Catalogue of Arretine pottery

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CATALOGUE OF ARRETINE POTTERY

MUSEUM OF FINE ARTS, BOSTON

CATALOGUE

OF

ARRETINE POTTERY

BY

GEORGE H. CHASE, Ph.D.

John E. Hudson Professor of Arckaology in
Harvard University

BOSTON AND NEW YORK

HOUGHTON MIFFLIN COMPANY

The Riverside Press Cambridge
1916

COPYRIGHT, 1916, BY BOSTON MfSElM OF FINE ARTS
ALL RIGHTS RESERVED

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PREFACE

The pressed clay bowls with red glaze made at Arretium (modern Arezzo)
and therefore known as Arretine ware, are of interest primarily because
they reproduce designs from the charming repousse silver bowls of Hellen-
istic workmanship. As they have attracted the attention of collectors only
in comparatively recent years, it has been possible for this Museum to
secure an unusually fine series of bowls, moulds, and fragments. The
history of the collection is briefly told. In 1888 a series of ten bowls and
sixteen fragments was included in a purchase from Signor Lanciani,
whose notes indicate a quick appreciation for their peculiar beauty. In
1900 and 1913 a few pieces came by gift; the foundation of the collection,
however, was laid in 1898 by the purchase of sixty-nine pieces from
the collector to whom the excellence of the Museum's classical collection
is so largely due. Nineteen pieces were purchased in 1904, ten in 1913,
and one or two each year in 1897, 1900, 1901, 1903, and 1910, all from
the same source.

The collection thus formed has not been unknown to scholars. As addi-
tions have been made they have been described in the annual reports of
the curator of classical art from 1895 on. Casts have been placed on
sale, some of which are described by F. Behn in a catalogue of the Mainz
Museum,1 which gives a survey of the development of Roman pottery.

For the following catalogue of the Boston collection the Museum has
been most fortunate in securing the services of Professor George H. Chase,
whose catalogue of the Loeb Collection of Arretine Ware 2 has been an
epoch-making work in this field. For the convenience of students the
introduction has been revised and reprinted from that work.

The Museum further is deeply indebted to Mr. James Loeb for the
generous gift which has made it possible to print the volume at the present
time. It is but one more example of the devoted interest in the remains of
classical antiquity and their lesson for our age, on the part of this scholar
and patron of scholarship.

1 Fr. Behn, Rbmische Keramik mit Einschluss der hellenistiscken Vorstufen, Mainz, 1910. Kata-
loge des roni.-germanischen Central-Museums zu Mainz, Nr. 2, pp. 223-227, numbers 1483-1497.
1501-1507.

2 The Loeb Collection of Arretine Pottery, catalogued with introduction and descriptive notes, by
George H. Chase, New York, 1908.

Arthur Fairbanks

August, 1916

AUTHOR'S NOTE

In its main lines this Catalogue follows the plan adopted for The Loeb
Collection of Arretine Pottery. The Introduction, especially, represents a
reworking of the corresponding section of the earlier book. Some parts
have been reprinted without change; others have been largely modified
to adapt them to their new purpose; and throughout many slight changes
have been made in the endeavor to incorporate the results of recent ex-
cavations or of studies published since 1908. Some changes, also, are due
to helpful suggestions made by reviewers of the Loeb Collection, to whom
I gratefully acknowledge my indebtedness.

In the Catalogue proper, I have again attempted an arrangement of
the material by classes and subjects, since this seems to me the most help-
ful arrangement. With very few exceptions, I have not given facsimiles of
the inscriptions, since most of them conform to well-known types, and in
cases where the letters do not appear or are not clear in the plates, refer-
ence to the Corpus Inscriptionum Latinarum (C. I. L.) will show the exact
form. For a number of common patterns I have employed the conven-
tional names which were used in the Loeb Collection, as follows: —

■*** conventional laurel leaf pattern (cf. Plate III, no. 1).
calyx ornament (cf. Plate XXYIII, no. 123).
<3&g$SS»=— pointed staff with spirals (cf. Plate XXVIII, no. 122).
wmfflWW&a» pointed staff with rings (cf. Plate II, no. 33).

Moulds and fragments of moulds have been described from casts, and
the plates devoted to such moulds and fragments have been made from
photographs of casts. Vases and fragments of vases have been described
and photographed directly. In Plates I and II an attempt has been made
to reproduce three almost complete vases as nearly as possible in the color
of the originals. Plates III-XXVIII are devoted to moulds and frag-
ments of moulds, Plates XXIX and XXX to fragments of vases.

The preparation of the book has been greatly facilitated by the gener-
ous cooperation of many members of the staff of the Museum, to whom
I wish here to express my thanks. I am under special obligation to Dr.
Caskey, who spent many hours in discussing with me the problems that
arose from time to time and in reading the entire book in manuscript.

George Henry Chase

CONTENTS

Preface v

Author's Note ™

Abbreviations H

Introduction 1

Catalogue 28

Class I 28

a. Single figures of divinities (Apollo, Artemis, Leto, Nike), sometimes combined
with other figures (Nos. 1-6) 28

b. Birth of Dionysus (Nos. 7, 8) 35

c. Heracles and Omphale (Nos. 9, 10) 38

d. Nereids with the weapons of Achilles (Nos. 11, 12) 40

e. Dancing satyrs and maenads (Nos. 13, 14) 41

/. Satyrs dancing and drinking (Nos. 15-19) 42

g. Satyr sacrificing a bull (No. 20) 45

h. Satyrs gathering grapes and treading them out (Nos. 21-25) . . .45

i. Winged genii (Nos. 26-30) 49

j. Kalathiskos dancers (Nos. 31-33) 53

k. Symposia (Nos. 34-59) 57

I. Miscellaneous figure subjects (Nos. 60-65) 68

Class II 72

a. Death of Phaethon (No. 66) 72

b. Dancers (Nos. 67-75) 74

c. Hunting scenes (Nos. 76-81) 79

d. Chariot scenes (Nos. 82-87) 83

e. Cupids with festoons (Nos. 88-90) 86

/. Miscellaneous figure subjects (Nos. 91-96) 88

g. Animals (Nos. 97, 98) 91

h. Statuettes (Nos. 99-101) 92

i. Masks, heads, bucrania, pairs of animals, etc. (Nos. 102-114) . . . 98

j. Naturalistic plant forms (Nos. 115-121) 99

k. Conventionalized plant forms and other conventional patterns (Nos. 122-134) 103

Class III 109

Plain vases (Nos. 135, 136) 109

Miscellaneous 110

Handles and separately modelled reliefs (Nos. 137-142) . . . .110

Stamp or puncheon (No. 143) 112

ABBREVIATIONS

The titles of books and periodicals are abbreviated as follows: —

A. J. A. American Journal of Archeology. Baltimore, etc., 1885-.

Ann. Annali dell' Institute di Corrispondenza Archeologica. Rome, 1829-85.

