4 #d ,ceglie1 vases from1 i4 #hd ,centaurs1 ii4 #ajb1 #aaa1 #ade1 #aie ,centorbi1 vases from1 i4 #hg ,cerialis1 potter1 ii4 #dci1 #eaa1 #ecf ,cerigo1 see ,kythera ,cervetri 7,caere71 vases from1 i4 #ge1 ii4 #bib ff41 #big1 #cjg1 #cjh2 architectural terracottas from1 i4 #ih1 ii4 #cae1 #cag2 vases with reliefs from1 i4 #dif1 ii4 #bib2 painted slabs from1 ii4 #bii1 #cai2 ,regulini-,galassi tomb at1 ii4 #cjj2 abecedaria from1 ii4 #caa2 sarcophagi from1 ii4 #cag1 #cba ,cesnola1 i4 #fe ,chachrylion1 potter1 i4 #dbj1 #dbd1 #dbg1 #dcj chare ka pei e1 i4 #cgc1 ii4 #bfe ,chalcidian vases1 i4 #cba ff42 alphabet and inscriptions1 ii4 #bec ,chalcosthenes or ,caicosthenes1 i4 #ib ,chalkis as pottery centre1 i4 #ee1 #cjg1 #cba ff41 #die ,chamber-tombs 7,etruscan71 ii4 #bid ff4 ,chares1 vase-painter1 i4 #cae ,charinos1 potter1 i4 #daa1 #dib ,chariot-scenes on vases1 ii4 #afd1 #aff1 #agf2 on lamps1 ii4 #dag1 #dbb ,charioteer1 dress of1 ii4 #aih ,charon1 i4 #dei1 ii4 #fi1 #aic ,charun1 ii4 #fi1 #aic1 #caj ,cheiron1 ii4 #ie1 #abj1 #ade ,chelis1 potter1 i4 #dbj1 #dbd1 #dbg ,chequer-patterns1 ii4 #bae ,chest of ,kypselos1 see ,kypselos ,chevron-patterns1 ii4 #bad ,chigi vase1 i4 #cji ,children1 vases used by1 i4 #acg2 subjects relating to1 ii4 #afg1 #agd ,chimaera1 ii4 #aad1 #adh ,chiton1 treatment of1 on vases1 i4 #cgb1 ii4 #bjj ,chiusi1 vases from1 i4 #gc2 as centre for ,etruscan pottery1 ii4 #cjb1 #cjd ,christian lamps1 ii4 #djd1 #dbj ,chronology of ,cypriote pottery1 i4 #bde ff42 of ,cretan1 i4 #bfe2 of ,r4,f4 vases1 i4 #dja ff41 #dfc1 ii4 #bga2 of ,gaulish terracottas1 ii4 #che2 of ,roman lamps1 ii4 #cii ff42 of ,gaulish pottery1 ii4 #eja ff41 #eaf ff4 ,chrysaor1 ii4 #aab ,chryse1 ii4 #aje1 #aae1 #abd ,chrysos1 ii4 #he1 #hh ,chthonian deities1 in terracottas1 i4 #abc ff42 on vases1 ii4 #fg ff4 1 i4 #agd 1 1 i4 #bcb ,ciborium1 i4 #ahf1 ii4 #dfh ,cicero quoted1 ii4 #cfe1 #cga ,cincelli1 potteries at1 ii4 #dhj1 #dhc ,cinerary urns1 i4 #add ff42 ,etruscan1 ii4 #bhe1 #bhh2 ,roman1 ii4 #def1 and see #eej2 and see ,ossuaria ,cinnamus1 potter1 ii4 #ebg ,circle-patterns1 ii4 #baf ,circus1 scenes from1 on mural reliefs1 ii4 #cgj2 on lamps1 ii4 #dag1 #dbb ,cistae1 ,etruscan1 compared with vases1 ii4 #cjg ,cities personified1 ii4 #ha1 #hb1 #aid ,civil use of pottery1 see ,measures ,civita ,castellana1 see ,falerii ---- ,lavinia1 terracottas from1 i4 #ih1 #aja1 ii4 #caf1 #cag ---- ,vecchia1 vases from1 i4 #gd ,classical literature1 see ,literature ,clay1 earliest working in1 i4 #e ff42 uses of1 i4 #hi ff42 varieties of1 i4 #aac1 #bjd2 used for bricks and tiles1 i4 #ij ff41 ii4 #ccc ff42 for sarcophagi1 i4 #ajd2 for models1 i4 #aaa1 ii4 #cge2 for porcelain objects1 i4 #abg2 in sculpture1 i4 #aji ff41 ii4 #cad1 #cag1 #cga ff42 nature of1 for terracotta figures1 i4 #aac1 ii4 #chj2 for mural reliefs1 ii4 #cff2 for lamps1 ii4 #djd2 for ,roman pottery1 ii4 #dcd ff41 #edh2 preparation of1 for vases1 i4 #bjb ff42 representations of digging for1 ii4 #agj ,clazomenae1 vases from1 i4 #fb1 #fd1 #ccj1 #ced1 #cef2 as centre of ,ionic fabric1 i4 #cej1 #ced2 sarcophagi of1 i4 #fb1 #cfb ff42 compared with vases1 i4 #cej ff4 ,cobnertus1 potter1 ii4 #ddj ,coins1 terracotta moulds for1 i4 #ajf1 ii4 #cij ff42 compared with ,r4,f4 vases1 i4 #dbf2 evidence of1 for ,greek alphabets1 ii4 #bdf ,colchester1 terracottas from1 ii4 #chd2 kilns at1 ii4 #dde2 vase from1 ii4 #edd ,collections of vases1 early1 i4 #af ff42 list of existing1 i4 #bg ff4 ,colours used for terracottas1 i4 #aaf2 for vases1 i4 #bcj2 in ,etruscan art1 ii4 #bii1 #cba ff42 for mural reliefs1 ii4 #cff ,combats1 ii4 #age ff42 and see ,gladiators ,comedy1 scenes from1 on vases1 i4 #dgc1 ii4 #afj ,comitialis1 potter1 ii4 #eaa 8,complementary0 method of representation1 ii4 #aj ,concentric circles1 ,cypriote1 i4 #bea1 ii4 #baf ,conclamatio1 ii4 #aeg ,concrete1 use of1 in ,roman buildings1 ii4 #cce ff4 ,condatomagus1 see ,graufesenque ,congius1 ii4 #dgb ,consuls1 names of1 on tiles1 ii4 #cfj2 on vases1 ii4 #dfb1 #eab 8,continuous0 method of representation1 ii4 #aj ,convivial inscriptions1 ii4 #bfe1 #ebd1 #ech ,cooking-vessels1 i4 #agd1 ii4 #dgj ,corfu1 vases from1 i4 #ed2 tiles from1 i4 #aja ,corinth1 its early commercial and artistic importance1 i4 #aa1 #cjc2 finds of pottery at1 i4 #ej1 #aci1 #cjd1 #cje1 #cjg2 amphora-handles from1 i4 #aeh2 clay of1 i4 #cjd1 #cje2 industries of1 represented on vases1 i4 #bjg1 #baf1 #cje1 #cag1 ii4 #agj ,corinthian krater1 i4 #afh2 kylix1 i4 #aij2 painters1 i4 #cab1 #cbj1 #cie2 pinakes1 i4 #ea1 #aci1 #bjg1 #baf1 #bbd1 #cje1 #caf1 ii4 #bc1 #agj1 #bdi1 #bea2 vases generally1 i4 #cjd ff42 sites where found1 i4 #cjd2 classification1 i4 #cje ff42 shapes1 i4 #caa ff41 #cag2 ornamentation1 i4 #caa ff41 #cbj1 ii4 #bcc2 subjects1 i4 #cad1 #cah2 inscriptions1 i4 #cae1 #cbf1 ii4 #bdi ff42 potters' names1 i4 #cae1 ii4 #bej1 #bgc2 imitations of1 i4 #cba2 types from1 on 8,tyrrhenian0 amphorae1 i4 #cbf2 points of contact with ,ionia1 i4 #cbi ff42 found in ,etruria1 i4 #gg1 #cah1 ii4 #bid ff41 #cjg ,corintho-,attic vases1 see ,tyrrhenian ,cornelius1 ,p41 potter1 ii4 #dhb ,corneto1 vases from1 i4 #gd1 ii4 #bhd ,cornices of terracotta1 i4 #ig1 ii4 #cdd ,cosmogonic deities1 ii4 #gc ff4 ,costume on ,greek vases1 ii4 #bjj ff4 ,countries personified1 ii4 #ha1 #hb1 #aid 8,courting0-scenes1 i4 #dge1 ii4 #ahc ,crater1 see ,krater ,crescent patterns1 ii4 #bah ,cretan bull1 ii4 #if ,crete1 finds in1 i4 #ei1 #aeb1 #bfc ff42 ossuaria in1 i4 #ade1 #bgb2 ethnography of1 i4 #bfd2 early pottery of1 i4 #bfe ff42 as ,mycenaean centre1 i4 #bfi1 #bgd2 influence on later pottery1 i4 #bgf2 the island personified1 ii4 #hb ,crimea1 vases from1 i4 #fj1 #ccj1 #cdj1 #ddg1 #ddh1 #dfd2 wine-amphorae from1 i4 #aeh ,croesus1 see ,kroisos ,crudus1 used of bricks1 i4 #ij1 #ib2 of vases1 i4 #bad 8,cult of ,tomb0 on lekythi1 i4 #adc1 #dei1 #dfj1 ii4 #aeh2 on ,apulian vases1 i4 #add1 #dgf1 ii4 #aeh ,cumae1 vases from1 i4 #hj1 #baj2 fabrics of1 i4 #dhc1 ii4 #dgh ,cupid1 see ,eros ,cups1 see ,drinking-cup1 ,kylix1 etc4 ,curetes and infant ,zeus1 ii4 #cfh ,curium1 tombs at1 i4 #cf1 #bee1 and see #ff1 #fg2 vases from1 i4 #abh1 #bdc ff41 #dhh ,cyathus1 ii4 #dfg2 and see ,kyathos ,cyclades1 finds in1 i4 #ef2 early pottery of1 i4 #i1 #ef1 #bfj ff41 #cjc ,cyclic poets and vase-subjects1 ii4 #d1 #aai ff4 ,cycnus1 scene from drama of1 ii4 #eca ,cylinders1 ,assyrian1 i4 #g ,cyprus1 vase-collections in1 i4 #cj2 tombs in1 i4 #cd ff42 finds of pottery1 i4 #fe1 #bcg1 #bdj1 #bej1 #bgc1 #bhj2 terracottas1 i4 #aab1 #abc ff42 general character of pottery1 i4 #bcf2 shapes of vases14 i4 #bch1 #beb2 ,bronze-,age pottery1 i4 #ff1 #bjf1 #bcg ff42 ,mycenaean pottery1 i4 #bci1 #bdd2 ,graeco-,phoenician1 i4 #bdg ff42 ,hellenic1 i4 #bee2 ,roman1 ii4 #die1 #dii2 ethnology of inhabitants1 i4 #bdj1 #bdh2 chronology of pottery1 i4 #bej ,cyrenaica1 tombs in1 i4 #cf2 vases from1 i4 #fi1 #dfe2 terracottas1 i4 #abe1 #abf2 and see ,kyrene ,cyrene1 see ,kyrene ,daidalos1 see ,ikaros ,daily life1 scenes from1 on vases1 i4 #dag1 #ddi1 #dge1 ii4 #aed ff42 on lamps1 ii4 #daf ff42 of women and children1 ii4 #agb ff4 ,dali1 pottery of1 i4 #bej1 #bgc ,dana1 ii4 #ai1 #aab ,danaids1 ii4 #fh ,danaos 7871 ii4 #adj ,dancing scenes on ,greek vases1 ii4 #afh1 #ahb2 on ,arretine vases1 see ,hieroduli ,daphnae1 pottery from1 i4 #fh1 #cdi ff42 ,fikellura style at1 i4 #cch1 #ceb2 scale-pattern used at1 i4 #caa1 #ccg1 #ceb1 ii4 #bah ,dardanus1 see ,troad ,dareios in council1 ii4 #aea ,daulis1 vases from1 i4 #ec ,dawn1 see ,eos ,death-deities1 ii4 #gb2 and see ,thanatos ,dchelette on ,gaulish pottery1 ii4 #dcb1 #ejd ff41 #eaf ff4 ,decoration of vases1 artistic value of1 i4 #ad2 see ,ornamentation1 ,subjects ,decorative patterns1 see ,ornamental ,dedicatory inscriptions on ,greek vases1 i4 #aci1 ii4 #bdb2 on lamps1 ii4 #dba ,deepdene1 collection of vases at1 i4 #ag1 #bg1 #cbc ,deianeira1 ii4 #ajb1 #ajd ,deinos 7vase-shape71 i4 #agc ,deities1 terracotta statuettes of1 i4 #abb2 ,gaulish1 ii4 #chd ff42 representations of1 on vases1 see ,chaps4 ,,xii41 ,,xiii42 on lamps1 ii4 #djh ff42 ,etruscan1 ii4 #caj ,delos as centre of vase-fabric 7871 i4 #eg1 #cjb2 braziers made at1 i4 #aje ,delphi1 pottery from1 i4 #ec ,delphic scenes on vases1 ii4 #bi ff41 #ajc1 #ach ,delphiniform lamps1 ii4 #cii ,demeter1 ii4 #bf ff41 #ahi2 bust of1 in terracotta1 i4 #abc ,demons1 on braziers1 i4 #aje2 and see ,death-deities on tiles1 i4 #ajb2 on a washing-basin1 ii4 #bfj on a measure1 i4 #ace ,demosthenes1 allusions to vases in1 i4 #acc1 #adb ,dennis1 explorations of1 in the ,cyrenaica1 i4 #cf2 in ,etruria1 i4 #ch2 in ,sicily1 i4 #hg ,departure-scenes on vases1 ii4 #agf 1 i4 #adh1 #aha ,depositio-scenes1 i4 #dei1 ii4 #aeg ,descriptive names1 ii4 #ia1 #bfj ,devices on shields1 ii4 #aih ,diadumenos1 terracotta figure of1 i4 #abf ,diana on ,gaulish pottery1 ii4 #ejg1 #ejh2 and see ,artemis ,diitrephes 7871 ii4 #aea ,dike1 ii4 #fi1 #hi ,dimini1 pottery from1 i4 #ed 7of lamps71 i4 #ajg ,diocletian1 tile-stamps in reign of1 ii4 #cec1 #cfb ,diogenes on lamp1 ii4 #dae1 #dba2 tub of1 i4 #aea ,diomedes1 horses of1 ii4 #ih ---- in ,trojan scenes1 ii4 #abg1 #abh1 #acc ,diomos 7tribal hero7 81 ii4 #adj ,dionysiac personifications1 ii4 #fd ff41 #ia2 scenes on vases1 ii4 #cb1 #ed1 #eg ff42 on ,r4,f4 vases1 i4 #daf2 on mural reliefs1 ii4 #cfi2 on lamps1 ii4 #daa2 on ,arretine vases1 ii4 #dib1 #dic ,dionysos on vases1 ii4 #ee ff41 #aia2 in ship1 i4 #cha2 in ,gigantomachia1 ii4 #ad1 #ef2 birth of1 ii4 #ai1 #ee2 in ,attica1 ii4 #aci2 sacrifices to1 i4 #adj1 ii4 #fj ,dioskuri on vases1 ii4 #ic1 #aae1 #aid2 on lamps1 ii4 #dac ,diota1 i4 #aed1 #afc1 ii4 #dfj ,dipylon1 cemetery of1 i4 #i1 #dh1 #bhj2 vases from1 i4 #dh1 #bdg1 #bec1 #bee1 #bhj ff42 ornamentation1 i4 #bhb1 ii4 #bcb2 subjects1 i4 #bhe1 ii4 #aeg1 #agh2 chronology1 i4 #bia2 influence on later vases1 i4 #bic1 #bih2 early inscribed vase from1 ii4 #bdc ,discovery of vases1 circumstances of1 i4 #cc ff4 ,discs of terracotta of unknown use1 i4 #aje1 #ajf ,discus 771 name of vase1 i4 #aid1 ii4 #dfi2 part of lamp1 ii4 #cie ,dishes1 ,greek1 i4 #aid2 ,roman1 ii4 #dfh ,diskos1 throwing of1 ii4 #afc ,divixtus1 potter1 ii4 #ebg ,dodwell pyxis1 i4 #ej1 #cae1 ii4 #bej ,drpfeld1 discoveries of1 at ,troy1 i4 #fa1 #aec1 #beg1 #bei of ,athenian knights1 ii4 #agg ,doliarius1 ii4 #deg1 #eaa ,dolium1 ii4 #dch1 #deg ff42 and see ,pithos ,dolls of terracotta1 i4 #aac1 #aad1 #abj ,dolon1 story of1 i4 #cfc1 ii4 #abh ,domestic use of vases1 i4 #acf1 #ach1 and see #beb2 ,roman1 ii4 #dca1 #dee ff41 #edi ff4 ,domitia gens1 tiles of1 ii4 #ceg1 #ceh ,dorian invasion1 i4 #bde1 #bgg ,doric architecture1 use of tiles in1 i4 #id2 dialect used at ,athens1 ii4 #bef ,douai1 potters' stamps from1 ii4 #ejc ,dragendorff on ,roman pottery in ,greece1 ii4 #dgf1 #dih2 on ,arretine ware1 ii4 #dhb1 #dhi ff42 on provincial