B. C. H. Bulletin de Correspondence Hellenique. Athens and Paris, 1877-.

B.J. Bonner J ahrbiicher: J ahrbiicher des Vereins von Altertumsfreunden im Rheinlande.
Bonn, 1842-.

B. M. Cat. R. P. British Museum: Catalogue of the Roiyian Pottery in the Departments of
Antiquities. By H. B. Walters. London, 1908.

B. S. A. Annual of the British School at Athens. London, 1895-.

Bull. Bulletino delV Insiituto di Corrispondenza Archeologica. Rome, 1829-85.

Bull. Comm. Bulletino delta Commissione Archeologica Com u nalc di Roma. Rome, 1872-.

Bull. Met. Mus. Art. Bulletin of the Metropolitan Museum of Art. New York, 1905-.

C. I. L. Corpus Inscriptionum Latinarum consilio et auctoritate Academic Litterarum

Regie Borussicce editum. Berlin, 1863-.
Fabroni. Storia degli antichi van fittili aretini. By A. Fabroni. Arezzo, 1841.
Gamurrini. Leiscrizioni degli antichi nasi fittili aretini. By G. F. Gamurrini. Rome, 1859.
Gaz. Arch. Gazette Archeologique. Paris, 1875-89.
Holder. Die Formen der romischen Thtmgcfiisse diesseits und jenseits der Alpen. By O.

Holder. Stuttgart, 1897.

J. II. S. Journal of Hellenic Studies. London, 1880-.

Jahrb. arch. I. Jahrbuch des kaiserlick deatschen archdologischen Instituls. Berlin, 1886-.
Loeb. Coll. The Loeb Collection of Arretine Pottery. By G. H. Chase. New York, 1908.
Mon. Monumcnti dell' InstUuto di Corrispondenza Archeologica. Rome and Berlin, 1829-91.

Mon. Plot. Fondation Eugene Piot : Monuments et Memoircs publics par I'Academie des

Inscriptions et Belles-Lettres. Paris, 1894—.
Not. Scav. Notizie degli Scavi di antichila communicate alia Reale Accademia dei Lincei.
Rome, 1876-.

Rom. Mitt. Mitteilungen des kaiserlich deutschen archdologischen Instituts. Romische Ab-
tcilung. Rome. 1886-.

Roscher, Lex. d. Myth. Ansfuhrlichcs Lexicon der grieckwehen und romischen Mythologie.

Edited by W. H. Roscher. Leipzig, 1884-.
von Rohden-Winnefeld. Architeldonische romische Tonreliefs der Kaiserzeit. By H. von

Rohden and H. Winnefeld. 2 vols. Berlin and Stuttgart, 1911.

Walters. History of Ancient Pottery, Greek, Etruscan, and Roman. 2 vols. London,
1905.

A CATALOGUE OF ARRETINE POTTERY

INTRODUCTION

Arretine pottery takes its name from the ancient city of Arretium, the
modern Arezzo, situated in the upper valley of the Arno, in Tuscany,
some fifty miles southeast of Florence. Founded by the Etruscans and
later conquered and colonized by the Romans, Arretium was for many
centuries one of the most important cities of central Italy. Its prosperity
depended, evidently, on the fertility of the surrounding territory and on
its manufactures. The vines and the wheat of Arretium are praised by
Pliny,1 and evidence of extensive manufactures is furnished by the state-
ment that for the equipment of Scipio's expedition to Africa the city fur-
nished "3000 shields, an equal number of helmets, also javelins, pikes,
and long spears to the number of 50,000, axes, spades, hooks, buckets, and
mills, enough for forty galleys," as well as wheat and a contribution of
money for the decurions and the rowers.2

For an extensive production of vases we have no evidence from the
earlier period of the city. The Etruscan tombs of the ancient necropolis
have yielded specimens of the ordinary Etruscan black ware (bucchero),
as well as imported Greek vases, but these do not differ essentially from
the vases found on other Etruscan sites.3 The fact that early bronze coins
found at Arezzo have a vase as the type on the reverse has sometimes
been urged as a proof of the early importance of the vase-maker's art,
but the argument is of very doubtful value.4 The vases to which the
name "Arretine" is given, at all events, belong distinctly to the Roman
period.6 They are mentioned by Roman writers of the first century after
Christ and later in such a way as to imply that they formed a well-recog-

1 Pliny, N. H., 14, 36 and 18, 87. ■ Livy, 28, 45.

8 Cf. Dennis, Cities and Cemeteries of Etrvria, n', pp. 384-389.

4 Cf. Garnurrini, p. 9; Marchi and Tessieri, L'Aes grave del Museo Kircheriano, Classe m,
pis. v and vi.

6 Cf. pp. 22 jj. for a discussion of the date of the Arretine ware.

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A CATALOGUE OF ARRETINE POTTERY

nized class among Roman ceramic products and were largely exported,
and although it is probable that the name "Arretine" was gradually ex-
tended to include similar vases made elsewhere, such a use of terms could
not have arisen unless the vases of Arretium had come to be well known
and universally recognized. The most important passages in regard to
them are found in the Naturalis Historia of Pliny and the Etymologies
of Isidorus of Seville, an encyclopaedic work of the seventh century, based
upon the statements of earlier writers. Pliny's statement is: "The major-
ity of mankind use earthenware vessels. Samian ware is well spoken of
even at the present day for dinner services. This reputation is kept up
also by Arretium in Italy, and for drinking cups only by Surrentum,
Hasta, Pollentia, Saguntum in Spain, and Pergamum in Asia. Tralles
also is a centre for pottery, and Mutina in Italy." 1 Isidorus informs us
that "Arretine vases are so called from Arretium, a town in Italy, where
they are made; for they are red. It is these of which Sedulius speaks when
he says: —

'The red pot serves the greens that are set before us.'"2

More interesting are two passages in Martial, in which we see reflected
the Roman taste of the first century. In one, the poet mocks at the
plagiarist Fidentius, in whose book of epigrams, he says, there is only
one original page, but that so bad that it is clearly stamped as the writer's
own. "Just so a Gallic cloak, among the purple robes of the city, stains
them with grease and filth; so the clay vases of Arretium spoil the effect
of crystal cups; so the black crow, when he chances to stray on the banks of
the Cayster, is laughed to scorn among the swans of Leda; so when the
sacred grove resounds with the varied notes of the tuneful nightingale,

1 Pliny, N. II., 35, 160/. : Maior pars hominum terrenis utitur vasis. Samia ctiam nunc in csculen-
tis laudantur. Itctinent hanc nobilitatem et Arretium in Italia, ct calicum tantum Surrentum,
Ilasta, Pollentia, in Hispania Saguntum, in Asia Pergamum. Habcnt ct Trallis ibi opera sua ct
in Italia Mutina.

* Isidorus, Etym., 20, 4, 5: Aretina vasa, ex Aretio municipio Italise dicuntur, ubi fiunt; sunt
cnim rubra. De quibus Sedulius: —

Rubra quod appositum testa ministrat olus.

The poet Cailiiis Sedulius wrote about 491 a.d. It may be doubted whether Isidorus is right in
referring the "rubra testa" of Sedulius specifically to Arretine ware, and his present tenses are
doubtless taken from the author he was excerpting (perhaps Pliny himself). They cannot be taken
to mean that the potters of Arretium were active as late as the seventh century.

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A CATALOGUE OF ARRETINE POTTERY

the wretched magpie mars her Attic plaints." * Modern admirers of the
products of the Arretine potteries have tried to extract a compliment from
these lines, but with little success. To the wealthy Romans of the first
century the clay vases of Arretium could hardly be expected to appeal.
Nevertheless, in another epigram, Martial warns his contemporaries
against too low an estimate of these humble vessels: "We warn you not to
look with too much contempt on the Arretine vases. Porsena was fine
with his Etruscan earthenware." 2

Another interesting epigram, which is sometimes attributed to Virgil,
though it undoubtedly was written by a later poet, takes the form of an
address to an Arretine cup that had been used for taking medicine. It
runs: "Arretine cup, once the glory of my father's table, how sound you
were before the doctor's hand." 3

From all this it is clear that the red ware of Arretium, although it was
considered inferior to the vessels of gold and silver and precious stones
in which the Romans of the Empire delighted, enjoyed a considerable

i Martial, Ep., 1, 53.
= Martial, Ep., 14,98: —

Arrctina nimis ne spernas vasa monemus:

Lautus erat Tuscis Porsena fictilibus.

* Baehrcns, Poetcc Latini Minores, iv, no. lo8: —

Arretine calix, mensis decus ante paternis,
Ante manus medici quam bene sanus eras.

Two other passages which have sometimes been brought into connection with the vases of
Arretium are Persius, I, 127-130, and Macrobius, Saturnalia, 2, 4, 12. In the former passage, the
poet describes several classes of persons whom he does not wish to be among his readers. "I don't
want the low fellow who loves to crack a joke on the slippers of the Greeks and is equal to calling
a one-eyed man Old One-Eye, thinking he is somebody because once, as aedile, filled with the pride
of provincial office, he broke short half-pint measures at Arretium (fregerit eminas Areti aedilis ini-
quas)." It is clearly stretching a point to find here any reference to Arretine wares as a class. Yet
this was done by an ancient commentator, who informs us that the half-pint pots referred to are
"small vessels from the town of Arretium, where 'Arretine' vases are made" (minora vasa ex-
Aretio, ubi fiunt Aretina vasa). So, too, when Persius in another passage (5, 182) mentions a red
pot (rubrum catinum), the commentator remarks, "rubrum fictile, quod est Arretinum."

The passage in Macrobius contains a story to the effect that Augustus was wont to mock at the
lax and effeminate style of Maecenas, and once, in concluding a letter, addressed him with all the
endearing terms that were usually reserved for women, calling him "silphium of Arretium, pearl
of the Tiber, emerald of the Cilnii. jasper of the potters, beryl of Porsena," and so on (lasar Arre-
tinum, Tiberinum margaritum, Cilniorum smaragde, iaspi figulorum, berulle Porsenae). Tin- edi-
tors of Macrobius usually adopt a conjecture of Jahn's and read 'Tguvinorum" for the "figul-
orum" of the manuscripts. In any case the passage is of no great value, since the importance of
the potters of Arretium is sufficiently proved without it.

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A CATALOGUE OF ARRETINE POTTERY

vogue and more than a local fame. And this inference is confirmed by the
discoveries of modern times. Arretine vases and fragments have been
found in many widely separated parts of the Roman world, in most cases,
doubtless, imported and sold by Roman merchants, in others, perhaps,
carried by the legionaries in their campaigns or by travellers. As the
potters often signed their wares and Arretine clay and glaze are fairly
easy to distinguish, the products of the Arretine kilns can usually be
recognized wherever they are found, and the list of such finding places
is one of the best proofs of the popularity of the Arretine wares. It in-
cludes not only Arezzo, Rome, Rimini, Modena, and other places in
Italy,1 but numerous sites in Gallia Narbonensis, in Spain, and in Africa;
and sporadic finds have been made in the Greek islands and even in Asia
Minor and Cyprus. In the northern provinces of the Empire, the number
of finding-places is smaller, owing largely to the fact that in these districts,
soon after their conquest by the Romans, an important local industry was
developed by which the local demand was supplied. Nevertheless, even
here, in Germany and northern Gaul, and even in Britain, a very con-
siderable number of vases and fragments has been discovered which are
shown to be the work of Arretine potters.