ware1 ii4 #dii ff42 on ,roman red glaze1 ii4 #dce ,drain-pipes1 see ,pipes ,drama1 subjects from1 on late vases1 i4 #dga ff41 ii4 #g1 #aei ff4 ,drapery1 treatment of1 on ,b4,f4 vases1 i4 #cgb2 on ,r4,f41 i4 #djh2 and see ii4 #bja ,drawing on ,greek vases1 technique of1 i4 #bbb ff42 on ,b4,f4 vases1 i4 #cga2 on ,r4,f41 i4 #djf ff42 on white-ground vases1 i4 #deg2 on ,south ,italian1 i4 #dgj2 and see i4 #cif ,dress on vases1 see ,costume1 ,drapery ,dressel on tile-stamps1 ii4 #ceb ff42 on ,arretine stamps1 ii4 #dhf1 #dhg ,drinking-cups1 i4 #adh ff41 #ahj ff42 ,roman1 ii4 #dfg1 and see #dge ,dmmler on ,cypriote pottery1 i4 #bdj2 on ,rhodian1 i4 #ccf2 on ,daphnae pottery1 i4 #cej2 on ,caeretan vases1 i4 #ced2 on 8,pontic10 i4 #cei2 on ,etruscan imitations of ,caeretan1 ii4 #cjh ,duris1 vase-painter1 i4 #ba1 #dba1 #dcd ff41 #ddj1 ii4 #bfc1 #bfh ,earth-,mother1 see ,gaia1 ,echea1 ii4 #deg ,echelos1 see ,basile ,echo1 ii4 #ha2 and see ,pan ,egg-pattern1 ii4 #bbj 1 ii4 #afg ,egnazia1 see ,gnatia 1 form of signature1 i4 #cgi1 #dbb1 ii4 #beg ff41 #bgc ff4 ,egypt1 pre-dynastic pottery of1 i4 #d2 brick used in1 i4 #f1 #id2 use of wheel in1 i4 #g2 enamels of1 i4 #h2 pottery found in1 i4 #fg2 lamps in1 i4 #ajg2 porcelain ware1 i4 #abf ff42 influence of1 on ,cypriote pottery1 i4 #bci1 #bdg ff42 ,cypriote pottery in1 i4 #bci1 #bdb1 #bdc2 evidence from1 for ,cretan and ,mycenaean pottery1 i4 #bff1 #bfg1 #bga2 influence of1 in ,etruria1 ii4 #bii1 #cjc1 #cjd ,egyptian situla at ,daphnae1 i4 #cej2 subjects on ,caeretan vases1 i4 #cee2 in ,roman mural reliefs1 ii4 #cgj2 in ,gaulish terracottas1 ii4 #chf2 on lamps1 ii4 #djb1 #djc1 #dab ,egyptians on vases1 ii4 #ahj 1 i4 #dfj1 ii4 #gb1 #aic ,eileithyia1 ii4 #ae1 #gf ,eirene1 ii4 #he 1 form of signature1 i4 #cgi1 ii4 #beh ,ekphantos1 painter1 i4 #cab1 #cbj1 #cie ,elateia1 tiles from1 i4 #ajb ,elektra1 ii4 #acg ,eleusinian mysteries1 supposed references to1 i4 #ba2 scenes relating to1 ii4 #bg2 and see ,demeter1 ,persephone ,eleusis1 finds of vases at1 i4 #di2 personified1 ii4 #hb 1 i4 #ajg 1 i4 #abd 1 i4 #acj2 and see ,appliqu reliefs ,emperors' names on tiles1 ii4 #ced ff42 on pottery1 ii4 #dfb ,enamelling1 i4 #h1 #abf ff4 ,endt on ,ionic vases1 i4 #cej1 #ced ff4 ,england1 see ,britain ,enkelados1 ii4 #ac ,enkomi1 vases from1 i4 #ff1 #abg1 #bdb ff4 ,eos1 ii4 #gi2 with ,kephalos1 i4 #ih1 ii4 #hj2 with ,memnon1 ii4 #acb ,epexegetic system of interpretation1 i4 #bj ,ephebi on ,r4,f4 vases1 i4 #dag 1 i4 #agi 1 ii4 #afg ,ephialtes1 ii4 #ac ,epic poetry and vases1 ii4 #c ff4 ,epichysis1 i4 #agi1 #dfi ,epidromos 1 i4 #dbe ,epigenes1 potter1 i4 #dde ,epiktetos1 vase-painter1 i4 #cgi1 #cih1 #dbj1 #dbb1 #dbe2 cups from school of1 i4 #dag1 #dbe ff4 ,epilykos1 vase-painter1 i4 #dbd 1 i4 #aii 1 form of signature1 i4 #cgi1 #dbb1 ii4 #beg ff41 #bgc ff4 ,epona1 ii4 #chf ,eretria1 vases from1 i4 #ee1 #deh 1 i4 #aid ,ergasterion1 i4 #bcc ,erginos1 potter1 i4 #ddd ---- and heralds1 ii4 #ajb ,ergotimos1 potter1 i4 #cgj1 #cgi1 #chj1 ii4 #beg ,erichthonios1 birth of1 ii4 #aci ,erinnyes1 see ,furies ,eriphyle1 ii4 #aah ,eris1 ii4 #ij1 #aid ,eros in terracottas1 i4 #abf2 on vases1 i4 #cgg1 #dah1 #dge1 #dhf1 ii4 #de ff41 and see ii4 #hi2 types of1 i4 #dhf1 ii4 #de1 #dh1 #aia2 with ,aphrodite1 ii4 #db ff42 on mural reliefs1 ii4 #cfi2 on lamps1 ii4 #daj ,erymanthian boar1 ii4 #ig ,erythrae1 amphorae in temple at1 i4 #bje ,esquiline1 lamps from1 ii4 #cic1 #cii1 and see #dha2 pottery from1 ii4 #dgg ,ethical ideas on vases1 ii4 #hi ,ethiopians1 ii4 #ahj 1 i4 #age ,ethnography of ,crete1 i4 #bfd2 of ,mycenaeans1 i4 #bge ,ethnological value of study of vases1 i4 #aj 1 i4 #ahj ,etruria1 discoveries in1 i4 #ai1 #gb ff42 tombs of1 i4 #cg1 #gh1 #ajd1 #ade1 ii4 #bhd ff42 architecture of1 in terracotta1 i4 #aja1 ii4 #cac ff42 terracotta sarcophagi1 i4 #ajd1 ii4 #bii1 #cag1 #cbj ff42 sculpture in terracotta1 i4 #aji1 ii4 #cac1 #cag2 relations with ,greece in ,geometrical period1 i4 #bib1 ii4 #bhi ff42 vase-painting in1 i4 #ceh1 ii4 #cjg ff42 relief wares of1 i4 #dif1 #eja1 ii4 #bib ff42 paintings on terracotta1 ii4 #bii1 #cai2 earliest civilisation of1 ii4 #bhb ff42 earliest pottery1 ii4 #bhe2 wheel-made1 ii4 #bij2 ,villanuova period in1 ii4 #bij ff42 early ,greek influence in1 ii4 #bia1 #bic1 #bif ff41 #cjc2 early ,oriental influence1 ii4 #bib1 #bif ff42 character of art of1 ii4 #cji1 #cbb2 ,roman pottery in1 ii4 #dhf1 and see ,arretine ware ,etruscan alphabet1 ii4 #caa2 artists at ,rome1 ii4 #cgb2 inscriptions on vases1 ii4 #caj2 pottery1 see ,bucchero1 ,cervetri1 ,polledrara 8,etruscan0 theory of origin of ,greek vases1 i4 #ah1 #gi ,etruscans1 origin of1 ii4 #bha ,euboea personified1 ii4 #hb2 vases found in1 i4 #ee2 and see ,chalkis1 ,eretria ,eucheiros1 painter1 i4 #cie ,eucheiros1 potter1 i4 #cgd1 #cgi1 #chd ,euergides1 potter1 i4 #dbd ,eumaros1 painter1 i4 #cag1 #cga1 #cif ,euphorbos-plate or pinax1 i4 #ccd1 #cce1 ii4 #abi1 #bdi ,euphronios1 potter and painter1 i4 #cih1 #djb1 #djc1 #dba ff41 #dbh1 #dcj ff41 #ddj ,euripides1 subjects from1 on vases1 i4 #dgb1 #ejj1 ii4 #afb2 on lamp1 ii4 #dae1 #dba ,europa1 ii4 #ai ,eurystheus1 i4 #aea1 ii4 #ig ,euthymides1 vase-painter1 i4 #dba1 #dbg1 ii4 #beh ,euxitheos1 potter1 i4 #dba1 #dbi ,evans1 ,dr4 ,a4 ,j41 discoveries of1 i4 #ei1 #aeb1 #bfe ff4 1 i4 #aih ,exarchos 7,abae71 vase from1 i4 #bag ,excavations1 vases found in1 i4 #ach2 and see ,chapter ,,ii4 passim ,exclamatory inscriptions on vases1 ii4 #bfa ff42 on lamps1 ii4 #dbb ,exekias1 potter and painter1 i4 #afa1 #cgd1 #cge1 #cgi1 #chj ff41 ii4 #bah1 #beg ,explanatory inscriptions on vases1 ii4 #bei ff4 ,expression of figures1 i4 #cih1 #djh1 ii4 #bjb ff4 ,eye1 treatment of1 on vases1 ii4 #bjc2 on ,ionic1 i4 #cef2 on ,attic1 i4 #djh ,eyes on vases1 i4 #beg1 #ceg1 #daj1 #dbf1 #dbg ,fables on ,roman lamps1 ii4 #daf ,fabricius ,masculus1 ,l41 lamp-maker1 ii4 #dbd1 #dbe ,fabroni on ,roman pottery1 ii4 #dcg1 #dgi ,falerii 7,civita ,castellana71 vases found or made at1 i4 #ge1 #dhe1 ii4 #cja1 #cji2 early settlements at1 ii4 #bhi ,false amphora 7,mycenaean71 i4 #bga 8,false ,samian0 ware1 ii4 #dgd1 #ejb1 #eda ,farces1 scenes from1 on vases1 i4 #dgc1 ii4 #aei ff4 ,fasano1 vases found at1 i4 #he2 and see ,gnatia ,fates on vases1 ii4 #hd ,favissae 7rubbish-heaps of temples71 i4 #cde2 and see i4 #ach ,faym1 pottery from1 i4 #fg2 terracotta coin-moulds from1 i4 #ajf1 ii4 #cia ,feather-brush or pen1 use of1 in vase-painting1 i4 #bbg ff4 ,fecunditas1 ii4 #chd1 #chf ,felicitas on lamps1 ii4 #cih1 #dac ,felixstowe1 vases from1 ii4 #ddj1 #ebi ,fibulae1 ,boeotian1 compared with vases1 i4 #bhi ,fictiliarius1 ii4 #eaa ,fidelia1 ii4 #dfe ,figlinae of tile-makers1 ii4 #cef ,figure-subjects1 introduced on ,greek vases1 i4 #bha ff41 #cad ff42 in ,etruria1 ii4 #bia ff42 on ,arretine ware1 ii4 #dib2 on ,gaulish pottery1 ii4 #ejf1 #ejg1 #ead1 #eba1 #ebg2 at ,castor1 #edd 8,fikellura0 or ,samian ware1 i4 #ccf ff42 at ,daphnae1 i4 #cch1 #ceb 8,fine0 style of ,r4,f4 vases1 i4 #dba1 #ddj ff4 ,fink on ,roman lamps1 ii4 #djj1 #dbh ,fish-plates1 i4 #aid1 #dhg1 ii4 #ahf ,flange-tiles1 ii4 #cda1 #cdb ,floral patterns on ,corinthian vases1 i4 #cab2 and see ,lotos1 ,palmette1 ,rosette ,flue-tiles1 ii4 #cdf ff4 ,flute-players on vases1 ii4 #afi ,foreshortening1 i4 #cih ,forgeries of vases1 i4 #dj ff4 ,forms of vases1 see ,shapes ,fortis1 potter1 ii4 #dbc ff41 #dgg ,fortune on money-boxes1 ii4 #cij2 on lamps1 ii4 #dac ,fossa-tombs in ,etruria1 ii4 #bhi ff4 ,fox and ,crow1 fable of1 ii4 #daf ,france1 vase-collections of1 i4 #bg2 pottery-finds in1 ,chapter ,,xxiii4 passim2 terracottas from1 ii4 #cgi ff42 coin-moulds from1 ii4 #cij ff42 clay of1 ii4 #dcd2 kilns in1 ii4 #ddc1 #dea ff42 potters' stamps in1 ii4 #ejc2 and see ,gaul ,franois vase1 i4 #gc1 #adi1 #cgj1 ii4 #aj1 #aa2 inscriptions on1 ii4 #beg1 #bgj 8,free0 style at ,lezoux1 ii4 #ejf1 #eba1 #ebg ,friezes of animals on ,corinthian vases1 i4 #cac ff41 ii4 #bjg2 on ,ionian1 i4 #cca2 general treatment of1 ii4 #bjg ff4 ,funeral lekythi1 i4 #adb1 #deh ff41 ii4 #aeg2 masks1 i4 #abc2 imitated in ,etruria1 ii4 #cje2 scenes on ,apulian vases1 i4 #dgf1 ii4 #aeh2 on ,dipylon1 i4 #bhe1 ii4 #aeg2 in general1 ii4 #aef ff42 uses of vases1 i4 #ada ff42 of lamps1 ii4 #cig2 of ,roman pottery1 ii4 #def1 #eej ,furies1 ii4 #fi1 #ach1 #aib ,furnaces1 see ,kilns ,furtwaengler on forgeries1 i4 #dc2 on ,mycenaean vases1 i4 #bgj2 on ,boeotian1 i4 #bhf2 on the ,aristonos vase1 i4 #bih ,gaia1 1 ii4 #cj1 #gc2 type of1 in terracotta figures1 i4 #abb ff42 rising from earth1 ii4 #gc1 and see #aic2 see also ,pandora ,gamedes1 potter1 i4 #cjj ,games on vases1 ii4 #afg2 of children1 i4 #acg1 #dah1 #ddi1 ii4 #afg ,ganymede1 ii4 #ah ,gaul1 enamelled ware from1 i4 #abi2 terracottas from1 ii4 #cgi ff42 as centre of lamp-fabric1 ii4 #dbg2 moulds and stamps from1 ii4 #dci ff42 kilns in1 ii4 #ddc1 #dea ff42 as centre for provincial pottery1 ii4 #dih1 #ejc1 #eae ff42 subjects on pottery of1 ii4 #ejg2 use of barbotine in1 ii4 #eac1 #ebi2 doubtful pottery-centres in1 ii4 #ecc2 pottery from1 in ,britain1 ii4 #ebb1 #edj1 #edb2 plain wares of1 ii4 #edh ff42 duration of potteries in1 ii4 #dcb1 #ejc1 #ebf2 and see ,france ,gaulish inscriptions on pottery1 ii4 #ejd2 potters represented in art1 ii4 #eaa2 potters' names and stamps1 ii4 #dfa1 #ejd1 #eji1 #ebb1 #ebg 1 i4 #if ,gela1 tombs at1 i4 #cg2 vases from1 i4 #hf1 #aif2 treasury of1 at ,olympia1 i4 #ajj ,gems compared with ,r4,f4 vases1 i4 #dbf ,genre subjects in terracotta1 i4 #abd2 miscellaneous on vases1 ii4 #ahd2 transformed into mythological1 i4 #cah1 cf4 ii4 #e ,geographical distribution of ,greek vases1 i4 #cb2 of ,roman1 ii4 #dcb1 #die1 #dih2 personifications1 ii4 #ha ff4 ,geometrical pottery in ,greece1 i4 #bgg ff42 description of1 i4 #bha ff42 in ,thera1 i4 #ef2 in ,cyprus1 i4 #bci1 #bdg1 #bec ff42 in ,boeotia1 i4 #bhf ff42 influence of1 at ,athens1 i4 #bid1 #bih2 in ,boeotia1 i4 #cjj2 in ,melos1 i4 #cjb2 at ,corinth1 i4 #cjf1 #cjh2 at ,daphnae1 i4 #cea2 in ,etruria1 ii4 #bhi ff42 in ,southern ,italy1 ii4 #cbe1 #cbg1 #cbh2 ornamentation of1 ii4 #bjb ff41 #bcb2 and see ,dipylon ,geras1 ii4 #hd ,gerhard on chronology of vases1 i4 #bc2 on varieties of amphorae1 i4 #afj ,germany1 vase-collections in1 i4 #bh2 inscribed tiles from1 ii4 #ceg1 #cfd2 terracottas from1 ii4 #chc2 duration of ,roman pottery in1 ii4 #dcb2 moulds and stamps from1 ii4 #dci ff42 kilns in1 ii4 #ddd1 #dec2 early ,roman pottery in1 ii4 #eja ff42 description of fabrics and pottery-centres1 ii4 #ejd1 #ecc ff42 classification1 ii4 #ecf2 potters' names1 ii4 #eji ff41 #ece2 barbotine decoration1 ii4 #eac1 #ead1 #ecf2 inscribed pottery1 ii4 #ecg2 plain black wares1 ii4 #eeb ,geryon1 i4 #cbb1 #dcb1 ii4 #ih1 #aie ,giants1 types of1 ii4 #aie ,giganlomachia1 ii4 #ab ff4 ,gilding of terracottas1 i4 #aag2 of vases1 i4 #bja1 #baj1 #bca1 #ddi1 #dih ,girgenti 