But the great finding-place, naturally enough, is Arezzo itself. Both
inside the modern city and in the outlying districts, many remains of
ancient potteries have been found, containing not only fragments of vases
and of the moulds from which they were made, but also in some cases the
vats in which the clay was purified, the wheels on which the vases and
the moulds were thrown, the stamps with which the figures were pro-
duced, and other implements of the potter's trade. Tombs also have oc-
casionally yielded fragments of vases. The earliest record of such dis-
coveries goes back to the thirteenth century. In a manuscript entitled
Libro dclla Compositione del Hondo written by a certain Ser Ristoro d'A-
rezzo and dated 1282, the author records the discovery in and near
Arezzo of fragments of vases colored black and red, but generally red, on
which were represented "all sorts of plants and leaves and flowers, and

1 At Pozzuoli, not only fragments of vases, but also moulds with the signatures of Arretine
potters have been found — a fact which suggests that some of the Arretine potteries had estab-
lished branches at Puteoli. Cf. Bull., 1875, pp. 2-1-2 f.\ D. J., xevi, 1895, pp. 51/.

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A CATALOGUE OF ARRETINE POTTERY

all sorts of animals," as well as "figures in relief — some thin and some fat,
some laughing and some crying, living and dead, old and young, armed
and unarmed," and so on for nearly a page of antitheses. "When any of
these fragments come into the hands of sculptors or artists or other con-
noisseurs," writes Ser Ristoro, "they consider them like sacred relics,
marvelling that human nature could rise to such a height in the subtlety, in
the workmanship, and the form of those vases, and in their colors and
their figures in relief; and they say that the makers were divine or the
vases fell from heaven." 1 The entire passage is interesting as an example
of the enthusiastic admiration for the relics of ancient art which even as
early as the thirteenth century was beginning to make itself felt through-
out Italy. Making every allowance for local patriotism, we cannot doubt
that these earliest discovered examples of Arretine pottery produced a
profound impression on the contemporaries of Ser Ristoro.

That fragments of vases continued to be found during the century that
succeeded the writing of Ser Ristoro's Libro is shown by a brief notice in
the Cronaca Fiorentina of Giovanni Villani, who died in the great plague
at Florence in 1348. This writer, in speaking of Arezzo, mentions the red
vases with reliefs which "it seems impossible to believe were made by hu-
man hands," and concludes his brief account with the statement "they
are still found." 2 Of discoveries made in the second half of the fifteenth
century we have two interesting accounts, one in a manuscript written by
Marco Attilio Alessi, now in the Bibliotheca Riccardiana in Florence, the
other in Vasari's famous Lives of the Painters. The latter account refers
to a somewhat earlier date and so may be considered first. In the life of
his great-grandfather Lazzaro, the biographer relates that his grand-
father, Giorgio Vasari, who died in 14S4 at the age of sixty-eight, main-
tained until the end of his life the antiquity of the Arretine vases; that
in a field near the Ponte delle Carciarelle (a bridge over the Castro, dis-
tant about a mile from Arezzo), he found at a depth of three cubits three
vaults of an ancient kiln, four complete vases, many fragments, and near

1 The passage is quoted in full by Fabroni, pp. 12 f. Cf. also Pignotti, Storia della Toscana
(Pisa, 1813), i, pp. H-lJf.; Gori, Difesa deW Alfabeto Etrusco, Preface, p. '207; Monaci, Crestomazia
Italiana dei Primi Secoli, pp. 366 ^

2 The passage occurs in book I, chapter 47 (in the edition published at Milan in 1802, vol. I,
p. 72). Cf. Pignotti, I, p. 146; Fabroni, p. 16.

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A CATALOGUE OF ARRETINE POTTERY

them some of the clay that was used in making the ware; that he gave
the vases to Lorenzo de' Medici (II Magnifico) during a visit which the
Florentine made to Arezzo, and that it was this gift that procured for the
family of Vasari the favor of the Medici. Further, Vasari relates that
his grandfather made successful experiments in reproducing the ancient
ware, some specimens of his work lasting to the time of the biographer.1
Alessi's account also refers to discoveries near the Ponte delle Carciarelle.
He speaks of a great quantity of fragments with inscriptions — the first
known record of the inscriptions that occur so frequently — and men-
tions especially one great find made in 1492 in the presence of Giovanni de'
Medici, who later became Pope Leo X.2 From the inscriptions it appeared
that the proprietor of the most important pottery near the Ponte delle
Carciarelle was named Calidius Strigo, a fact which has been confirmed
by later excavations.3 A smaller number of fragments bore the name
of Domitius.

From the sixteenth and seventeenth centuries we have no record of
further discoveries. About the middle of the eighteenth century, however,
two new potteries belonging to P. Cornelius and C. Cispius were dis-
covered by the Arretine Francesco Rossi at Cincelli, some five miles
from the city; and later, in 1779, excavation in this region brought to
light remains of a potter's wheel, of kilns, vats, and utensils, as well as
fragments of vases and moulds. These passed from the collection of Signor
Rossi into the Bacci Collection, and ultimately into the Museo Pubblico
at Arezzo. During this same century, the writings of Gori, who published
the accounts of Ser Ristoro and Alessi, together with some additional
inscriptions from the manuscript record of Giacomo Burali, made the
earlier discoveries known to a wide circle of readers.4 Rossi himself planned
to publish an account of the Arretine fabrics and especially of the results
of his excavations, and although the promised monograph never appeared,
it was discovered among his papers after his death and used by several

1 Vasari, Vite dci Pittori, n, pp. 557 ff. (in the edition published at Florence in 1878-85). In
the translation of Mrs. Foster, published at London in 1895-1901, the passage is on pp. 53/. of
vol. II. Cf. Fabroni, pp. 18/.

2 Alessi's account was first published by Gori in his Inscriptiones antiques Grcecce et Romano- in
Etruriae Urbibus Exstantes (Florence, 1734), u, p. 320. Cf. Figuotti, I, pp. 146 f.; Fabroni, pp.
16-18.

3 Cf. U. Pasqui, Not. Scav., 1894, pp. 121 f. * Cf. supra, note 2, and p. 5, note 1.

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A CATALOGUE OF ARRETINE POTTERY

later writers. Of these the most important is Inghirami, whose elaborate
Monumenti Etruschi o di Etrusco Nome contains twelve pages and a colored
engraved plate devoted to Arretine ware. The plate especially is interest-
ing as the first attempt at the reproduction of Arretine fragments.1

The great discoveries of vases and other antiquities at Vulci in 1829
and the years immediately after inspired all the Italian antiquaries to re-
newed investigations. At the same time the establishment of the Insti-
tute di Corrispondenza Archeologica at Rome gave them a more con-
venient medium for the publication of their discoveries than they had
before enjoyed. The numbers of the Annali and the Bulletino delV In-
stitute), which began to be published in 1829 and ceased to exist in 1885,
contain many brief notices of new finds at Arezzo. Since 1885, the most
important accounts have appeared in the Italian Notizie degli Scavi,
which even before that date had contained occasional notices. In recent
years, the richest finds inside the city limits have been made in the neigh-
borhood of the modern theatre and the church of Santa Maria in Gradi.
The most important finding-place outside the walls has been the neigh-
borhood of Cincelli. The vases and fragments that have been discovered
in these excavations have for the most part found a place in the Museo
Pubblico at Arezzo, which now contains the largest collection of this class
of vases in the world. Others have passed into private hands, and thence
in some cases have been sold out of Italy, to become parts of collections in
other countries.

The methods used by the potters of Arretium, as they have been re-
vealed by these excavations, do not differ from those used by potters in
other parts of the Roman world. Like most of their contemporaries
in other regions, they produced no painted pottery, but confined them-
selves, so far as they decorated their vases at all, to decoration in relief.
In this they followed the traditions of the later Greek ceramists, who as
early as the third century B.C., had largely abandoned the painted deco-
ration which is characteristic of all the finer Greek vases of earlier cen-
turies. The reason for the change is generally held to be the increasing
popularity, after the time of Alexander, of metal vases, for which the
clay vases with decoration in relief were intended to serve as cheaper

1 Inghirami, Monumenti Etruschi o di Etrusco Nome (Fiesole, 1824), vol. v, pp. 1-12; pi. I.

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A CATALOGUE OF ARRETIXE POTTERY

substitutes. The most familiar examples of such late Greek wares are the
so-called "Megarian bowls," vases of hemispherical form, usually without
handles or feet, decorated on the outside with reliefs, which were some-
times made separately and attached to the body of the vase, sometimes
produced along with the body from a single mould for the whole vase.1
These have been found not only on the mainland of Greece and in Italy,
but also farther eastward, at several places in Asia Minor2 and in south-
ern Russia,3 and it is clear that they were made at many different places.
In Italy, the most important class of relief vases consists of the so-called
"Calenian phialae," shallow vases with decoration on the inside, which
were manufactured during the third and second centuries, B.C., at Cales in
Campania and possibly at other places.4 Another group is formed by the
so-called "Italian Megarian bowls" or "vases of Popilius," which appear
to have been made in Ocriculum and Mevania in southern Umbria.5 In
recent years it has commonly been held that the change from painting to
relief decoration was first made in Asia Minor, where the literary tradi-
tion points to a great development of metal vases with repousse designs.
However this may be, it is clear that the custom of decorating clay vases
with reliefs in imitation of metal prototypes spread rapidly over the
Greek world and was taken up by the potters of Italy. Technically con-
sidered, the vases of Arretium fall into three classes: — ■

1. Plain vases, simply thrown on the wheel, glazed, and fired. Handles
were sometimes added, and on the bottom of the vase, inside, was usu-
ally stamped the name of the owner of the factory, or that of the
slave who made the vase, or both. The commonest shapes are flat plates

1 Cf. Benndorf, Griechische und sizilische Va-ienbilder, pp. 117 ff., pi. ltx-lxi; Robert, Ilome-
rische Becker, 50tcs Programm sum Winckelmannsfeste (Berlin, 1890), pp. 1-90; Walters, i, pp.
499/.

2 Cf. Conze, "Kleinfunde aus Pergamon," Abhandlungen d. k. preuss. Akad. d. U'iss., 1902, pp.
18/.; Zahn in Wiegand and Schrader, Priene (Berlin, 1901), pp. 401/. At Sardis many examples
of such "Megarian bowls" have been found by the American excavators, as well as fragments of
vases and moulds.

8 Cf. Zahn, " Hellenistische Reliefgefasse aus SUdrussland," Jahrb. arch. I., xxm, 1908, pp. 45-77;
Minns, Scythians and Greeks, pp. 351-353.

4 Cf. Pagenstecher, Die calenische Relief keramik (Berlin, 1909); Walters, I, pp. 502/.

s Cf. Mtlanges d' Archtologie et d'Histoire, ix, 1889, pp. 288-298; B. J., xevi, 1895, pp. 37/.; Rom.
Milt., xii, 1897, pp. 40-55; ibid., xm, 1898, pp. 399-408; Walters, n, pp. 490 ff. There are three
vases of this class in the Museum of Fine Arts (Reg. 95.59, 95.60, and 99.542).

[ 8 ]

A CATALOGUE OF ARRETINE POTTERY

with low rims and small cups and bowls with straight or slightly curved

sides.1

2. Vases with applied reliefs, a more elaborate type, in which the vase
was decorated with simple reliefs, modelled sometimes by hand, but more
commonly by the use of moulds, and applied to the vase as the handles
were applied, after it was taken from the wheel. Vases of this type, also,
frequently have signatures stamped on the inside. The shapes are the
same as those of the plain vases.