7,agrigentum71 vases from1 i4 #hf1 #hg2 moulds from4 i4 #aae ,gladiators on lamps1 ii4 #daf1 #dba2 on ,roman pottery1 ii4 #ejg1 #ecb1 #edd ,glass1 enamels1 i4 #h1 cf4 #abg ff42 imitations of1 in pottery1 i4 #fd1 #acj1 ii4 #ddc1 #ead1 #ebd ,glaukon 1 i4 #djc1 #dcb1 ii4 #aec1 #bfg ,glaukos and ,polyeidos1 ii4 #ada ,glaukytes1 potter1 i4 #bcb1 #cgd1 #cgi1 #chd ,glaze on terracottas1 i4 #h1 #aah1 #abh ff42 on ,greek vases1 i4 #bjc ff42 on ,roman pottery1 ii4 #dce ff42 analyses of1 ii4 #dcf2 on provincial wares1 ii4 #dig2 on ,castor ware1 ii4 #ede ,gnatia or ,gnathia 7,egnazia1 ,fasano71 vases of1 i4 #he1 #bbf1 #dhg1 #dhh ,gordion1 pottery from1 i4 #fd ,gorgasos and ,damophilos1 ii4 #cgb ,gorgoneion in interior of kylikes1 i4 #cgd1 #djj1 #dbg ,gorgons1 ii4 #aab1 #adf1 #aif ,graces 7,charites71 ii4 #hd ,graeco-,phoenician tombs in ,cyprus1 i4 #ce2 pottery1 i4 #ff1 #bdg ff41 #bea ff42 sites where found1 i4 #bej ,graeven on ,roman money-boxes1 ii4 #chh ff4 ,graffiti on vases at ,graufesenque1 ii4 #eaj2 and see ,inscriptions ,graufesenque potteries1 ii4 #ejd1 #eae ff42 ornamentation1 ii4 #ejf1 #ebj2 graffiti on1 ii4 #eaj2 forms and decoration1 ii4 #eai2 potters1 ii4 #ebb ,greece1 introduction of potter's wheel in1 i4 #g1 #bjf2 earliest pottery of1 i4 #i1 #aj1 #bgg ff42 collections of vases in1 i4 #cj2 tombs in1 i4 #cc2 finds of pottery in1 i4 #df ff42 terra sigillata in1 ii4 #dgf1 #dih ,greek colonies1 i4 #fj1 #hj2 islands1 finds in1 i4 #ed ff42 early pottery of1 i4 #i1 #bfb ff42 religion1 i4 #ac1 #ach ff41 ii4 #aed ff42 and see ,pottery1 ,vases ,greeks and ,persians1 combats of1 ii4 #aea1 #agi ,grey ,roman wares1 ii4 #eej ,ground-ornaments on ,corinthian vases1 i4 #cab1 #cbj1 ii4 #bca1 #bcc2 on ,ionic1 i4 #ccd1 ii4 #bcc ,gryphons1 ii4 #adh1 #aif2 heads of1 on ,etruscan pottery1 ii4 #cjj ,gsell1 excavations of1 at ,vulci1 i4 #gg1 ii4 #bhj1 #bia ,guildhall ,museum1 ii4 #cei1 #cgi ,guilloche pattern1 ii4 #bai 1 scenes in1 ii4 #agc ,gutter-tiles1 i4 #ig1 ii4 #cda2 at ,pompeii1 ii4 #cdc ff4 ,guttus1 i4 #bjj1 #baa1 #ejc1 ii4 #dfi ,gypsum1 figures of1 i4 #aaa ,hades1 ii4 #bh1 #fg1 #aij2 and see ,underworld ,hadria1 vases from1 i4 #ga2 and see ii4 #dgg ,hair1 treatment of1 on vases1 i4 #djg1 ii4 #bja ,halikarnassos1 finds at1 i4 #aje1 #ajf ,hamilton1 ,sir ,w41 i4 #ag1 #dc ,hampshire1 pottery from1 see ,new ,forest ,hancarville 7,d'71 i4 #ag1 #bb ,handles of vases1 i4 #bjh1 ii4 #ddc2 of wine-amphorae1 stamped1 i4 #aee ff4 ,hare-hunts1 ii4 #afe ,harmodios and ,aristogeiton1 ii4 #aej ,harpies1 ii4 #gb1 #adf1 #aif ,hartlip1 use of tiles in villa at1 ii4 #cdh2 vase from1 ii4 #ejh ,hartwig on the feather-pen1 i4 #bbg2 on ,r4,f4 cup-painting1 i4 #cih1 #dbd ff42 on -names1 i4 #djd ,hasta 7,asti7 as pottery-centre1 i4 #ga1 ii4 #dgg ,hathor1 i4 #bed ,haverfield on ,castor kilns1 ii4 #ddh2 on ,roman pottery1 ii4 #ecf1 #eda1 #edd1 #edf ,hebe1 ii4 #gg1 #hd1 #aic ,hector1 ii4 #abf ff4 ,heddernheim1 kilns at1 ii4 #ddd ,hegesiboulos1 potter1 i4 #dde ,hegias1 vase-painter1 i4 #dba1 #ddd ,heiligenberg1 kilns at1 ii4 #ddd1 #ddf1 #ddi ,hekate1 ii4 #ga1 #aij ,helen1 ii4 #aai1 #abc1 #ace ,helios on vases1 ii4 #gh1 #ajc1 #aic1 #dhc2 on lamps1 ii4 #dab2 as ,rhodian amphora-stamp1 i4 #aef ,helioserapis lamp1 ii4 #djc2 and see i4 #bji1 #baf ,hellas personified1 ii4 #ha ,hellenic pottery1 of ,cyprus1 i4 #bcg1 #bej1 #bec1 #bee2 influence of ,mycenaean on1 i4 #bgf ,hellenistic art1 influence of1 on ,arretine ware1 ii4 #dhi1 #did2 on ,gaulish pottery1 ii4 #ejg2 on ,gaulish terracottas1 ii4 #chf2 porcelain vases1 i4 #abh2 pottery of ,cyprus1 i4 #bef2 terracottas1 i4 #abe ,hemera1 ii4 #gh1 #gi 1 i4 #ace1 #ahc1 ii4 #bda 1 i4 #agd ,hephaistos on vases1 ii4 #cf1 #aij2 in ,gigantomachia1 ii4 #ad1 #ae2 at birth of ,athena1 ii4 #ae2 return of1 to ,olympos1 ii4 #ag2 smithy of1 ii4 #cg1 #acj1 #aga ,hera on vases1 ii4 #af1 #ba1 #ahh2 and see ,juno ,lanuvina ,heraion at ,argos1 i4 #eb1 #bgh1 #bih1 #cjg2 at ,olympia1 i4 #ib ff41 #ig1 #ajj ,herakles on vases1 generally1 ii4 #id ff42 how represented1 ii4 #aid2 on ,corinthian vases1 i4 #cad1 #cah2 on ,chalcidian1 i4 #cbb2 on ,assteas vase1 i4 #dgi2 with ,apollo1 ii4 #cc2 with ,athena1 ii4 #ch1 #aje2 on mural reliefs1 ii4 #cgj2 on lamps1 ii4 #dac2 on ,gaulish pottery1 ii4 #ejh1 #eca1 #ede2 skyphos of1 i4 #ahe2 ,erotes with club of1 ii4 #daa ,heraldic groups on vases1 i4 #cah1 ii4 #bjg ,heralds1 ii4 #agg1 #aih ,hermaios1 potter1 i4 #dbj1 #dbd ,hermes in terracottas1 i4 #aad1 #abf2 on vases1 ii4 #ej ff41 #aij2 1 i4 #cbe1 #cbf1 ii4 #bfj2 on lamps1 ii4 #dji ,hermione1 vases from1 i4 #eb ,hermogenes1 potter1 i4 #cgd1 #cgi1 #chc ,hermonax1 vase-painter1 i4 #dba1 #ddf ,herodotos on origin of ,etruscans1 ii4 #bha ,heroic subjects on mural reliefs1 ii4 #cgj2 on lamps1 ii4 #dad ,heron1 i4 #dgf1 ii4 #aeh1 #aei 1 worship of1 i4 #dgg ,hesiod and vase-paintings1 ii4 #f ,hesperides1 ii4 #ib2 garden of1 ii4 #ge1 #ii ,hestia on vases1 ii4 #ec1 #aij ,hirarchie des genres1 law of1 i4 #bde1 #bhd1 #cae1 #ccb ,hieroduli1 ii4 #dib1 #dic ,hieron1 potter1 i4 #dba1 #dcf1 ii4 #bch1 #bei ,hilinos1 potter1 i4 #dba1 #dbi ,himera1 vases from1 i4 #hg ,himeros1 ii4 #di ,hippalektryon1 ii4 #adi ,hipparchos 1 i4 #djc ,hippolyta1 ii4 #ii1 #aaa ,hippolytos1 ii4 #aab ,hischylos1 potter1 i4 #cgi1 #dbj1 #dbb1 #dbd ,hissarlik1 see ,troy ,historical methods of study1 i4 #bb1 #bce2 limits of subject1 i4 #ca1 ii4 #dcj ff42 subjects and personages on vases1 i4 #djc1 ii4 #adi ff41 #bff1 #bfg2 on lamps1 ii4 #dae ,history illustrated by vases1 i4 #aa2 in connection with ,r4,f4 vases1 i4 #djb ff41 #dfc ,hlder on ,roman pottery1 ii4 #dfj1 #dgb1 #ecg ,hogarth on ,cretan pottery1 i4 #bfg 1 i4 #age ,holland1 collections in1 i4 #bh2 pottery from1 ii4 #ebb1 #eci2 inscribed tiles from1 ii4 #ceh1 #cfa1 #cfe 1 i4 #agf ,homer1 references to vases in1 i4 #hi1 #acb1 #ade1 #adh1 #afh1 #agb1 #agd1 #ahj1 #aib2 to potter's wheel in1 i4 #bjg2 on ,cretan ethnography1 i4 #bfd2 subjects from1 on vases1 i4 #cce1 #dii1 ii4 #c ff41 #abf ff4 ,homeric bowls1 i4 #acd1 #ahe1 #dii1 ii4 #b ,hopkinson on ,melian vases1 i4 #cjb 1 ii4 #afd ,hoppin on ,euthymides1 i4 #dbh ,horace quoted1 ii4 #dfj1 #dfc1 #dfd1 #dfi ,horae1 ii4 #hd2 and see ,seasons ,horror vacui1 i4 #bhc1 #cac ,horse-race1 ii4 #afd ---- taming1 ii4 #aff ,horsemen1 ii4 #aff ,human figures1 introduction of1 on ,greek vases1 i4 #bha ff41 #cad ff4 ,hungary1 inscribed tiles from1 ii4 #cei ,hunters on vases1 ii4 #afe1 #aig2 on ,gaulish pottery1 ii4 #ejg1 #ebg2 on ,castor ware1 ii4 #edd ,hut-urns in ,italy1 ii4 #bhh ,hyades1 ii4 #ha1 #aic ,hybla ,heraea1 vases from1 i4 #hh ,hydra1 ii4 #ih ,hydria1 i4 #afe ff41 #cgb ff41 #daa ,hydrophoria1 ii4 #agc ,hygiainon1 painter1 i4 #cif ,hygieia1 ii4 #gf1 #hd ,hypnos1 ii4 #ga1 #hd1 #aic1 and see #aeh ,hypocausts1 i4 #ajc1 ii4 #ccb1 #cdb1 #cdf ff4 ,hypsis1 vase-painter1 i4 #dba1 #dbi4 ,iacchos1 ii4 #bg ,ialysos1 vases from1 i4 #eh1 #aeb1 #bgj ,iapygians1 i4 #agb1 ii4 #cbc1 #cbe2 pottery of1 ii4 #cbc ff4 ,iapys1 eponymous hero1 ii4 #cbg ,ikarios 7871 ii4 #aci1 and see #cfi ,ikaros on lamp1 ii4 #dad2 with ,daidalos on vase1 ii4 #ada ,iliad and vases1 ii4 #d2 scenes from1 ii4 #abf ff4 1 ii4 #e1 #acc ff4 ,illuminations1 use of lamps in1 ii4 #cif ,imbrex1 i4 #if1 ii4 #cda ff4 ,imbrications1 i4 #caa1 #cca1 ii4 #bai ,imitations of vases 7modern71 i4 #dj ff4 ,impasto ,italico1 ii4 #bhe1 #bij1 #bie1 #cjj ,incense-burner1 i4 #adj ,incised lines1 i4 #caa1 #cac1 #cad1 #cca2 inscriptions1 ii4 #bcg ff41 #bga ff41 #cei1 and see ,graffiti1 ,inscriptions2 decoration on provincial wares1 ii4 #eje1 #eae ,indented patterns on provincial wares1 ii4 #ead1 #edd ,individualities personified1 ii4 #ia ,infundibulum of lamp1 ii4 #cid ,inghirami1 i4 #ah1 #db ,inhumation1 i4 #ade1 ii4 #bhd ,inscriptions on tiles1 i4 #aja1 ii4 #cdh1 #cea ff41 #ceg1 #ceh2 chronology of1 ii4 #cfj ff42 on lamps1 i4 #ajg1 #ajh1 ii4 #dbj ff42 on vases1 i4 #adi1 ii4 #bcf ff42 incised1 ii4 #bcg ff42 painted1 ii4 #bdc ff42 palaeography of1 ii4 #bdf ff41 #bfh ff42 ,corinthian1 i4 #cae ff41 ii4 #bej ff42 8,corintho-,attic10 i4 #cbe2 ,ionic1 i4 #ccf1 #ceg1 ii4 #beb2 ,cyrenaic1 i4 #cdd1 ii4 #bej2 ,naucratite1 i4 #cde2 ,attic1 i4 #cgh1 #djb1 #dah1 #dbb1 ii4 #bee ff42 ,boeotian1 ii4 #beb2 ,chalcidian1 ii4 #bec2 ,south ,italian1 ii4 #bga ff42 -names1 i4 #djc1 ii4 #bfe ff42 artists' signatures1 ii4 #beg ff42 explanatory on ,attic vases1 ii4 #bei ff42 exclamatory1 ii4 #bfa ff42 convivial1 ii4 #bfe1 #ebd1 #ech2 under feet of vases 7names and prices71 ii4 #bci ff42 on ,etruscan vases1 ii4 #caj ff42 on terracotta moulds1 ii4 #chb2 on ,arretine vases1 ii4 #dhj ff42 on ,gaulish pottery1 ii4 #ejd1 #eab1 #eag1 #eca2 and see ,graffiti1 ,signatures1 ,stamps ,interpretation of subjects on vases1 i4 #ba1 ii4 #h ,ionia1 art of1 i4 #cbi1 #ccb1 #cfa2 pottery of1 i4 #fb1 #bbd1 #cbh ff42 various fabrics of1 i4 #ccj2 influence of ,mycenaean civilisation on1 i4 #bgg1 #cbi ff42 of ,oriental art1 i4 #cca ff42 influence of1 on ,attic vases1 i4 #bid1 #bie1 #cjj1 #cgj1 #cgd1 #chb1 #che1 #chh2 on ,etruria1 ii4 #bif1 #bii1 #cjh1 #cag1 #cbj2 use of incised lines in1 i4 #cad2 ,b4,f4 fabrics in1 i4 #cec ff42 arrangement of subjects on vases1 ii4 #bjf2 ornamentation1 ii4 #bab ff41 #bcc2 early painting of1 i4 #cfa ff4 ,ionian islands1 pottery from1 i4 #ed2 and see ,corfu ,ionic alphabet1 ii4 #bdf1 #bec1 #bga2 inscriptions1 i4 #ceg1 ii4 #beb2 pottery in ,egypt1 i4 #fh1 #cde ff42 type of kylix1 i4 #ceg1 #cgd ,iphigeneia1 ii4 #ce1 #abd1 #ach ,iris1 ii4 #gf1 #abh1 #aic ,ischia1 vases from1 i4 #hh ,isidorus on ,roman pottery1 ii4 #dfd1 #dfi1 #dge ,isis on lamps1 ii4 #dab2 lamps used in worship of1 ii4 #djc ,isola ,farnese1 see ,veii 8,isolating0 method of representation on vases1 ii4 #aj4 8,italian ,megarian 0 bowls1 ii4 #dij ,italy1 vases found in1 i4 #bb1 #fi ff42 collections in1 i4 #bi2 tombs1 i4 #cg1 ii4 #bhd ff42 porcelain and enamelled wares from1 i4 #abh1 #abi2 ,corinthian vases in1 i4 #cje ff41 #cah1 ii4 #bid ff42 imitations of ,ionic pottery in1 i4 #ceh1 ii4 #cjh2 modelled vases in1 i4 #did2 relief-wares in1 i4 #dif1 #dih1 #eja ff41 and see ,etruscan1 ,roman2 early civilisation of1 ii4 #bhj ff41 and see ,etruria2 terracotta architecture in1 i4 #ih1 #aja1 ii4 #cae ff42 sculpture1 ii4 #cac1 #cga ff42 centres of lamp-manufacture in1 ii4 #dbg2 pottery-kilns1 ii4 #ddc1 #dea2 centres for ,roman pottery1 ii4 #dge ff42 end of terra sigillata in1 ii4 #die2 transition to provincial fabrics in1 ii4 #ejj1 #eae ff42 ,gaulish pottery found in1 ii4 #dih1 #ebb1 #ebd1 #ebf ---- ,southern1 tombs in1 i4 #cg2 vases found in1 i4 #gi ff42 ,r4,f4 vase-painting in1 i4 #dfe ff42 fabrics of1 i4 #dgi ff42 end of vase-painting in1 i4 #dhg ff42 plastic and moulded vases in1 i4 #did1 #dih1 #ejb2 local pottery of1 ii4 #cbc ff4 ,italynski1 i4 #ba ,ivy-leaf patterns1 ii4 #bba ,ixion1 ii4 #fi ,jahn on vases1 i4 #bj1 #bc1 #aej ,jars used