3. Mould-made vases (in modern times often called terra sigillata), by
far the largest and most important category. Here the process of manu-
facture was much more complicated than in the case of the plain vases
and the vases with applied reliefs. The potter first formed on the wheel a
hollow mould of clay, giving to the inside the form and the dimensions
which he had in mind for the body of the completed vase. Next, by means
of small stamps with designs in relief, he impressed in the inside of the
mould, while it was still soft, the figures and patterns with which the com-
pleted vase was to be decorated. These, as they were made from designs in
relief, have in the moulds the form of hollow impressions. From such a
mould, after it had been baked hard by firing, any number of vases could
be produced by simply pressing clay into the mould, glazing, and firing.
In general, the mould seems to have been placed on the wheel to receive
its lining of clay; the inside of a moulded vase usually shows a series of
shallow grooves at regular intervals, marks of the tool by which the in-
terior was worked smooth after the clay had been pressed into the hollows
of the mould. The removal of the shell from the mould presented no diffi-
culty, for the contractility of clay is so great that the shell would shrink
in drying so that it could easily be shaken or worked out of the mould.2 The
comparatively low relief of the mould-made vases is due to this feature
of the process of manufacture.

In some cases, the vase was glazed and fired precisely as it came from the
mould. Usually, however, a separately modelled foot and a plain rim

1 The most important forms of plain Arretine vases are shown in Dragendorff's plate (B. J.,
xcvi, 1895, pi. i. nos. 1-8), which is republished in B. M. Cat. R. P. as pi. xli. Cf. also Holder, Die
Formen der romischen Thongefasse diesseits und jenseits der Alpen, Stuttgart, 1897.

2 On this point the fragment no. 5 of the Museum collection, which was made from the mould
no. 1, presents interesting evidence. This is discussed in the note on no. 5.

[9]

A CATALOGUE OF ARRETINE POTTERY

with simple mouldings at the top were attached to the shell. Handles,
also, and plastic ornaments like those of the plain vases and the vases
with separately modelled reliefs were frequently added, although one strik-
ing characteristic of the Arret ine vases, and indeed of Roman pottery in
general, is the comparative lack of handles, probably due to the fact that
vases without handles could be packed for export with greater security.
The forms that resulted ' are best described as bowls, though they prob-
ably served a variety of uses. Many were no doubt used for drinking-ves-
sels. Some of the smaller moulds could be used to make cups as well as
bowls, the distinction depending largely on the sort of handles that were
attached to the shells. The high rim that is sometimes added to a shell
from a large mould suggests that the vase was used as a mixing bowl,
though these examples are much smaller than the majority of Greek
craters. Small cups, sometimes with a spreading lip, are represented both
in moulds and in vases.2 Two of the moulds in the collection (nos. 22 and
68) were apparently for making covers of considerable size.3

In the case of the most carefully made vases, there is some evidence
that the potter went over the surface of the shell before it was fired with a
pointed instrument, sharpening details that had been blurred in the pro-
cess of moulding, adding bits of patterns, and in general "retouching" the
whole. The practice is one that is familiar in the work of the makers of
terra-cotta figurines, to whose methods the methods of the Roman potters
present a number of interesting similarities.

The stamps which were used by the Arretine potters were probably
of different materials, wood, metal, and clay. Those that have been
found are all of clay, and some are very well preserved. In the Museum
collection is a stamp with a design for a crescent-shaped pattern (no. 143,
fig. 1), which actually appears on one of the moulds of the Loeb Collec-
tion.4 The British Museum possesses an admirable stamp with a figure of
Spring,6 and another not so fine with the figure of a slave tending a pot

1 Cf. B. J., xcvi, 1895, pi. I (= B. M. Cat. R. P., pi. xu), nos. 9-H.
5 Cf. nos. S3, 69, 112, 117, and B. M. Cat. R. P., nos. L 95 and L 107.

3 There is a similar mould in the Metropolitan Museum, New York; cf. Bull. Met. Mus. Art, iv,
1909, p. 125, fig. 2.

4 Cf. Loeb Coll., no. 1G0, pi. xv.

1 No. L 91, publ. in Walters, n, pi. lxvi. no. 2.

I 10 ]

A CATALOGUE OF ARRETINE POTTERY

set over a fire.1 Another excellent example, a stamp for producing a tragic

mask, is published by Fabroni.2 All these, and other Roman stamps from

the provinces,3 show that the stamp was regularly provided with a handle

and slightly curved on the face, so as

to follow the curvature of the mould.

The number of stamps necessary to

produce the variety which is apparent

in the vases seems at first sight to be

very great, but a closer study of any

considerable collection of vases and

moulds shows that the number was

Fig. 1. Clay Stamp (no. 143).

much smaller than it appears at first.

Nothing, in fact, is more interesting than the way in which the potter, with
a comparatively small number of stamps, succeeded by different combina-
tions in producing very different effects. The best examples are found in
vases with purely conventional decoration, such as nos. 102-105, 115, 116.
In no. 115, for example, almost the whole of the rather complicated festoon
which forms the principal decoration was produced with one small stamp.
This was impressed in the mould eleven times, in such a way as to leave
small spaces between the different sections; these spaces were then filled
with small figures of bees and birds, for which the potter employed only
five stamps, two with different types of bees and three with different
types of birds; above and below the main design, figures of Cupids, birds,
bees, and lizards were then added, and here too the same stamp was used
a number of times for each of the types. The result is a design of very
considerable variety. In the figure compositions, also, though the same
figures recur frequently, and sometimes are arranged in the same way,
so as to form exact replicas,4 by slight changes in order or in the attri-
butes, or by the use of different decorative patterns, the potters produced
very varied effects.5 Moreover, for many of the larger figures, separate
small stamps were used not only for attributes, but even for parts of the
body, so that by the use of a different stamp for a head or an arm or a
wing, or even by a different placing of the same stamp, the potter could

1 No. L 92, publ. B. M. Cat. R. P., p. 27, fig. 20. 2 PI. v, 4. 3 Cf. Walters, n, pp. 439, 440.
4 Cf. nos. 7 and 8, 15 and 10. 6 Cf. nos. 34 and 35, 40 and 41, 07-72.

[ 11 1

A CATALOGUE OF ARRETINE POTTERY

greatly change the appearance of his figure.1 Here again we are reminded
of the methods of the makers of terra-cotta figurines. Another interesting
point, which also shows the labor-saving devices of the potters, is raised
by the existence of exactly similar figures of slightly different dimensions.2
It seems probable that the smaller figures in such cases are due to the
use of stamps obtained by taking impressions from completed moulds, or
perhaps by making a matrix and then a new stamp from an old stamp
or even from a completed vase, although the last two processes would
be more time-consuming and would produce less satisfactory results.
The shrinkage of the clay in baking affords an easy explanation- of the
slightly smaller size of the new stamps.

The moulds are made of a fine yellow clay, which sometimes has a pink
color in fractures. They range in size from moulds for very small cups to
moulds for bowls measuring six inches and more in diameter. They are
usually provided with a low foot to make them stand firmly on the wheel,
and with a rim at the top for convenience in handling. Two views of an
unbroken mould in the Boston collection (fig. 2) show their appearance
better than many words. In impressing the stamps in the mould, the
potter first divided the surface horizontally by means of mouldings and
patterns running entirely around the inside of the mould; the common-
est forms are simple grooves (which come out as convex mouldings in the
vase), rows of bosses and rosettes, bands of egg and dart, and similar
patterns. The usual scheme consists of a simple moulding near the bottom
of the mould, a row of bosses or rosettes or a simple moulding higher up,
which sets off a small field for decoration around the bottom, and then
near the top, several patterns and mouldings close together, one of which
is usually an egg and dart. It has often been thought that all these pat-
terns were produced with a small wheel or disc, which the potter pressed
against the mould as it turned on the wheel, and in the case of the simple
mouldings, the lines are so exact that this seems the natural explanation.
In the case of the patterns, however, the frequent irregularities in align-
ment and spacing make it clear that they were usually produced by
repeating a small stamp containing only a small bit of pattern (a single

1 Cf. the Nike, no. 1 (c), with the similarfigure.no. 3(e); and the two huntsmen of nos. 78 and 79.
1 Cf. nos. 21 and 22, 03 and 69.

[ 12 ]

FIG. 2. INTERIOR AND EXTERIOR OF MOULD Ml. 115)

A CATALOGUE OF ARRETINE POTTERY

boss, a rosette, or a single egg and dart). The numerous cases in which a
row of bosses appears in the completed vase as if ranged upon a convex
moulding show that a slight groove was often impressed in the mould first,
to aid the workman in aligning his patterns correctly. After the fields
for decoration had been marked off in this way, the principal field was
usually divided into a definite number of parts (commonly four), by
pillars, staffs, tripods, trees, floral patterns, or conventional designs. Then
between these the figures or patterns that formed the principal motives
were placed, and thus a symmetrical arrangement was assured. That this
was the method employed, that the decorative patterns and the divisional
designs were impressed first in the mould, is shown by the fact that
wherever patterns and figures overlap, it is the figures which are on top.
The modelling of the stamps and the arrangement of the decoration in
the mould were clearly the most important parts of the process of mak-
ing the vase. The other processes, moulding the shell, attaching handles,
rims, and feet, glazing, and firing, were purely mechanical. Something,
however, should be said about the brilliant red glaze of the finished vases,
which has justly excited admiration since the time of the earliest dis-
coveries, and to which the brilliant, coralline effect of the Arretine wares
is due. The effect appears to have been produced by the use of a sort of
varnish, the composition of which, in spite of modern experiments, remains
obscure. Dragendorff, one of the latest investigators to publish the re-
sults of chemical analyses, comes to the conclusion that the red color is
due primarily to the iron oxide which is inherent in the composition of
the clay, and that the substance added in the varnish to produce the bril-
liant coralline effect was of an alkaloid nature. In a series of experiments
with glazed and unglazcd fragments, the alkaloid constituents showed
a marked increase in the glazed fragments, while the proportion of iron
oxide and other elements remained constant.1 In recent years, many at-
tempts have been made, especially in Germany, to imitate terra sigillata,
but none of these has been entirely successful, so far as the glaze is con-
cerned.2 The difficulty of the problem is largely due to the thinness of the

1 Cf. B. J., xevi, 1895, pp. 19 Jf. For earlier analyses, cf.Brongniart, Traite desarts ceramiques, I2,
p. 421 ; Bliirrmcr, Technologie und Terminologie der Geirerbe undKiinste bei Griechen und Romern, II, pp.
91 f. The results which they report are similar to those reported by Dragendorff, but less definite.

2 Cf. Bartel, "Terra Sigillata," in Tonindustriezeitung, xxxiii, 1S09, pp. 632-6-11.

[ 13 ]

A CATALOGUE OF ARRETINE POTTERY

glaze, which'makes analysis difficult. It is so fine and so skilfully applied
that it does not in the least obscure the outlines and the details of the
modelling, but rather enhances them. Though the fine red color is so char-
acteristic of the Arretine wares, it was not an invention of the Arretine
potters. Their earliest vases have a black surface, and red glazed pottery
has now been found on a number of Greek sites under circumstances which
prove its priority to the products of Arretium.1 Among the "Megarian
bowls," also, although the prevailing color is a rather poor black, there
are numerous specimens in which part of the vase is red and the effect
seems due to intention, not to chance. Indeed, it seems clear that during
the third century B.C. the Greek potters were constantly trying to get
away from their traditional black varnish, and that it was to them that
the change from black to red surfaces was due. This feature of the
Arretine wares, therefore, was another technical detail which the potters
adopted from their Greek predecessors.