in architecture1 ii4 #deg ,jason1 ii4 #aae ,jatta collection1 i4 #bf1 #bi ,javelin-throwing1 ii4 #afc ,jewellery on vases1 ii4 #bjb ,joubin on ,clazomenae sarcophagi1 i4 #cfd ,judgment of ,paris1 ii4 #aba ff4 ,juggler on lamps1 ii4 #dah ,jugs1 see ,oinocho1 ,olpe ,jumping on vases1 ii4 #afc ,juno ,lanuvina1 ii4 #bb1 #ajc ,jupiter1 ,capitoline1 i4 #aaf1 ii4 #cad1 #cga1 #cgb2 and see ,zeus ,juvenal quoted on ,roman pottery1 ii4 #dee ff4 ,kabeiri1 ii4 #gd2 vases from temple of1 i4 #eb1 #cia1 ii4 #aei ,kadmos1 ii4 #aag 1 i4 #afe2 and see ,cadus ,kaineus1 ii4 #ade ,kalais1 see ,boreades ,kalliades1 potter1 i4 #daa1 #dcd1 #dic -names1 i4 #cgi1 #djb ff41 ii4 #bfe ff42 list of1 ii4 #bgg 1 i4 #aff 1 i4 #if ,kalymnos1 vases from1 i4 #eh ,kamaraes1 vases from1 i4 #ei2 fabric so called1 i4 #bfd ff4 ,kamarina1 vases from1 i4 #hg ,kameiros1 tombs at1 i4 #cd42 vases from i4 #ei1 #abg2 terracottas from1 see ,rhodes i4 #aaa1 #bji ,kanake1 ii4 #ada 1 i4 #aeb ,kantharos1 i4 #ahg1 #daj 1 i4 #ahh ,karlsruhe1 vase-collection at1 i4 #bh ,karo on 8affected0 vases1 i4 #chg ,karpathos1 tombs in1 i4 #cd2 pottery from1 i4 #eh ,karystos1 vase from1 i4 #ee ,kassandra1 ii4 #acd ,kastor1 see ,dioskuri ,keel-hauling1 ii4 #agh ,kekrops1 ii4 #aci 1 i4 #afi 1 ii4 #afd ,keos1 fabric of1 i4 #ef1 #ceg1 ii4 #bec ,kephalos1 ii4 #hj1 #adj 1 ii4 #gb1 #ajj ,kerameikos1 i4 #df1 #hi1 #ib1 #bca1 #bhj 1 i4 #ig 1 i4 #acf 1 i4 #hi1 #ajj1 ii4 #dee ,kerberos1 ii4 #gj1 #ii ,kerkyon1 ii4 #aji or 1 i4 #aie1 #bja ,kertch1 vases from1 i4 #cb1 #fj1 #ddg1 #dea1 #dfd1 #dig2 tiles from1 i4 #aja2 wine-amphorae from1 i4 #aeh ,keryneian stag1 ii4 #ig 1 see ,ciborium ,kilns for ,roman pottery1 existing remains of1 ii4 #ddc ff42 detailed list of1 ii4 #dea ff42 representations of1 see i4 #bae ff4 ,kimon1 painter1 i4 #cbj1 #cig1 #cih1 #djh1 #dcj1 #dee ---- statesman1 i4 #dah ,kings1 how represented on vases1 ii4 #ig ,kirke1 ii4 #acf 1 i4 #ahj ,kitharoidos1 see ,apollo ,kittos1 potter1 i4 #cgi1 #cia ,klagenfurt1 vase from1 ii4 #eag ,kleanthes1 painter1 i4 #cbj1 #cie1 #cif ,klein on ,r4 ,f4 cup-painting1 i4 #dbd ff42 on signatures of artists1 ii4 #beg2 on -names1 ii4 #bff ,kleisophos1 vase-painter1 i4 #chd ,kleonae1 vases from1 i4 #eb 1 i4 #aje ,klitias1 vase-painter1 i4 #cgj1 #cgi1 ii4 #beg ,klytaemnestra1 ii4 #acg1 #ach ,knidos1 pottery from1 i4 #fd1 #ccj2 lamps from1 i4 #ajh1 ii4 #cig1 #dah1 #dbc1 #dbg2 amphora-handles from1 i4 #aeg ,knossos1 excavations at1 i4 #fj1 #aeb1 #bfe ff4 ,knuckle-bone players1 i4 #abe ,kodros1 ii4 #adj ,koenen on ,german pottery1 ii4 #ecf ,kolchos1 potter1 i4 #cgi ,kolias1 ,cape1 i4 #df1 #di1 #bje1 #cgj 1 ii4 #ahb ,kopenhagen1 vases at1 i4 #bh1 #bhf 1 i4 #aab ff4 1 i4 #aci or 1 i4 #aab ,kos1 pottery from1 i4 #eh1 #abi2 and see ii4 #dgf 1 i4 #adj1 #ahg ,kottabos1 i4 #ahh1 ii4 #afg1 #aha 1 i4 #ahd1 #aie ,kotyle1 i4 #ace1 #ahc1 #bab1 #bag types in terracottas1 i4 #abc1 ii4 #chf2 on vases1 ii4 #cj1 #gc2 and see ,gaia ,kramer's classification of vases1 i4 #bb ,krater1 i4 #afg ff41 #daa1 #dfh1 #dhb2 local ,south ,italian1 ii4 #cbf2 ,arretine1 ii4 #dhh1 #eja1 #ebj2 and see ii4 #dfd ,krause on shapes of vases1 i4 #aej ,kreon1 ii4 #aai ,kreousa and ,ion1 ii4 #adj ,krete1 see ,crete ,kretschmer on vase-inscriptions1 ii4 #bcg ff4 ,kroisos1 brick used by1 i4 #ia1 #id2 represented on vase1 ii4 #f1 #aej ,kroker on ,geometrical vases1 i4 #bha ,krommyon1 ii4 #hb1 #aji ,kronos1 ii4 #gc 1 i4 #afg 1 i4 #ahf 1 i4 #aid 1 i4 #ahj ,kyathos1 i4 #agi ,kybele1 ii4 #gd ,kyklopes1 i4 #aje1 ii4 #cg1 #aga2 and see ,polyphemos ,kyknos1 ii4 #aja ,kylix1 i4 #ahh ff42 early types1 i4 #bgb1 #bhg1 #cac1 #cda2 ,athenian1 i4 #cgc1 #djj1 #dji1 #dbb ff41 #deg2 compared with calix1 ii4 #dfh ,kymation1 i4 #ig2 as pattern on vases1 ii4 #bah ,kyme1 vases from1 i4 #fb1 #cef ,kypselos1 chest of1 i4 #cae1 #cai1 #cbj1 #cgh1 ii4 #bcf ,kyrene1 goddess1 i4 #abd1 #cdc1 ii4 #ca1 #ha1 #hb2 and see ,cyrenaica ,kythera1 vases from1 i4 #ed1 #cae ,laconia1 vases from1 i4 #eb ,laertes and ,antikleia 7871 ii4 #acg ,lagena1 ii4 #dff 1 i4 #afe ,lamia1 ii4 #adi 1 ii4 #afd ,lamps1 ,greek1 i4 #ajf ff42 ,roman1 ii4 #cic ff42 uses1 #cie ff42 forms1 #cii ff42 subjects1 #djf ff42 inscriptions1 #dbj ff4 ,landscape on vases1 i4 #dji1 #dgj1 ii4 #bjd1 #bje2 in scenes on lamps1 ii4 #dah ,lanx1 ii4 #dfh ,laokon1 ii4 #acd ,lararia1 ii4 #cge ,lares on lamps1 ii4 #dac ,larisa in ,asia ,minor1 pottery from1 i4 #fb1 #cci ,larnaka1 vases from1 i4 #ff 1 see ,ossuaria ,lasimos1 vase-painter1 i4 #dgh1 ii4 #bgb 8,late fine0 style1 i4 #dba1 #ddh ff4 ,laterariae1 i4 #ia1 ii4 #cca ,lateres1 ii4 #cca1 #cce ,latin inscriptions on vases1 i4 #dhe1 #dij2 literature1 references to1 see ,literature ,latium1 vases from1 i4 #gi ,laurel-wreaths1 ii4 #bbc ,lead used for glaze1 i4 #acj2 vases repaired with1 i4 #adg ,leaf-patterns on vases1 ii4 #bba ff4 ,leagros 1 i4 #djc1 #dbe1 #dcj1 ii4 #aeb1 #bfg ,leather1 imitations of1 i4 #bdb1 #bdc ,lebes1 i4 #adf1 #agd2 1 i4 #aii2 and see ,burgon ,lecce1 vases from1 i4 #hf ,leda1 ii4 #ai1 #abj1 #ejh ,legions1 stamps of1 on tiles1 ii4 #cea1 #cfc ,lekane1 i4 #adf1 #afd1 #agf1 #dfi 1 i4 #agg ,lekythos1 i4 #aie2 ,b4,f41 i4 #cgf2 ,r4,f41 i4 #dab2 white-ground1 i4 #dh1 #acb1 #adc1 #bbd1 #def ff41 ii4 #aeg ,lemnos personified1 ii4 #hb ,lenormant on ,iapygian pottery1 ii4 #cbg ,lentini1 vases from1 i4 #hf 1 i4 #afe1 #dfi2 and see ii4 #dga ,lesbos1 vases from1 i4 #eg2 fabrics of1 i4 #cci1 #cdg ,leto1 ii4 #cj1 #ca 1 i4 #cig1 #ded1 ii4 #cbj ,lezoux1 potteries of1 ii4 #ejd1 #ebe ff42 kilns at1 ii4 #ebe2 potter's wheel from1 ii4 #dch2 stamps from1 ii4 #ddj2 moulds from1 ii4 #dda2 forms of vases at1 ii4 #eja1 #ebf2 ornamentation1 ii4 #ejf1 #ebg2 enamelled ware from1 i4 #acj2 incised vases1 ii4 #ddc1 #eae2 barbotine decoration1 ii4 #eac2 other fabrics1 ii4 #ebh ff42 termination of potteries1 ii4 #dcb1 #ebf ,libation-bowls1 i4 #adj1 #aib1 ii4 #dga2 see ,patera1 ,phiale ,libation-scenes1 i4 #adj1 ii4 #ah1 #ca1 #hf ff41 #aee ,libertus1 potter1 ii4 #dci1 #eba1 #ebg1 #edb ,lincoln1 vases from1 ii4 #edf1 #edi ,liniare1 i4 #cif ,lion's head spouts1 vases with1 ii4 #ecj1 #eda ,lipari ,islands1 vases from1 i4 #hh ,liquids1 vases used for1 i4 #aej ff4 ,literature1 classical1 and vases1 i4 #ac1 #acb1 ii4 #a ff42 ,roman pottery in1 ii4 #dee1 #dge ff42 names of vases in1 i4 #adh ff41 ii4 #deh ff42 lamps in1 i4 #ajg1 ii4 #cie ff42 terracottas in1 i4 #aaj1 ii4 #cga ff42 subjects from1 on lamps1 ii4 #dae ,litlington1 vases in tombs at1 ii4 #cea1 #def ,locri1 vases from1 i4 #hf2 terracotta reliefs from1 i4 #abj2 white lekythi from1 i4 #deh ,loculi1 ii4 #chh ,loeschcke on 8,corintho-,attic0 vases1 i4 #cbd ,lokris1 vases from1 i4 #ec ,london1 tiles found in1 ii4 #cdh1 #cei1 #cfc2 kilns found in1 ii4 #ddd2 pottery from1 ii4 #ejc1 #ebi1 #edj2 and see ,british ,museum ,lotos-ornament in ,cyprus1 i4 #bdi1 ii4 #bbd2 in ,boeotia1 i4 #bhh2 general history of1 ii4 #bbc ff4 1 i4 #agf 1 i4 #adb ,louvre ,museum1 i4 #be1 #bg ,love-scenes on vases1 ii4 #ahc ,lucania1 vases from1 i4 #hc1 #add1 #agb2 style of1 i4 #dha2 local pottery of1 ii4 #cbd1 #cbh 1 i4 #ajg ,luckenbach on connection of vases and literature1 ii4 #e ff4 ,luni1 terracotta sculpture from1 ii4 #cah ,luynes1 ,duc de1 i4 #ah1 #bb ,lycia1 pottery from1 i4 #fd ,lydian origin of ,etruscans1 ii4 #bha ,lykaon1 ii4 #acj ,lykourgos1 ii4 #ef1 #ada ,lyre-players1 ii4 #afi ,lyric poetry and vases1 ii4 #f ,lyssa1 ii4 #ia1 #aid ,mackenzie on ,cretan pottery1 i4 #bfe ff4 ,macmillan lekythos1 i4 #cji ,macrobius on the ,sigillaria1 ii4 #cgf ,maeander-pattern1 ii4 #bab ff42 on ,r4,f4 vases1 i4 #dae ,maenads on vases1 ii4 #ee ff41 #aib2 names of1 ii4 #fe2 on lamps1 ii4 #daa2 on ,arretine vases1 ii4 #dib1 #dic ,mainz1 inscribed vase from1 ii4 #eci ,makron1 vase-painter1 i4 #dcf ,malta1 pottery from1 i4 #hh ,mandrokles1 painter1 i4 #cfa ,mania1 ii4 #ia ,marathon1 vases from1 i4 #di2 tile from1 i4 #ii2 bull of1 ii4 #aji 8,marbled0 vases1 ii4 #ebc ,marine subjects 7,mycenaean71 i4 #bgb1 ii4 #ahe2 and see ,sea-,deities ,marion1 see ,poli ,marne1 ,department of1 incised pottery from1 ii4 #eae ,marriage-scenes on vases1 ii4 #af1 #cf1 #agb ,marseilles1 pottery found at1 i4 #fi ,marsyas1 ii4 #cb ,martha on ,etruscan art1 ii4 #cbb ,martial quoted1 ii4 #cgf1 #cie1 #dfc1 #dfi1 #dgh1 #dgi ,marzabotto1 terracotta pipes from1 ii4 #cej ,masks of terracotta1 i4 #ajd1 #aje1 #abc1 ii4 #cgg2 imitation of1 in ,canopic jars1 ii4 #cje2 use of1 for gutter-tiles1 ii4 #cdd 1 i4 #ahf ,matt colour1 i4 #bdf ,maurion1 potter1 i4 #dde ,mayer on local ,apulian pottery1 ii4 #cbc ff4 ,mazonomum1 ii4 #dfi ,measures1 vases used as1 i4 #ace1 ii4 #dfj1 #dfc1 #dgb ,medallions on ,gaulish vases1 ii4 #dda1 #ecj ff4 ,medeia1 ii4 #aaf ,medusa1 see ,gorgon ,megakles 1 i4 #dbh ---- potter1 i4 #dde ---- statesman1 i4 #ab1 #ajc ,megalopolis1 pottery from1 i4 #eb ,megara1 vases from1 i4 #ec2 statue of ,zeus at1 i4 #ib1 #aaa2 temple at1 i4 #id ,megarian bowls1 i4 #ec1 #acd1 #ahe1 #dii1 ii4 #b2 as prototypes of ,roman pottery1 ii4 #dge1 #dhi2 treasury at ,olympia1 i4 #ajj ,meidias1 potter1 i4 #ddf ,melampus and ,proitos1 ii4 #ada ,meleager1 ii4 #aad ,melian reliefs1 i4 #abj2 amphorae1 i4 #cja2 their ornamentation1 ii4 #bcb ,melos1 vases from1 i4 #eg1 #bfb2 and see ,melian ,memnon1 ii4 #acb ---- 1 i4 #dbe ,menaidas1 potter1 i4 #eb1 #cja ,mending of vases1 i4 #ci1 #adg ,menekrates1 tomb of1 i4 #ed ,menelaos1 ii4 #abi1 #ace ,menidi1 pottery from1 i4 #di1 #bgc ,merope1 ii4 #ada ,messapians on vases1 ii4 #aea2 pottery of1 ii4 #cbc ff4 ,metal vases1 i4 #aca ff41 #bja1 ii4 #b2 use of1 in ,etruria1 ii4 #cjg2 at ,rome1 ii4 #dcc2 imitations of1 in ,greece1 i4 #che1 #die ff42 in ,etruria1 ii4 #cjc1 #cjg2 in ,italy and ,gaul1 ii4 #dhi1 #ebh1 #ebi1 #eeb ,metaphysical ideas personified1 ii4 #ij ,metapontum1 vases from1 i4 #he2 tile from1 i4 #ig ,metope style of decoration1 i4 #bhb1 #cgh1 ii4 #bjh ,metopes of terracotta painted1 i4 #ib ,mevania as pottery-centre1 ii4 #dge1 #dij ,midas1 ii4 #add ,mikon1 painter1 i4 #ddb ,milani on ,canopic jars1 ii4 #cjd ,miletos as pottery-centre1 i4 #cbi1 #ccf1 #cch ,military subjects on vases1 ii4 #age ff42 on lamps1 ii4 #dag2 uses of bricks and tiles1 ii4 #ccb1 #ccf1 #cfc ff4 ,millin1 i4 #ag ,millingen1 i4 #bb1 ii4 #i ,milonidas1 vase-painter1 i4 #cae1 #cag ,miltiades 1 i4 #djc1 ii4 #bfg 1 i4 #bca2 and see ,minium1 ,rubrica ,mining1 representations of1 ii4 #agj ,minium1 i4 #aah1 #bca2 and see ii4 #cad ,minoan pottery1 see ,crete ,minor ,artists1 i4 #cgd1 #cgi1 #chc ,minos1 ii4 #add2 thalassocracy of1 i4 #bfd ,minotaur1 ii4 #aji1 #adh ,mirrors1 ,etruscan1 compared with vases1 ii4 #cjg 8,mixed0 technique1 ,ionic1 i4 #cca1 #ccd1 #cdf2 ,b4,f4 and ,r4,f41 i4 #cgi1 #chf1 #dja ,modelling1 of vases1 i4 #bjh ff41 #dib ff42 in clay1 i4 #f1 #aaj1 #aad1 ii4 #cgb1 #cge1 #cgh ,modena1 see ,mutina ,moirae1 ii4 #hd ,mommo1 potter1 ii4 #ebb ,money-boxes1 ii4 #chh ff4 ,monochrome painting1 i4 #cie ,montans1 pottery of1 ii4 #ebe ,moretum quoted1 ii4 #cie ,morra1 game of1 ii4 #afg ,mortarium1 ii4 #dgj1 #eej2 and see #ecj1 #eda ,mother-,goddess1 ii4 #chf2 and see ,moulds1 i4 #aje1 #aaa1 ii4 #chh2 for coins1 i4 #ajf1 ii4 #cij ff42 for terracottas1 i4 #aad1 ii4 #cha2 for bricks1 ii4 #ccc2 for lamps1 ii4 #dje2 ,arretine1 ii4 #dhh1 #did2 use of1 in ,roman pottery1 ii4 #dch1 #ddj ,moulins1 manufacture of terracottas at1 ii4 #cgi ff4 ,mourners1 i4 #bhe1 #dfj1 #dgf1 ii4 #aeg1 #aeh ,munich1 collection at1 i4 #bf1 #bh ,mural reliefs 7,roman71 ii4 #cfe ff42 compared with ,arretine ware1 ii4 #dci1 #dic ,murray on ,clazomenae sarcophagus1 i4 #cfc2 on ,r4,f4 painters1 i4 #dbc ff42 on white-ground vases1 i4 #deh1 #dfa ,muses1 ii4 #hc ,museums1 i4 #bc ff42 list of1 i4 #bg ff4 ,musicians1 ii4 #afh1 #ahb1 #aig ,mutina 7,modena71 vases found at1 i4 #ga1 ii4 #die2 as centre for lamps1 ii4 #dja1 #dbg2 for vases1 ii4 #dgg 7myxus71 i4 #ajg1 ii4 #cie ,mycenae1 tombs at1 i4 #cc2 pottery from1 i4 #ea ,mycenaean pottery1 i4 #bfi ff42 shapes1 i4 #afh1 #aha1 #aij1 #bga2 subjects and ornamentation1 i4 #bgb1 #bgf1 ii4 #ahe1 #bjf1 #bcb2 in ,rhodes1 i4 #eh2 in ,crete1 i4 #ei1 #bfe ff42 in ,cyprus1 i4 #bcg1 #bci1 #bdd ff42 imitations of1 i4 #bdf1 #bhj2 influence of1 on later pottery3 ,geometrical1 i4 #bgg ff42 ,proto-,attic1 i4 #bid2 ,phaleron ware1 i41 #bii2 ,melian1 i4 #cjb2 ,ionian1 i4 #cbi ff41 #cch1 #ceb2 in ,southern ,italy1 ii4 #cbd1 #cbe ,mylasa1 pottery from1 i4 #fd1 #cdj ,myres on ,cypriote pottery1 i4 #bdj ff4 ,myrina1 pottery from1 i4 #fb1 #cci2 terracottas1 i4 #abe1 #abf ,myrtle-wreaths1 ii4 #bbc ,mysteries1 see ,eleusinian ,mythological subjects1 introduced at ,athens1 i4 #bif2 at ,corinth1 i4 #cad1 #cag ff42 on ,r4,f4 vases1 i4 #daf2 on ,south ,italian1 i4 #dgd2 types in terracottas1 i4 #abc ff42 on ,b4,f4 vases1 i4 #cgf ff42 on ,r4,f41 i4 #dai ,mythology on vases1 i4 #ab1 #ac1 ii4 #c ,naples1 ,museum of1 i4 #bd1 #bf1 #bi1 #hj1 #dhc1 and see i4 #de2 vases found at1 i4 #hj2 imitations made at1 i4 #da1 #db ,narce1 early settlement at1 ii4 #bhi ,nasiterna1 ii4 #dfe ,natural products personified1 ii4 #hb ,naukratis1 finds at1 i4 #fh1 #ach1 #cch2 local pottery of1 i4 #bbd1 #cde ff42 other pottery at1 i4 #cch1 #cda2 connection with ,etruria1 ii4 #bih1 #bii ,nauplia1 pottery from1 i4 #ea ,nausikaa1 ii4 #acf ,nautilus on vases1 i4 #bgb1 ii4 #ahe ,naval subjects1 i4 #bhe1 #bia1 ii4 #agh ,nearchos1 potter1 i4 #cgi1 #chc ,negroes on vases1 ii4 #agi ,nemea personified1 ii4 #hb ,nemean lion1 ii4 #ie ,nemesis1 ii4 #ia ,neolithic ,age1 i4 #d1 #e2 pottery of1 in ,crete1 i4 #bfe1 #bfg2 remains in ,etruria1 ii4 #bhc ,neoptolemos1 ii4 #acc1 #ach ,neptune on ,roman roof-tiles1 ii4 #cde2 and see ,poseidon ,nereids1 ii4 #bf1 #acj1 #acc ,nereus1 ii4 #be1 #aja1 #ahi ,nestor1 ii4 #abd2 cup of1 i4 #adh1 #agb1 ii4 #b ,nether ,world1 see ,under-world ,netherlands1 ,roman pottery from1 ii4 #eci ,network patterns1 ii4 #bae 1 i4 #aba 8,new ,attic0 reliefs1 ii4 #cfh1 #djg1 #daa1 #dci1 #dib1 #dic1 #ejg ,new ,forest ware1 ii4 #edg ---- ,year lamps1 ii4 #cih1 #dab1 #dbj ---- ,york ,museum1 i4 #bf1 #fe ,newton1 ,sir ,charles1 i4 #eg1 #eh1 #ajh ,nike 7,victory7 in terracottas1 i4 #abe2 on vases1 i4 #dah1 ii4 #he ff41 #aic2 with ,herakles1 ii4 #ajf2 on ,roman antefix1 ii4 #cdc2 on mural reliefs1 ii4 #cfh1 #cfi2 on lamps1 ii4 #dac ,nikias1 potter1 i4 #ddf1 ii4 #bei ,nikosthenes1 potter1 i4 #agj1 #chd1 #cic ,nile on vases1 ii4 #hc2 scenes on1 in mural reliefs1 ii4 #cga ,niobids1 ii4 #cc ,nisyros1 vases from1 i4 #eh2 as weapon of ,poseidon1 ii4 #ac ,nola1 vases from1 i4 #hb2 varnish of1 i4 #db1 #df 8,nolan0 amphorae1 i4 #hb1 #afb1 #bai1 #dje2 imitations of1 i4 #dhd ,norfolk1 kilns found in1 ii4 #dde1 #ddi ,normandy1 terracottas from1 ii4 #chd ,northamptonshire1 kilns found in1 ii4 #ddd1 #edc2 and see ,castor 1 ii4 #e1 #ace ,nozzles of lamps1 ii4 #cie2 as basis of classification1 ii4 #cii ff4 ,numa1 pottery in use under1 ii4 #cjd1 #dee1 #dgf1 #dgg ,nursing-,mother type1 see ,nymphs1 ii4 #ai1 #ca1 #ee1 #hb1 #ib1 #adc1 #adi ,nyx1 ii4 #gi1 #aic ,obba1 ii4 #dgb ,obrendarium1 ii4 #def ,occupations represented on vases1 ii4 #afi ff4 ,ocriculum as pottery-centre1 ii4 #dge1 #dij ,oculist's stamp on a vase1 ii4 #eaj ,odysseus on vases1 ii4 #abh1 #acc1 #acf1 #acg2 on lamps1 ii4 #dad ,odyssey1 subjects from1 ii4 #d1 #ace ff4 ,oedipus1 ii4 #aag1 #aah ,oenophorum1 ii4 #dfd ,officina1 meaning of1 on tile-stamps1 ii4 #cef1 #cfb2 use of1 in ,roman potters' stamps1 ii4 #dfa1 #dhf1 #eji1 #ebh1 #ece ,oikopheles1 potter1 i4 #big1 #cgi1 ii4 #beh ,oil1 amphorae used for1 i4 #aec ff42 other vases used for1 i4 #aie ff42 making and selling of1 on vases1 ii4 #aga1 #bfb 1 i4 #ahj ,oinocho1 i4 #agg1 #ccd1 #dab1 #dfi ,oinomaos1 ii4 #aac ,oinopion1 ii4 #eh1 #ia ,oistros1 ii4 #ia1 #aid ,okeanos1 ii4 #be ,olbia1 vases from1 i4 #fa2 tiles from1 i4 #aja2 wine-amphorae from1 i4 #aeg1 #aeh ,olla1 ii4 #chi1 #def1 #deg1 #dgj1 #ebi1 #eej ,olpe or olpis1 i4 #agh2 ,corinthian1 i4 #caa2 used by ,amasis1 i4 #chb ,oltos1 painter1 i4 #dba1 #dbi ,olympia1 pottery found at1 i4 #eb2 terracotta architecture of1 i4 #ib ff42 personified1 ii4 #ha2 scenes at1 on vases1 ii4 #aac ,olympian deities on vases1 ,chap4 ,,xii4 passim2 on lamps1 ii4 #dad ,olympos1 scenes in1 ii4 #ae ff41 #ajg ---- ,mount1 personified as ,satyr1 ii4 #fd1 #hc ,onesimos1 vase-painter1 i4 #dba1 #dbb1 #dcd 1 i4 #aii ,opaque painting on black ground1 i4 #bbf1 #cic1 #dhe1 #dhh ff4 ,oppius ,restitutus1 ,c41 lamp maker1 ii4 #djf1 #dbe1 #dbf ,opus doliare1 ii4 #ccj1 #ced1 #cfa1 #deh ---- mixtum1 ii4 #ccg1 #cci ---- reticulatum1 ii4 #cch ,orange1 ,gaulish medallions from1 ii4 #ecj ff4 ,orbetello1 pottery from1 i4 #gc ,orbiculus on tile-stamps1 ii4 #cec1 #cfj ,orchomenos1 pottery from1 i4 #ec ,orcio appulo1 ii4 #cbe ,orestes and his story1 ii4 #acg ,oria1 vases from1 i4 #hf ,oriental influence in ,cyprus1 i4 #bci1 #bdg ff42 in ,attica1 i4 #bie1 #bih2 at ,corinth1 i4 #caa1 #cah2 in ,ionia1 i4 #cca1 #ccc1 #ccd2 in ,etruria1 ii4 #bib1 #bif1 #bii1 #cjc1 #cjd2 motives on vases1 ii4 #bjf ,orientals on vases1 ii4 #agh1 #aie1 #aii1 #bjj ,ormidhia1 vase from1 i4 #bec ,ornamental patterns1 origin of1 ii4 #baj2 rectilinear1 ii4 #baa ff42 curvilinear1 ii4 #baf ff42 vegetable and floral1 ii4 #bbj ff42 treatment of1 in different fabrics1 ii4 #bcb ff42 ,mycenaean1 i4 #bgf2 ,geometrical1 i4 #bhb2 ,boeotian1 i4 #bhh2 ,melian1 i4 #cjb2 ,corinthian1 i4 #cab ff42 ,rhodian1 i4 #ccd2 ,naucratite1 i4 #cdh2 ,caeretan1 i4 #ced2 black-figured1 i4 #cge2 red-figured1 i4 #dab2 ,south ,italian1 i4 #dfh2 on ,clazomenae sarcophagi1 i4 #cfe ,ornamentation of ,roman pottery1 how produced1 ii4 #dch2 of ,gaulish wares1 ii4 #ebj1 #eba1 #ebf2 of barbotine wares1 ii4 #ead1 #edd2 incised or indented1 ii4 #ead1 #edf ,orpheus1 ii4 #fh1 #adc1 #aie ,orsi1 discoveries of1 in ,crete1 i4 #bfd ff41 #bgb ,orthography of ,attic vases1 ii4 #bfh ff4 1 ii4 #afi1 #aig ,orvieto1 vases from1 i4 #gd2 krater from1 in ,louvre1 i4 #dji1 #ddb1 ii4 #bjc2 terracotta sculpture at1 ii4 #cai ,oscan inscriptions1 i4 #ajc1 #dhc1 ii4 #bgc ,oscilla1 ii4 #cgg ,osco-,samnites1 i4 #dhc1 ii4 #ahj1 #bjj1 #cbd ,ossuaria1 i4 #ade1 #bgb1 ii4 #bhe2 and see ,cinerary urn ,ostia1 roof-tile from1 ii4 #cde ,ostracism1 i4 #ab1 #ajc 1 1 i4 #hi ,oundle1 vase from1 ii4 #eda ,outline-drawing1 i4 #bbd1 #cbj1 #cca1 #ccd1 #cie1 #dee ,owl-vases from ,troy1 i4 #beh ,owners' names on vases1 ii4 #bda ,oxford1 ,ashmolean ,museum1 i4 #bg 1 i4 #aid1 ii4 #bci 1 i4 #acf1 #aga1 #aid1 ii4 #bci ,paestum1 vases from1 i4 #hb2 fabric of1 i4 #dgi2 inscriptions on vases of1 ii4 #bgb 1 ii4 #afc ,painted vases1 special uses of1 i4 #adb ff42 manufacture of1 i4 #bjb ff42 classification1 i4 #bai ff42 earliest examples in ,greece1 i4 #bci1 #bdc1 #bfj1 #bfe2 in ,etruria1 ii4 #bic1 #cjf ff42 ,roman1 ii4 #ddb2 termination of1 in ,greece and ,italy1 i4 #dhg ff41 ii4 #caj1 #dca2 and see ,vase-paintings1 ,vases ,painters of vases represented1 i4 #bbc1 #bbg1 #bbh ,painting1 ,greek1 i4 #ad1 #cbj1 #cid ff41 #ddj ff41 #dej2 ,ionic1 i4 #cfa2 influence of1 on vases1 i4 #ad1 #cbj1 #cid ff41 #ddj ff41 #dej1 #dee1 #dga1 ii4 #bjc2 on terracotta1 i4 #ib1 #cig1 #ded2 ,etruscan1 on terracotta1 ii4 #bii1 #cai ,palaeography of vase-inscriptions1 ii4 #bde2 of ,attic inscriptions1 ii4 #bfh ff4 ,palaestra1 scenes in1 ii4 #afb ff4 ,palaimon1 i4 #cad1 ii4 #bf1 #ahi ,palazzolo 7,acrae71 vases from1 i4 #hg ,palladion1 rape of1 ii4 #acc ,palmette-pattern1 ii4 #bbd ff42 on ,boeotian ,geometrical vases1 i4 #bhh2 on ,b4,f41 i4 #cge2 on ,r4,f41 i4 #dac ff4 ,pamphaios1 potter1 i4 #cgi1 #dbj1 #dbb ff41 #dbg1 ii4 #bei ,pan1 ii4 #eh1 #aib ,panathenaic amphorae1 i4 #df1 #fi1 #acb1 #ade1 #afj1 #chi2 inscriptions on1 ii4 #bfd1 #bgj 1 i4 #ahe1 #daj2 and see ,kotyle ,pandareos1 ii4 #ada ,pandion1 sons of1 ii4 #aci ,pandora1 ii4 #ge2 8box0 of1 i4 #aeb ,panels on vases1 i4 #afj1 #afi1 #bba1 #cef1 #cfi1 #cgc1 #cge1 ii4 #bjh ,panofka1 theories of1 i4 #ba1 #adi ,pantheon at ,rome1 date of brickwork1 ii4 #cch1 #cfj ,panticapaeum1 see ,kertch ,papposeilenos1 ii4 #fe1 #aib ,paris1 son of ,priam1 ii4 #aba ff41 #abg1 #aie2 ,judgment of1 ii4 #abb ,paris1 see ,louvre 1 i4 #aid1 ii4 #dfi ,paros1 stamped amphora-handles from1 i4 #aeg2 primitive pottery from1 i4 #bfb ,parrhasios1 i4 #dej ,parthenon sculptures1 and vase-paintings1 i4 #ae1 #dej1 #dfj1 #dfd1 #dig2 and lamps1 ii4 #dji ,pasiades1 potter1 i4 #cgi ,pasiteles1 use of clay models by1 i4 #aaa1 ii4 #cge ,passeri1 theories of1 i4 #ba2 collection of lamps1 ii4 #djh ,pastoral scenes on lamps1 ii4 #dah2 and see ,tityrus ,patella1 ii4 #dfi ,patera1 ii4 #dga2 imitating metal1 ii4 #ebi2 and see ,phiale ,paternus1 potter1 ii4 #ebg ,patina1 ii4 #def1 #dfh ,patroklos1 ii4 #abc1 #abf1 #acj2 games for1 ii4 #aca2 tomb of1 ii4 #aca ,patroni on ,italian vases1 i4 #dfg1 #dgi1 #dhc1 ii4 #cbc ff4 ,patterns1 see ,ornamental ,pausanias on use of brick and terracotta in ,greece1 i4 #ib1 #ih1 #ajj2 on the chest of ,kypselos1 ii4 #bcf ,pavements1 tiles used in1 ii4 #cej ,pediment-style of composition1 ii4 #bjg ,pegasos1 ii4 #gi1 #aad1 #adh ,peirithos1 ii4 #aaa ,peisistratos1 i4 #cjd1 #cfi ,peithinos1 vase-painter1 i4 #dba1 #dch ,peitho1 ii4 #db1 #di ,peleus1 ii4 #abj1 #adb ,pelias1 funeral games for1 i4 #cai1 ii4 #aaf 8,pelike10 i4 #afc1 #daa 1 i4 #ahf1 #cia2 and cf4 ii4 #bci ,pelops1 ii4 #aac1 #aie 1 i4 #hi ,pelvis1 ii4 #dfi ,penelope1 ii4 #ace ,pentathlon1 ii4 #afc ,penteskouphia1 pinakes from1 i4 #ea1 #aci1 #caf ,penthesileia1 ii4 #acb ,pentheus1 ii4 #ef1 #adb ,perennius1 ,m41 potter1 ii4 #dhc1 #dib1 #did ,persephone1 ii4 #bf ff41 #fg1 #ahi ,perseus1 ii4 #aab1 #aie ,persia1 vases from1 i4 #fd ,persians on vases1 i4 #dbj1 ii4 #aea1 #agi ,personal names on vases1 ii4 #ib1 #bfj ,personifications on vases1 ii4 #gg ff4 ,perspective1 conventional1 i4 #bhf1 #cab2 on ,r4,f4 vases1 i4 #cih2 on ,south ,italian1 i4 #dgj ,perugia1 vases from1 i4 #gc ,peucetians on vases1 i4 #dhg2 pottery of1 ii4 #cbc ff4 ,phaestos1 pottery from1 i4 #fj1 #bfd ,phathon on ,arretine vase1 ii4 #dhc ,phaidra1 ii4 #aab ,phaleron ware1 i4 #di1 #bih ,phanagoria1 vases from1 i4 #fa1 #cdj ,phaon1 ii4 #adb ,pheidias1 see ,parthenon ,pheidippos1 vase-painter1 i4 #dbd ,phiale1 i4 #adj1 #aia1 #dij1 #ejb2 and see ,patera ,philoktetes1 ii4 #abd ,philomela1 ii4 #aci ,phineus1 i4 #acf1 ii4 #ha1 #aae1 #adc2 cup with subject of1 i4 #ceg1 ii4 #bjc ,phintias1 vase-painter1 i4 #dba1 #dbh1 ii4 #bei 1 i4 #he1 #dgc1 ii4 #afj ,phobos on vases1 ii4 #ij1 #aii2 on lamps1 ii4 #cih ,phocaea1 vases from1 i4 #fb1 #fd1 #bed2 as centre of fabric1 i4 #ced1 #cfj ,phoenicians1 in ,cyprus1 i4 #bdg ff42 influence of1 on ,etruria1 ii4 #bif1 #cjc ,phoenissae of ,euripides1 scenes from1 i4 #ejj1 ii4 #dad1 #dae1 #dba ,phoinix1 ii4 #abf1 #abh ,phokis1 pottery from1 i4 #ec ,pholos1 ii4 #ajb1 #adf ,phosphoros1 ii4 #gi 1 meaning of1 i4 #bae ,phrynos1 potter1 i4 #cgi1 #chd ,phthonos1 ii4 #di ,phylakopi1 pottery of1 i4 #eg1 #bfb ,physical conceptions personified1 ii4 #gg ff41 #hd ,physiognomy1 treatment of1 on vases1 ii4 #bjb ff4 ,pictorial style on vases1 i4 #dji1 #ddj ff41 #dej1 #dgj ,pile ,cinq-,mars1 ii4 #ccg ,pinakes1 ,corinthian1 i4 #ea1 #bjg1 #baf1 #bag #caf1 ii4 #agj1 #bdi2 ,rhodian1 i4 #cce ,pinax1 i4 #aid2 votive1 i4 #aci1 #ded1 and see ,pinakes2 with subject of ,euphorbos1 i4 #cce1 ii4 #bdi ,pindar quoted1 i4 #acb2 comparison of1 with vase-subjects1 ii4 #f ,pipes of terracotta1 i4 #aji1 ii4 #cdg ff4 ,pisa1 vases from1 i4 #gb ,pisticci1 vases from1 i4 #hc ,pistillus1 potter1 ii4 #chc ,pistoxenos1 potter1 i4 #dbc ,pitane1 vases from1 i4 #fb1 #cci ,pitcher1 see ,hydria1 ,kalpis 1 ii4 #aef ,pithos1 i4 #eg1 #adg1 #aea ff41 #bji1 #baf2 with reliefs1 i4 #dif1 ii4 #bib2 ,etruscan1 ii4 #bib1 #cjj ,pit-tombs of ,etruria1 ii4 #bhd ff4 1 i4 #if ,plastic art1 i4 #f1 #aaj2 nature of clay1 i4 #e2 principle in pottery1 i4 #bch1 #bef1 #beg1 #bfg1 #caj1 #dia ff42 and see ,modelling of vases ,plautus quoted1 ii4 #def1 #dfc1 #dgf ,plicque on ,lezoux pottery1 ii4 #ebe ff4 1 i4 #id1 #ie ,pliny1 traditions recorded by1 i4 #ia1 #ib1 #ih1 #aaj2 on early ,greek painting1 i4 #cbj1 #cid ff42 on terracotta in ,italy1 ii4 #cac1 #cad1 #cga1 #cgb2 on ,roman pottery1 ii4 #dge ,ploutos1 ii4 #he ,poculum1 i4 #ahj1 ii4 #dfg 1 i4 #agf ,poinae1 ii4 #fi1 #ij ,poli 7,marion71 vases from1 i4 #fg1 #bej1 #bee ,polledrara ware1 ii4 #big ff42 at ,naukratis1 i4 #cdg ,pollentia1 pottery of1 i4 #ga1 ii4 #dgg ,pollux on names of vases1 i4 #adi ff4 ,polychrome painting1 i4 #bbd1 #bef1 #ddi1 #def2 at ,naukratis1 i4 #cdh2 in ,southern ,italy1 i4 #dhd2 in ,etruria1 ii4 #bii ,polydeukes1 see ,dioskuri ,polygnotos1 painter1 i4 #ae1 #dji1 #dba1 #dda ff41 #dei1 ii4 #bjb1 #bji2 vases in style of1 i4 #ddc ---- vase-painter1 i4 #dba1 #dde ,polykleitos1 i4 #aab ,polymestor1 ii4 #ace ,polyphemos1 ii4 #acf ,polyxena1 i4 #cbf1 ii4 #abe1 #ace ,pomarico1 vases from1 i4 #hc ,pomegranate-patterns1 ii4 #bbb ,pompeii1 wine-amphorae from1 i4 #aeh1 ii4 #dfb2 paintings of1 relation to vases1 i4 #dga1 #dhe2 bricks used at1 ii4 #ccg2 tiles used at1 ii4 #cdb ff42 mural reliefs from1 ii4 #cfg2 terracotta statues from1 ii4 #cgd2 statuettes1 ii4 #cge1 #cgh2 miscellaneous terracotta objects1 ii4 #chg2 echea1 ii4 #deh2 ,gaulish pottery at1 ii4 #ebb1 #ebd 8,pontic0 vases1 i4 #cei ,popilius1 ,c41 potter1 ii4 #dij ,porcelain vases1 i4 #abf ff4 ,portraits on lamps1 ii4 #dae ,portus on tile-stamps1 ii4 #cfc ,poseidon on vases1 ii4 #bb ff41 #ahh2 in ,gigantomachia1 ii4 #ac ff42 on ,corinthian pinakes1 i4 #cag1 ii4 #bc2 on lamps1 ii4 #dji ,post-,homerica1 scenes from1 ii4 #aai ff4 1 i4 #ahj ,pothos1 ii4 #di ,potteries1 ,greek1 i4 #hi1 #bcc2 scenes in1 on vases1 i4 #bjh1 #bac1 #baf ff41 ii4 #agj2 of tile-makers1 ii4 #cef2 at ,arezzo1 ii4 #dhj ff42 in ,gaul1 ii4 #ejd1 #ecc2 importance of fixing sites of1 ii4 #dda2 and see ,kerameikos ,potters represented on vases1 i4 #bjh1 #bji1 #bac1 #baf ff41 #dbb1 ii4 #bfj2 in sculpture1 ii4 #eaa2 list of ,greek1 ii4 #bgc ff42 names or stamps of1 on terracottas1 ii4 #cgi ff42 on lamps1 ii4 #djf1 #dbc ff42 on ,arretine ware1 ii4 #dhj ff42 ,gaulish1 ii4 #ejd1 #eji ff41 #ebb1 #ebf2 in ,germany1 ii4 #eaj1 #ece2 in ,britain1 ii4 #edb2 on mortars1 ii4 #eea2 wheel used by1 i4 #g1 #bjf ,pottery1 invention of1 i4 #c ff42 ,palaeolithic and ,neolithic1 i4 #d2 characteristics of ,greek1 i4 #i2 primitive ,greek1 i4 #fd1 #bjf1 #bcg ff41 #bef ff42 ,greek terms for1 i4 #hi2 use of1 in daily life1 i4 #ace ff42 shapes1 i4 #adh ff41 ii4 #deh ff42 imitations of metal in1 i4 #bja1 #dhh1 #dib1 #die ff41 and see ,metal2 manufacture1 #bjb ff42 unpainted domestic1 i4 #beb1 ii4 #edh ff4 ,pottier on ,greek vases1 i4 #i1 #bih1 #cje1 #cjh1 #ccj1 #cfg2 on ,etruscan1 ii4 #bha1 #cja ,pozzo-tombs in ,etruria1 ii4 #bhd ff4 ,pozzuoli1 see ,puteoli ,praedia on tile-stamps1 ii4 #cee ,praefericulum1 ii4 #dga ,praefurnium1 ii4 #dff ,preimos1 lamp-maker1 i4 #ajh ,pre-,mycenaean pottery in ,greece1 i4 #bef ff4 ,priam1 ii4 #abg1 #aca1 #acd ,priapos1 potter1 i4 #adg ,prices of vases1 i4 #dc ff42 scratched under the foot1 ii4 #bch ff4 ,primitive pottery in ,cyprus1 i4 #bcf ff42 in ,greece1 #bef ff42 in ,etruria1 ii4 #bhd ff4 ,prize-vases1 see ,panathenaic 1 i4 #afg ,processions1 ii4 #aee2 and see ,judgment of ,paris 1 i4 #agh ,prokles1 potter1 i4 #dic ,prokne1 ii4 #aci ,prokrustes1 ii4 #aji ,prometheus1 ii4 #ge2 as potter1 ii4 #cgh 1 i4 #aaa1 ii4 #cge1 #cgh ,proteus1 ii4 #bf1 #acf 1 i4 #adb1 #dei1 ii4 #aeg ,prothesis-amphorae1 i4 #adb1 #aei1 ii4 #aeg ,proto-,attic vases1 i4 #aei1 #bib ff4 ,proto-,corinthian vases1 i4 #cje ff41 ii4 #bed ,provincial ,roman wares1 ii4 #dig ff42 as illustrating ,roman art1 ii4 #ejh1 #eba ,psiax1 vase-painter1 i4 #dba1 #dbi 1 i4 #aej1 #agb1 #daa ,psychostasia1 ii4 #acj1 #acb ,ptolemies1 representations of1 i4 #abi ,ptolemy ,euergetes quoted1 ii4 #dee ,ptos1 finds at ,mount1 i4 #bhg ,pultarius1 ii4 #dgb ,punctured patterns1 i4 #bdb 1 i4 #aje 1 i4 #bae ,purple1 use of1 for details1 i4 #bba1 #bca1 #cab1 #cga 8,pursuing0 type on ,r4,f4 vases1 i4 #dai ,puteals1 terracotta used for1 ii4 #chg ,puteoli as vase-centre1 ii4 #dgh1 #dib ,pygmies and cranes1 ii4 #adi ,pyrrhos1 potter1 i4 #cjh1 ii4 #bed ,python1 potter1 i4 #dbc1 #dcd ---- vase-painter1 i4 #adg1 #dgh ff41 ii4 #bgb ,pyxis1 i4 #aih1 #bja1 #dab1 #ddi2 and see ,dodwell ,raimondi1 restorer of vases1 i4 #db ,rasinius ,pisanus1 ,l41 potter1 ii4 #dhe1 #ebc ,rattles1 vases used as1 i4 #acg ,reclining figures in terracotta1 i4 #abd2 on ,etruscan sarcophagi1 ii4 #cag1 #cba ,red glaze1 ,roman1 ii4 #dce ff41 #dig2 on ,greek sites1 ii4 #dgf1 #dih2 and see ,glaze ,red wares1 ,cypriote1 i4 #bda1 #bea2 ,roman1 plain1 ii4 #edi ,red-bodied amphorae1 i4 #afa1 #bba1 #cfi ,red-figured vases1 technique of1 i4 #bba2 found in ,cyprus1 i4 #bee2 chronology of1 i4 #dja2 drawing1 i4 #djf2 shapes1 i4 #dji ff42 ornamentation1 i4 #dab ff41 ii4 #bcd2 subjects1 i4 #daf ff42 arrangement of subjects on1 ii4 #bjh2 relation to ,b4,f41 i4 #cfh1 #chf1 #cic1 #djj2 ,etruscan imitations of1 ii4 #cji ,regulini-,galassi tomb at ,cervetri1 ii4 #cjj ,reliefs1 architectural1 i4 #ih1 ii4 #cae ff41 #cdc1 #cde2 terracotta1 i4 #aai2 ,roman mural1 ii4 #cfe ff42 ,greek vases with1 i4 #dif ff42 ,etruscan vases with1 ii4 #bib1 and see ,bucchero2 method of producing1 in ,roman pottery1 ii4 #dch ff41 #eje2 appliqu1 at ,lezoux1 ii4 #ebi2 and see ,terra sigillata ,religion of ,greeks1 i4 #ac1 #ach ff41 ii4 #aee2 of ,mycenaeans1 i4 #bgc ,religious uses of vases1 i4 #ach2 subjects on vases1 ii4 #aed ff4 1 i4 #aic ,restoration of vases1 i4 #dj1 #adg ,revels on vases1 ii4 #ahb ,rextugenos1 potter1 ii4 #chd ,rheinzabern1 stamps from1 ii4 #ddj2 mould from1 ii4 #dda2 kilns at1 ii4 #ddf1 #dej2 potteries of1 ii4 #ejd1 #ece2 potters' names at1 ii4 #eaj ,rheneia1 vases from1 i4 #eg1 #cjb ,rhesos1 ii4 #abh ,rhineland1 terracottas from1 ii4 #chj1 #chc2 pottery of1 ii4 #dih1 #ejj ff41 #ecd ff4 ,rhodes1 tombs of1 i4 #cd1 #aba2 vases found in1 i4 #eh2 terracottas from1 i4 #aab1 #aba2 from1 i4 #aeb2 wine-amphorae and stamps from1 i4 #aee2 typical oinocho of1 i4 #agg2 ,mycenaean vases from1 i4 #bgd1 #bgf2 ,corinthian1 i4 #caa2 ,b4,f4 kylikes1 i4 #ceg2 vases with reliefs1 i4 #dig ,rhodian pottery1 i4 #ccc ff42 ornamentation1 i4 #ccd1 ii4 #bbe1 #bca1 #bcc2 8mixed0 technique of1 i4 #cch2 found at ,troy1 i4 #cci2 compared with ,naukratis1 i4 #cde ff42 influence on ,proto-,attic1 i4 #bid1 #bie ,rhoikos1 i4 #aaj ,rhone valley as pottery-centre1 ii4 #ddj1 #dih1 #ejc1 #ecj1 #ecc ,rhyton1 i4 #abg1 #aib1 #bja1 #baa1 #daj1 #dic1 #did ,riegl on ornamentation of vases1 ii4 #bbc ff42 on ,mycenaean1 i4 #bgf ,ripanus ,tiberinus1 potter1 ii4 #eea ,river-gods1 ii4 #hc1 #aid2 and see ,achelos1 ,nile ,rivets for mending vases1 i4 #adg ,roach-,smith on ,roman pottery1 ii4 #ejc1 #ejh1 #ebi1 #edj1 #edb ,robert on ,polygnotos1 i4 #ddb1 #dde2 on ,megarian bowls1 i4 #dii ,roman art1 illustrated in pottery1 ii4 #dhi1 #did1 #ejg1 #ejh1 #eba1 #edd ff42 porcelain ware1 i4 #abi2 subjects on mural reliefs1 ii4 #cgj2 on lamps1 ii4 #djg1 #dab1 #daf2 villas in ,britain1 use of tiles in1 ii4 #cdf1 #cdh2 ,wall1 pottery from1 ii4 #edj ---- pottery1 uses of1 ii4 #chg1 #dee ff42 compared with ,greek1 ii4 #dcj1 #dgb2 limits of subject1 ii4 #dcj ff42 extent of use of1 ii4 #dca1 #dcc1 #dee1 #dgc1 #dif2 development of1 from earlier1 ii4 #dca1 #dcb1 #dhi ff42 termination of1 ii4 #dcb1 #die2 technical processes1 ii4 #dcc ff42 plain wares1 ii4 #dcg1 #dif1 #edg ff42 kilns for1 ii4 #ddc ff42 shapes and names1 ii4 #deh ff42 centres of manufacture1 ii4 #dgd ff42 transition to provincial wares1 ii4 #dif1 #ejj ff42 in ,germany1 ii4 #ejd1 #eaj1 #ecf1 #eeb2 in ,britain1 ii4 #edj ff42 and see ,arretine1 ,gaul1 ,provincial wares ,romanensis1 lamp-maker1 i4 #ajh1 ii4 #dbc1 #dbg ,romano-,british pottery1 ii4 #edc ff42 from ,wroxeter1 ii4 #eec ,rome1 collections at1 i4 #bi2 pottery found at1 i4 #gi1 ii4 #def1 #dfa2 use of terracotta at1 for sculpture1 ii4 #cad1 #cgb2 use of bricks and tiles at1 ii4 #cca ff42 stamped tiles from1 ii4 #ceb ff42 evidence for dating buildings at1 ii4 #cfj2 mural reliefs from1 ii4 #cfe2 statuettes of terracotta in use at1 ii4 #cgf ff42 use of lamps at1 ii4 #cic1 #cif2 as centre of lamp-fabric1 ii4 #dbg2 echea found at1 ii4 #deg2 as centre for pottery1 ii4 #dgg2 ,arretine stamps at1 ii4 #dha ff42 provincial wares at1 ii4 #dih1 #ebb ,roofs and roof-tiles of terracotta1 i4 #if ff41 ii4 #cae1 #cdd1 #cde ,rosettes on vases1 i4 #cab1 #ccd1 ii4 #bcj ,rottenburg1 inscribed vases from1 ii4 #eab ,rubrica1 i4 #bje1 ii4 #djd ,russia1 collections in1 i4 #bh2 vases from1 i4 #fj2 tiles from1 i4 #aja2 stamped wine amphorae from1 i4 #aeh2 and see ,kertch1 ,olbia ,rutenian pottery and potters1 see ,graufesenque ,rutenus1 potter 7871 ii4 #eaj ,ruvo1 vases found at1 i4 #hc2 furnace at1 i4 #bae2 as centre for ,apulian vases1 i4 #dhf ,sabinus1 potter1 ii4 #ejh ,sacrifices1 vases used in1 i4 #adj2 representations of1 ii4 #aee ,saeculares on lamps1 ii4 #cif1 #cih1 #dba ,saguntum as pottery-centre1 ii4 #dgi1 #dii1 #edj ,st4-,rmy-en-,rollat1 potteries of1 ii4 #chb1 #che1 #eaf2 clay of1 ii4 #dcd ,sakonides1 vase-painter1 i4 #cgi1 #chd ,sala ,consilina1 local pottery from1 ii4 #cbd1 #cbh ,salamis 7,attica71 personified1 ii4 #hb2 vases from1 i4 #ed ---- 7,cyprus71 vases from1 i4 #ff1 #bde2 lamp from1 ii4 #dji ,salmoneus1 ii4 #adc 8,samian0 ware1 i4 #eg1 #ga1 ii4 #dgd ff41 #dig ,samnium as pottery-centre1 ii4 #dge ,samos1 pottery of1 i4 #eg1 #ccf ff41 and see ii4 #dge ,sandwith on ,cypriote pottery1 i4 #fe1 #bdj 1 i4 #aab1 #abb ,santa ,agata dei ,goti 7,saticula71 vases from1 i4 #ha1 #dhd ,sappho1 ii4 #add1 #aea ,sarapis on lamps1 ii4 #djb1 #dji1 #dab ,sarcophagi of terracotta1 i4 #ajd1 ii4 #deg2 from ,clazomenae1 i4 #fb1 #ajd1 #cfb ff42 ,etruscan1 ii4 #cag1 #cbj ff4 ,sardinia1 vases from1 i4 #hh2 and see ,tharros ,sardis1 pottery from1 i4 #fd ,sarpedon1 ii4 #abi ,sarteano1 vases from1 i4 #gc ,saticula1 fabric of1 i4 #ha1 #dhd ,saturnalia1 statuettes in connection with1 ii4 #cgf ,saturnus ,balcaranensis1 lamps from altar of1 ii4 #cig ,satyric drama1 subjects from1 ii4 #g1 #afa2 mask of terracotta1 i4 #ajd1 ii4 #cgg ,satyrs1 ii4 #ed ff41 #aib2 names of1 ii4 #fe2 ,ionic1 i4 #cec1 #cee2 on ,r4,f4 vases1 i4 #daf1 #dag2 on mural reliefs1 ii4 #cfi2 on lamps1 ii4 #daa ,saurias of ,samos1 painter1 i4 #cfa ,scale-patterns1 ii4 #bah2 ,corinthian1 i4 #caa2 ,ionic1 i4 #cch1 #ceb ,schliemann's excavations1 i4 #bef ,school-scenes on vases1 i4 #dce1 ii4 #afh1 #bfc ,sculpture1 in clay1 i4 #f1 #aaj2 ,etruscan1 ii4 #cac ff42 at ,rome1 ii4 #cga2 use of clay models in1 ii4 #cge2 in relation to vase-paintings1 i4 #ae1 #dej ,scutra1 ii4 #dgj ,scyphi ,homerici1 i4 #acd1 #ahe1 #dii1 ii4 #b ,scythians1 on vases1 ii4 #agi2 dialect of 7871 ii4 #bef ,sea-deities1 ii4 #be1 #ahi2 on ,corinthian vases1 i4 #cad1 ii4 #bf1 #ahi ,seasons on mural reliefs1 ii4 #cfh1 #cgj2 on ,arretine vases1 ii4 #dhh1 #dic2 and see ,spring1 ,horae ,seianti ,thanunia1 sarcophagus of1 ii4 #cbb ,seileni1 ii4 #ed ff41 #fe1 #afa2 and see ,satyrs ,selene1 ii4 #gh1 #gi1 #aic2 on lamps1 ii4 #dab ,selinus1 tombs of1 i4 #cg2 vases from1 i4 #hg ,selva la ,rocca1 vases from1 i4 #gf ,semele1 ii4 #ah1 #ef ,semitic nations1 use of brick among1 i4 #f1 #ia2 and see ,assyrian1 ,oriental ,septimius ,secundanus1 ,c41 potter1 ii4 #eaa ,sepulchral stelae compared with vases1 i4 #dfa1 #dgg1 ii4 #aeh2 and see ,funeral1 ,tomb 8,severe0 style of ,r4,f4 vases1 i4 #dbj1 #dbb ff4 ,sexes1 distinction of1 on early vases1 i4 #cag1 #cca2 and see ii4 #bjj ,shapes of vases1 i4 #ac1 #adh ff42 at ,troy1 i4 #beh2 at ,thera1 i4 #bfa2 ,mycenaean1 i4 #bga2 ,geometrical1 i4 #bha1 #bhg2 ,proto-,attic1 i4 #bic2 ,proto-,corinthian1 i4 #cjh2 ,corinthian1 i4 #cac1 #cag2 ,rhodian4 i4 #ccd2 ,attic ,b4,f41 i4 #cgb ff42 ,r4,f41 i4 #dji ff42 ,white-ground vases1 i4 #def2 ,south ,italian1 i4 #dfh1 #dha1 #dhc1 #dhe2 ,etruscan1 ii4 #bhe ff41 #cjb2 local ,italian1 ii4 #cbe ff42 ,roman1 ii4 #deh ff42 ,arretine1 ii4 #dhh2 provincial1 ii4 #ejj ff41 #eje1 #ebj1 #ebf ,shields1 devices on1 ii4 #aih ,ships1 ii4 #agh2 on ,dipylon vases1 i4 #bhe1 #bia2 on lamps1 ii4 #dag 8,short-hand0 system of indicating landscape1 etc41 ii4 #bjd ff4 ,sicily1 history of1 in relation to vases1 i4 #aa2 tombs in1 i4 #cg2 vases from1 i4 #hf1 #cjg1 #caa2 terracotta architecture of1 i4 #ajj ,sigeion1 vases from1 i4 #fa ,sigilla1 ii4 #cge ff4 ,sigillaria1 ii4 #cgf ,sigillarius1 ii4 #eaa ,signatures1 forms of1 i4 #cgi1 #dbb ff41 ii4 #beg ff42 of ,gaulish potters1 ii4 #cha1 #eji2 of ,german potters1 ii4 #eaj2 of lamp-makers1 ii4 #dbc ff41 #dbg ,sikanos1 potter1 i4 #dbj1 #dbd ,sikelos1 vase-painter1 i4 #cia ,sikyon1 vases from1 i4 #ea2 alphabet of1 i4 #cba1 #cha1 ii4 #beb2 painters of school of1 i4 #cie ,silchester1 pottery from1 ii4 #ebb ,silhouette paintings on vases1 i4 #bbj1 #bhe1 #cif1 #dee2 on ,clazomenae sarcophagi1 i4 #cfb ,silphium at ,kyrene1 i4 #cdb ,silver1 vases coated with1 i4 #gd1 #ahi1 #eja ,simonides quoted1 i4 #acb ,simpulum1 simpuvium1 ii4 #dga ,singing on vases1 ii4 #afi1 #ahb2 inscriptions denoting1 ii4 #bfa ,sinis1 ii4 #aji ,sinus1 ii4 #dfe ,sipylos1 pottery from1 i4 #fd ,sirens1 ii4 #adg1 #aif ,sisyphos1 ii4 #fh2 and cf4 ii4 #bfd ,situla1 i4 #afe1 ii4 #dfd2 from ,daphnae1 i4 #cej 1 i4 #age ,skiron1 ii4 #aji 1 i4 #ahd ,skylla1 ii4 #bf1 #adh1 #ahi 1 i4 #aih ,smikros1 vase-painter1 i4 #dba1 #ddj1 ii4 #bei ,smith 7,cecil7 on ,proto-,attic vases1 i4 #bid2 on ,r4,f4 vases1 i4 #djg2 on ,polledrara ware1 ii4 #cjj ,smithy of ,hephaistos1 ii4 #cg1 #aga ,social advantages1 etc41 personified1 ii4 #he1 #ia 1 i4 #if ,solygea1 vase from1 i4 #ea ,sophilos1 vase-painter1 i4 #cgi1 #chj ,sorrento1 vases from1 i4 #hb ,sosias1 potter1 i4 #dba1 #dci ,sotades1 potter1 i4 #aia1 #daj1 #dba1 #dde1 #deg ,southern ,italy1 see ,apulia1 ,campania1 ,lucania1 ,italy ,spain1 ,roman pottery in1 ii4 #dgi1 #dhj1 #edj ,sparta personified1 ii4 #hb ,spata1 pottery from1 i4 #di ,sphinx1 i4 #bdi1 ii4 #adg1 #aif2 ,theban1 ii4 #aag ,spiral patterns1 i4 #bib1 #cjb1 #cge1 ii4 #bag ,sporades1 pottery from1 i4 #eg ,sport on vases1 ii4 #afe ,spring1 stamp with figure of1 ii4 #dci1 #dic2 and see ,seasons ,stackelberg1 i4 #ah1 #db1 #dh ,stage1 subjects from1 see ,drama ,stag-hunts1 ii4 #afe 1 i4 #afc1 #daa2 from ,daphnae1 i4 #ceb ,stamped patterns on ,greek vases1 i4 #bab ,stamps on bricks and tiles1 ii4 #ceb ff42 in the provinces1 ii4 #ceg2 military1 ii4 #cfc ff42 on dolia1 ii4 #dei2 on wine-amphorae1 i4 #aee ff41 ii4 #dfa ff42 for figures in ,roman pottery1 ii4 #dch2 and see ,inscriptions1 ,signatures ,stars1 ii4 #gi ,stationes on tile-stamps1 ii4 #cfb ,statues of terracotta1 i4 #aji1 ii4 #cga ff4 ,statuettes of terracotta1 ,greek1 i4 #aaj ff42 ,roman1 ii4 #cge ff42 ,gaulish1 ii4 #cgi ff4 1 i4 #if ,stelae with inscriptions on vases1 ii4 #bgb2 and see ,sepulchral 8,still-life0 subjects1 ii4 #ahe ,stone ,age1 pottery of1 i4 #d1 #i2 and see ,neolithic ,strabo quoted1 i4 #ej1 #acd ,strenae1 ii4 #cih 8,strong0 period of ,r4,f4 vases1 i4 #dag1 #dba ,studniczka on ,cyrenaic vases1 i4 #cda ,study of ,greek vases1 its uses1 i4 #aj ff42 its history1 i4 #af ff4 ,stymphalian birds1 ii4 #ih ,subjects on vases1 i4 #ab ff42 interpretation of1 i4 #ba1 ii4 #h2 relation to literature1 ii4 #a ff42 arrangement of1 ii4 #bjf ff42 ,mycenaean1 i4 #bgb2 ,dipylon1 i4 #bhf2 ,proto-,attic1 i4 #bif2 ,melian1 i4 #cja2 ,proto-,corinthian1 i4 #cji2 ,corinthian1 i4 #cad ff42 ,black-figured1 i4 #cgf ff42 ,red-figured1 i4 #daf ff42 ,white-ground1 i4 #deg2 ,south ,italian1 i4 #dgd ff42 ,campanian1 i4 #dhc2 ,etruscan1 ii4 #bib1 #cjb1 #cji2 ,arretine1 ii4 #dib ff42 provincial1 ii4 #ejg1 #eba1 #edd2 on lamps1 ii4 #djh ff42 on mural reliefs1 ii4 #cfh ff4 ,sub-,mycenaean pottery1 i4 #bdf ,suetonius quoted1 i4 #acd1 ii4 #ccf ,sumlocene1 vases from colony of1 ii4 #eab ,sun-dried bricks1 i4 #hi ff41 ii4 #cca1 #ccc ,susa 7,persia71 vase from1 i4 #fd ,swallow-scene1 ii4 #ahe1 #bfb ,swimming-scenes1 ii4 #agc ,syra1 pottery from1 i4 #bfb ,syracuse1 vases from1 i4 #hf1 #cjg ,taleides1 potter1 i4 #cgi1 #chj ,talos1 ii4 #aaf ,tamassos1 vase from1 i4 #bdi ,tanagra1 vases from1 i4 #ec1 #dea2 terracottas from1 i4 #aab1 #aaf1 #abd4 ,tantalos1 ii4 #fh ,taras1 ii4 #add1 #afj ,tarentum1 vases from1 i4 #he2 moulds from1 i4 #aae2 at1 i4 #dgc2 as centre of pottery 7871 i4 #dhf1 #dhh1 ii4 #cbd ,tarragona1 ,roman pottery from1 ii4 #dgi1 #dhj1 #edj ,tarsus1 lamps from1 i4 #ajh2 enamelled wares from1 i4 #abi ,tataie lekythos1 i4 #hj1 ii4 #bdb ,taygeta1 ii4 #ai1 #hb ,technical processes1 for terracottas1 i4 #aac ff42 for ,greek vases1 i4 #bjb ff42 for lamps1 ii4 #dje2 for ,roman pottery1 ii4 #dcc ff42 for ,romano-,british1 ii4 #ede2 miscellaneous details1 ,b4,f41 i4 #cgj2 ,r4,f41 i4 #dje1 #ddi2 ,white-ground1 i4 #dee2 ,south ,italian1 i4 #dgj ,tegulae1 i4 #if1 ii4 #cdj2 bessales1 ii4 #ccb1 #cdh2 bipedales1 ii4 #ccb1 #ccg1 #cci1 #cdf1 #cea2 colliciares1 deliciares1 ii4 #cda2 mammatae1 ii4 #cda1 #cdf2 sesquipedales1 ii4 #ccb2 and see ,tiles ,telemachos1 ii4 #acf ,telephos1 ii4 #abe ,tell-el-,amarna1 pottery from1 i4 #fg ,tempera painting1 i4 #aag1 #aai1 ii4 #cba1 #cfg ,temples1 use of terracotta for1 in ,greece1 i4 #ib ff42 in ,italy1 i4 #ih1 #aja1 ii4 #cad2 lamps used in1 ii4 #cig ,tenea1 vases from1 i4 #ea ,teos1 pottery of1 i4 #fd ,tereus1 ii4 #aci ,terra sigillata1 term explained1 ii4 #dcd2 and see i4 #ejc1 ii4 #dgd1 #dif2 in ,greece1 ii4 #dgf1 #dih2 provincial1 ii4 #dig ff42 centres of fabric of1 ii4 #ejc2 ,rutenian1 ii4 #ebj2 at ,banassac1 ii4 #ebe2 at ,lezoux1 ii4 #ebf2 in ,germany1 ii4 #ecd2 in ,britain1 ii4 #edj2 combined with barbotine1 ii4 #ebi2 termination of1 in ,italy1 ii4 #die2 in the provinces1 ii4 #ejh1 #ebf ,terracotta1 use of1 for bricks1 i4 #g1 ii4 #ccd ff42 for tiles1 i4 #if ff41 ii4 #cda ff42 in architecture1 ,greek1 i4 #ib ff42 ,etruscan1 ii4 #cad ff42 at ,rome and ,pompeii1 ii4 #cdc ff42 for pipes1 i4 #ajc1 ii4 #cdi2 in tombs1 i4 #ajd1 ii4 #cea2 for sarcophagi1 i4 #ajd1 #cfb ff41 ii4 #cag1 #cbj ff41 #deg2 for coin-moulds1 i4 #ajf1 ii4 #cij ff42 for impressions for seals1 i4 #ajf2 for models for statues1 i4 #aaa1 ii4 #cge2 miscellaneous uses1 i4 #ij1 #aje1 ii4 #chg ff42 ,greek terms for1 i4 #hi2 invention of modelling and moulding1 i4 #aaj2 vases of1 i4 #aah1 #adf1 #bja2 reliefs1 i4 #aai1 ii4 #cfe ff42 antefixal ornaments1 i4 #ig ff41 ii4 #cae1 #cag1 #cdc2 architectural sculpture in ,etruria1 ii4 #cag1 #cah2 statues1 i4 #aji1 ii4 #cga ff42 statuettes1 i4 #aab ff41 ii4 #cge ff42 ,boeotian1 i4 #bij2 ,etruscan1 ii4 #cac ff42 ,gaulish1 ii4 #cgi ff42 ,roman1 ii4 #cgc ff42 types1 i4 #aba ff42 methods of manufacture1 i4 #aac ff41 ii4 #cgh2 use of colour for1 i4 #aaf4 ii4 #cba1 #cbb2 painted panels1 i4 #ib1 ii4 #bii1 #cai2 use of1 as substitute for metal1 i4 #die ff41 ii4 #dca1 #dee ,terramare civilisation1 ii4 #bhc ,terranuova1 see ,gela ,testa1 ii4 #cca1 cf4 #cej ,teucheira1 vases from1 i4 #fi ,textiles1 influence of1 i4 #cab1 #ccc1 ii4 #baa ,thaleia1 ii4 #ai ,thamyris1 ii4 #add ,thanatos1 ii4 #ga1 #hd1 #aic ,tharros1 vases from1 i4 #hh2 porcelain ware from1 i4 #abh ,thasos1 amphora-stamps from1 i4 #aeg2 alphabet of1 i4 #ddc1 ii4 #bga ,theatrical treatment of subjects1 i4 #dgj2 subjects on vases1 see ,drama ,thebes1 vases from1 i4 #eb1 #bhf1 #cij2 personified1 ii4 #hb1 and see #hc2 legends of1 ii4 #aaf ff4 ,themis1 ii4 #gd ,theocritus quoted1 ii4 #b ,theodoric1 tiles of1 ii4 #cee ,theokosmos1 i4 #ib1 #aaa ,theozotos1 potter1 i4 #eb1 #cja ,thera1 finds in1 i4 #ef2 from1 i4 #aec2 early pottery of1 i4 #bfj ff42 connection with ,crete1 i4 #bfd2 ,mycenaean vases from1 i4 #bgj ,thericleian kylikes1 i4 #ahi 1 i4 #age ,thermon metopes1 i4 #ib 1 i4 #afi1 #age ,thersites1 ii4 #abf1 #acb2 and see i4 #bae ,theseus1 on ,r4,f4 vases1 i4 #dag1 #dcb1 #ddb2 with ,minotaur1 ii4 #aji1 #bih2 labours of1 ii4 #ajh ff42 in ,hades1 ii4 #fh1 #aaa2 in ,crete1 ii4 #aaj2 at ,athens1 ii4 #aaa ,thessaly1 pottery from1 i4 #ed ,thetis1 ii4 #abj1 #acj ,thiersch on ,tyrrhenian amphorae1 i4 #cbd ff4 ,thoas1 ii4 #adc ,thracians1 ii4 #adc1 #agi1 #bjj2 and see ii4 #aff ,thypheithides1 potter1 i4 #adg ,tickets of terracotta1 ii4 #chh ,tigranes1 potter1 ii4 #dhc ,tiles1 ,greek1 i4 #if ff42 inscribed1 i4 #aja1 #ajb2 used for tombs1 i4 #ajd ---- ,roman1 used as bricks1 ii4 #cca2 for other purposes1 ii4 #cda2 in ,roman walls in ,britain1 ii4 #ccb2 later use of1 ii4 #cce2 varieties of1 ii4 #ccb1 #cda2 flanged1 ii4 #cda1 #cdb2 for roofs1 ii4 #cdb ff42 ornamental1 ii4 #cdc2 used for warming1 ii4 #cdf ff42 for pavements1 ii4 #cej2 for tombs1 ii4 #cea2 potteries for1 ii4 #cef2 inscriptions on1 ii4 #cea ff41 #ceg ff41 #cfc ff42 military1 ii4 #cea1 #cfc2 from ,central ,europe1 ii4 #ceg ff42 from ,britain1 ii4 #cdb1 #cdf1 #cdh1 #cej1 #cei1 #cfc2 chronological evidence of1 ii4 #cfj ff4 ,timagoras1 potter1 i4 #cgi1 #chc ,timonidas1 vase-painter1 i4 #cae1 #cag1 ii4 #bea ,tiryns1 finds at1 i4 #ea ,tischbein1 i4 #ag ,titius1 ,a41 ,arretine potter1 ii4 #dhj1 #dhe ,tityrus on lamps1 ii4 #daf ,tleson1 potter1 i4 #cgi1 #chc ,toilet-scenes on vases1 i4 #dge1 ii4 #agb1 #agc2 and see ,aphrodite1 ,helen ,tomb1 cult of1 on vases1 i4 #adc ff41 #dei ff41 #dgg1 ii4 #aeh ,tombs1 ,greek1 i4 #cc ff42 ,cypriote1 i4 #ce1 #bcg1 #bej1 #bee1 #bef2 in ,cyrenaica1 i4 #cf2 in ,sicily1 i4 #cg2 in ,italy1 i4 #cg ff42 in ,dipylon at ,athens1 i4 #bhj2 in ,etruria1 ii4 #bhd ff42 a pozzo1 ii4 #bhd2 a fossa1 ii4 #bhi2 a camera1 ii4 #bid2 of large size1 ii4 #cjj2 arrangement of vases in1 i4 #ch2 vases used in1 i4 #adc ff41 ii4 #def1 #eej2 tiles used for1 ii4 #cea2 lamps used in1 ii4 #cig2 forms of1 as depicted on vases1 ii4 #aeg1 #aeh ,tongue-pattern1 i4 #cge1 ii4 #bai ,tools used in painting vases1 i4 #bbg ff42 by ,roman potters1 ii4 #dcg ff4 ,torch-race1 ii4 #afd ,toreutic work1 influence of1 on ,arretine ware1 ii4 #dhi ,towneley1 terracottas collected by1 ii4 #cff1 #cgc ,toys1 of terracotta1 i4 #abj2 vases used as1 i4 #acg2 representations of1 on vases1 ii4 #afg ,trades on vases1 ii4 #afi ff4 ,tradition1 literary and artistic1 compared1 i4 #ac1 ii4 #c ff4 ,tragedy and vase-paintings1 i4 #dga1 ii4 #g1 #afb 1 i4 #aic ,traits reservs1 i4 #cfb ,treasury of ,gela at ,olympia1 terracotta used in1 i4 #ajj ,trench-tombs in ,etruria1 ii4 #bhi ,trier as pottery-centre1 ii4 #ejb1 #ecd1 #ecf 1 i4 #ahf ,triptolemos1 ii4 #bg1 #ahi ,triton1 ii4 #be1 #aja1 #ahi ,triumphs1 lamps used in1 ii4 #cif ,troad1 pottery from1 i4 #fa1 #aec1 #ccj1 #cci2 and see ,troy 1 of lamps1 i4 #ajg ,troilos1 i4 #dcc1 ii4 #abe ,trojan subjects on vases1 i4 #cbb1 #cce1 ii4 #d1 #aai ff42 on mural reliefs1 ii4 #cgj2 on lamps1 ii4 #dad ,troy1 finds at1 i4 #fa1 #bef1 #cci2 early pottery of1 i4 #beg ff41 and see #dia2 compared with ,cypriote1 i4 #bch1 #bdj1 #bdc2 ,sack of1 on vases1 ii4 #acc ,trua1 trulla1 ii4 #dgj 1 i4 #aid ,tudot on ,gaulish terracottas1 ii4 #chj ff4 ,tuguria1 ii4 #bhh ,tychios1 potter1 i4 #cgi1 #chc ,tydeus1 ii4 #aah ,types on ,b4,f4 vases1 i4 #cgg1 #chh2 on ,r4,f41 i4 #dah ff42 distinctions of1 ii4 #ahg ff4 ,typhon1 ii4 #ab1 #adi ,tyrrhenian amphorae1 i4 #afj1 #cbd ff4 ,tyrrhenians1 ii4 #bha ,tyszkiewicz on forgeries1 i4 #db2 on vase from ,vulci1 i4 #gg ,umbrian civilisation1 ii4 #bhb ,under-world on vases1 i4 #dgf1 ii4 #ff ff41 #aei2 types of persons in1 ii4 #aib2 and see ,hades ,upchurch ware1 ii4 #edf ,urceus1 ii4 #dfe ,urna1 ii4 #dfd ,ussing on vase-shapes1 i4 #aej ff4 ,vallisneria spiralis1 i4 #bgb1 ii4 #bbd ,varnish1 black1 i4 #bai ff41 #cfi1 #cga1 #dje ff4 ,vase-painters1 i4 #bai ff41 #cgi ff41 #dje ff41 #dba ff4 ,vase-paintings1 early interpretations of1 i4 #ba2 technical aspects of1 i4 #bai ff42 later study of1 i4 #bce2 earliest ,greek1 i4 #bci1 #bfj1 #bfe ff42 decadence of1 i4 #dfb ff41 #dhg ff42 relations of1 to the drama1 ii4 #aei ff42 to literature in general1 ii4 #a ff42 to ,greek mythology1 i4 #ac2 to painting1 i4 #ad1 #cbj1 #cie ff41 #ddj ff41 #dga2 to sculpture1 i4 #ae1 #dej ,vases1 ,greek painted1 value of study of1 i4 #aj ff42 exportations of1 to ,italy1 i4 #aa1 #dfg2 early publications of1 i4 #af ff42 collections of1 i4 #ag1 #bc ff42 alleged ,etruscan origin of1 i4 #ah ff41 #gi2 classification1 i4 #bb1 #bai ff42 discovery of1 and arrangement in tombs1 i4 #cc ff42 restorations and imitations1 i4 #ci ff42 prices paid for1 i4 #dc ff42 found in ,italy1 i4 #ga ff42 mention of1 in literature1 i4 #acb ff42 uses of1 i4 #ace ff42 repair of1 in antiquity1 i4 #adg2 shapes of1 i4 #adh ff42 manufacture1 i4 #bjb ff42 primitive1 i4 #bef ff42 influence of1 in ,etruria1 ii4 #bhi ff41 #bif ff41 #cjg ff41 #cbj2 compared with ,roman1 ii4 #dcj1 #dgb ,vaults1 use of jars for1 ii4 #deg ,vechten1 pottery found at1 ii4 #ebb1 #eci ,vegetable ornament on vases1 i4 #cab1 ii4 #bba ff4 ,veii 7,isola ,farnese71 ,campana tomb at1 i4 #ch1 ii4 #cbj2 vases from1 i4 #ge2 sculptors in terracotta from1 ii4 #cgb ,velius ,primus1 ,q41 potter1 ii4 #cgg ,velleia as pottery-centre1 ii4 #dgg ,venice1 forgeries made at1 i4 #da ,venus1 ,gaulish1 ii4 #che2 on provincial wares1 ii4 #ejg1 #ejh2 and see ,aphrodite ,vetulonia1 early remains at1 ii4 #bhd2 ,tomba del ,duce at1 ii4 #cjj ,victors in contests1 ii4 #afd1 #afi1 #dag ,victory1 see ,nike ,vienna1 collections at1 i4 #bh ,vienne as pottery-centre1 ii4 #dda1 #ecj ,villanuova civilisation in ,etruria1 i4 #bib1 ii4 #bhd ff4 ,vindex1 potter1 ii4 #chc1 #dbf ,vitalis1 potter1 ii4 #ebb ,vitellius1 story of1 ii4 #def ,viterbo1 vases from1 i4 #gd ,vitruvius quoted1 on bricks and tiles1 ii4 #cca1 #ccc1 #cce1 #cci2 on terracotta sculpture1 ii4 #cga1 #cgb2 on echea1 ii4 #deg ,vivenzio vase1 i4 #de1 #adf1 #dch1 ii4 #acd ,volca of ,veii1 ii4 #cad ,volterra1 vases from1 i4 #gb ,volutes on nozzles of lamps1 ii4 #djj ,votive lamps1 ii4 #cig2 offerings1 ii4 #aef2 tablets1 i4 #ea1 #aci1 #caf1 #ded1 ii4 #aef1 and see ,pinax2 vases1 i4 #ach1 ii4 #bdb ,vourva vases1 i4 #ej1 #bie1 #bii1 #cbd ,vulci1 excavations at1 i4 #ai1 #gf ff42 tombs at1 i4 #cg1 #gh1 ii4 #bhg1 #bia1 #bid2 and see ,polledrara ,warrior1 tomb of1 ii4 #aeh2 on painted pinax1 i4 #cig1 #ded ,warrior-vase 7,mycenaean 871 i4 #big ,warriors1 on vases1 i4 #bhe1 #dge1 #dhc1 ii4 #age ff41 #aih2 ,italian1 i4 #dge1 #dhc1 ii4 #ahj2 ,oriental1 ii4 #agh1 #agi2 race of1 armed1 ii4 #afd2 on lamps1 ii4 #dag ,wave-pattern1 ii4 #bah ,weddings1 see ,marriage ,wedgwood1 i4 #bj1 #da ,westerndorf1 pottery of1 ii4 #ejd1 #ejg1 #ece2 potters' stamps at1 ii4 #ebj ,wheel1 for cutting patterns1 ii4 #dda2 potter's1 i4 #g1 #bjf1 ii4 #dcg2 earliest vases made on1 in ,greece1 i4 #bfj1 #bff2 in ,etruria1 ii4 #bij ,white paint used for details1 i4 #bid1 #cca1 #cee1 #cga1 #djg1 #dgj ,white slip1 use of1 for painting1 i4 #cig2 and see ,white wares1 ,cypriote1 i4 #bdc1 #bdd1 #bdf1 #bea2 ,romano-,british1 ii4 #eec ,white-ground vases1 i4 #bbd1 #ded ff4 ,wicks of lamps1 i4 #ajg1 ii4 #cie1 #djc ,wide on ,mycenaean pottery1 i4 #bgf2 on ,geometrical1 i4 #bgh ff4 ,wilisch on ,corinthian vases1 i4 #cjd ff4 ,winckelmann1 i4 #af1 #ai1 #gi ,winds1 ii4 #hj1 #aid ,wine-amphorae1 i4 #aed ff41 ii4 #dfj ff4 ,winged figures1 i4 #dfj1 ii4 #gb1 #ij1 #aic1 #aid ,witte 7,j4 de71 i4 #bc ,women1 games of1 ii4 #afg2 as dancers1 ii4 #afi2 as jugglers1 ii4 #agd1 #ahb2 life of1 on vases1 ii4 #agb ff42 dress of1 ii4 #bjj ff4 ,wrestlers1 ii4 #afc ,writing materials1 use of clay for1 i4 #g ,wroxeter1 ,romano-,british pottery from1 ii4 #eec ,xanten 7,castra ,vetera71 pottery from1 ii4 #ejj1 #eja1 #ebb1 #ecd ,xanthippos on ostrakon1 i4 #ab1 #ajc ,xenokles1 potter1 i4 #cgd1 #cgi1 #chc ,xenophantos1 potter1 i4 #fa1 #dba1 #ddg1 #dfd ,xenotimos1 potter1 i4 #dba1 #ddd in terracotta1 i4 #aaj1 #abb2 of ,hera1 ii4 #ba2 of ,apollo1 ii4 #cd2 of ,artemis1 ii4 #ce2 of ,athena1 ii4 #dj2 of ,dionysos1 ii4 #fj ,yellow wares1 plain ,roman1 ii4 #edh ,york1 stamp from1 ii4 #dci2 pottery from1 ii4 #ddc1 #edj ,zagreus1 ii4 #gd ,zakro1 pottery from1 i4 #fj1 #bfh 1 ii4 #agi1 #bjj ,zephyros1 ii4 #hj ,zetes1 see ,boreades ,zethos1 ii4 #aag ,zeus on vases1 ii4 #ag ff41 #ahh2 in ,gigantomachia1 ii4 #ac1 #ad2 at birth of ,athena1 ii4 #ae2 1 ii4 #ah2 weighing souls of heroes1 ii4 #acj1 #acb2 on mural reliefs1 ii4 #cfi2 on lamps1 ii4 #djh ,zeuxis1 i4 #dda1 #dga ,zigzag patterns1 see ,chevrons 99 99 99 99 99 ,printed by ,hazell1 ,watson ,viney1 ,ld41 ,london and ,aylesbury4 ,transcriber's ,note3 ,errors which can be attributed to printer's mistakes have been corrected1 as noted below4 ,lapses in punctuation are corrected with no further mention4 ,the author has included as ,fig4 #agc a table of alphabets used on ,greek vases4 ,inscriptions are presented in archaic ,greek script1 which more or less follows that table4 ,for instance1 the character for pi 77 resembles the modern gamma 774 ,all inscriptions are given using modern ,greek characters4 ,references to individual characters may appear with very brief descriptions1 derived where possible from that table4 ,the character upsilon 77 frequently appears as a modern ,roman ,v4 ,on occasion1 sigma appears in the form of a modern ,c 7the lunate sigma 74 ,footnotes1 which were numbered sequentially on each page1 have been resequenced to be unique across the text4 ,cross-references to those numbers in the text have been changed to reflect this4 ,the notes themselves have been moved to the end of each chapter4 ,each plate was followed by a blank page on its verso1 which have been removed here4 ,the position of each plate1 as well as that of all other figures1 has been adjusted slightly to avoid falling in mid-paragraph4 ,the pages devoted to plates were not counted in pagination4 99 99 99 99 99 ,the following anomalies regarding footnotes were observed3 ,on p4 #ca1 note #ajh1 the reference to ,overbeck's ,kunstmythologie ,atlas failed to italicize 8,atlas04 ,on p4 #gb1 the reference to footnote 7#hhb7 is missing from the text4 ,the reference has been added at the end of the paragraph ending with 8he floats through the air fully armed1 with large wings40 ,the description of item ,b #bdj1 referred to in the note1 from a contemporary edition of ,a ,catalogue of the ,greek and ,etruscan ,vases in the ,british ,museum agrees with this characterization4 ,on p4 #deh1 the footnote number for #cahd was missing and has been replaced4 ,the following table contains those textual issues which are readily attributed to printer's errors3 p4 #ach n4 #adba ,pylades at o_/,omphalos ,corrected4 p4 #cde ridge-tiles ,missing #8r'4 ,possibly #8edge'