In respect to the decoration, the mould-made vases fall into two classes.2
In the first, which includes vases especially from the workshop of M.
Perennius, the principal decoration regularly consists of a frieze of single
figures or groups of figures, several of which are frequently produced
from the same stamp. The figures are always of the same height, and this
isocephalism is one of the marked characteristics of the class. The
ground under the feet of the figures is rarely indicated, and filling orna-
ments are rare. The frieze is frequently divided by means of columns,
hernia?, tripods, pillars, candelabra, incense-burners, or thyrsuses into
small fields, in which the single figures and groups are placed, and these
objects are sometimes connected by garlands or festoons which pass
behind the figures. But the garlands and festoons are usually of a con-
ventional sort, and in general the decorative patterns are few in number
and simple in character. The favorite subjects are: Dionysiac scenes, such
as dancing mamads, satyrs dancing, drinking, gathering grapes and tread-
ing them out, and the birth of Dionysus; Heracles and Omphale; Nereids
with the weapons of Achilles; the Muses; the Seasons; Nike, sometimes

1 Cf. Dragcndorff, D. J., xcvi, 1895, pp. 35 /.; Watzinger, Atk. Mitt., xxvi, 1901, pp. 84 /.;
Conze, " Die Kk'inf uncle aus Pergamon," Abhandl. d. k. preusa. Akad. d. Wiss., 1902, pp. 22J.

2 Cf. Dragemlorff, B. J., XCVI, 1895, pp. 55 jj.

[ H I

A CATALOGUE OF ARRETINE POTTERY

sacrificing a bull; winged genii; dancing priestesses with a peculiar head-
dress, the so-called " kalathiskos " dancers; and banqueting scenes, usu-
ally of an erotic character.

The second class of mould-made vases is distinguished from the first
principally by a much greater use of ornament. In these vases, as a rule, the
field is filled with floral and vegetable patterns, sometimes convention-
alized, like the patterns of Class I, but usually treated with great natural-
ness. Frequently a wreath of leaves, naturalistically modelled, forms the
principal decoration. Other favorite motives are masks and bucrania con-
nected by festoons of fruit and flowers, with birds and insects hovering
about them. Human figures, when they appear, are often subordinated to
the decoration, frequently appearing as small statuettes; and when they
are combined to form definite scenes, the treatment is very different from
that of the figures of the first class. The isocephalic principle is given up,
the ground is usually indicated, and by the introduction of naturalistic
trees and plants, the artist tries to suggest the setting of the scene. The
subjects that are represented in this class are more varied than those of
Ckss I, and therefore less easy to classify. Among the commonest are
dancing figures and hunting, chariot, and battle scenes, which only rarely
reproduce a common type. A unique mould in the Boston collection
(no. 66) has as its subject the death of Phaethon.

This division of the mould-made vases into two classes, according to
the nature of their decoration, has been made the basis of the present
catalogue. Class I and Class II of the catalogue correspond to the two
types that have been described in the preceding paragraphs. Within
each of these larger divisions, the attempt has been made to carry out
a classification by subjects and principal decorative motives. Two vases
not made in moulds are placed together as "Class III, plain vases"; and
under separate headings are described "handles and separately modelled
reliefs" and a single stamp. A tabular view of this scheme of classifica-
tion and the subdivisions of Class I and Class II is given in the Table of
Contents.

After the decoration, the inscriptions form the most interesting feature
of the Arretine vases. In a few instances, these have reference to the
characters represented on the vase, following the custom which is so com-

[ 15 ]

A CATALOGUE OF ARRETIXE POTTERY

mon in the work of the Greek vase painters.1 But such cases are rare. In
general, the inscriptions on the Arretine vases are in the nature of signa-
tures; they record the name of the proprietor of the pottery where the
vase was made, or that of the slave who made it, or both. They were pro-
duced by means of stamps, impressed directly on the vase in the case of
the plain wares and the vases with separately modelled reliefs, impressed
on the mould in mould-made vases, so that the signatures become, in a
way, a part of the decoration. The forms which the stamps assume are
very varied. The commonest types are rectangular stamps with an in-
scription in one or two lines, sometimes with a simple decorative border,
and stamps in the form of the sole of a foot with the inscription upon it.
Others have the form of crosses, crescents, stars, branches, wreaths, and
other objects.2 In the forms of the names, the greatest variety prevails.
The name of the owner of the factory, which appears most frequently,
is sometimes written in full, with prsenomen, nomen, and cognomen (the
praenomen regularly only as an initial), sometimes one or another of these
parts is omitted. All varieties are frequently abbreviated, or even re-
duced to simple initials, and ligatures in which two letters are written
together are very common. When the owner's name is written out, it
regularly appears in the genitive. Thus the name of L. Rasinius Pisanus
appears in the forms: L. Rasini Pisani, L. Rasini Pisa, L. Rasin Pisani,
L. Rasin Pisa, L. Rasin Pis, L. Ras Pi, L. R. Pis, L. R. P., and possibly
in the forms L. Rasin, Rasini, Rasin, Rassi, Rasi, Rasn, Rass, and Ras,
though the fact that at least one other potter of the gens Rasinia is known
makes it impossible to tell with certainty whether these last signatures are
to be assigned to L. Rasinius Pisanus.3 The slave's name is sometimes
written above or below the name of the proprietor of the factory, some-
times it appears on another part of the vase. When it is written out, it
regularly stands in the nominative, though the genitive occasionally is
found. So on vases of P. Cornelius, made by the slave Potus, we find no
less than four combinations: 4

1 Cf. Not. Scat., 1884, pi. vm, 2; B. J., xevi, 1895, pp. 70/., and en, 1898, p. 116.

1 Cf. C. I. L., xv, p. 703. In the earliest vases, also, stamps with simple fabric marks, without
inscriptions, appear.

3 Cf. especially C. I. I., xi, 6700, 519-551; also C. 7. Z,., II, 4970, 419 and 421; x, 8056, 299 and
8336, 3; xn. 5080, 738; xv, 5495 and 5496. 4 Cf. C. I. L., XI, 6700, '21 8.

[ 1«]

A CATALOGUE OF ARRETINE POTTERY

POTUS P. CORN POTI P. CORN
P. COR POTUS P. CORN POTI

This variety in the order of the names, combined with the many abbre-
viations, sometimes leads to confusion. In such a signature, for instance,
as p'Pc0°Tf, it is possible that only one name is intended, that of a slave
who had been freed and become master of a pottery. Such cases are at-
tested by a few inscriptions, such as C'MEMMCLMAHE, C. Memm(i)
C. Kiberti) Maheitis).1 It is to be noted, however, that if all the inscrip-
tions in which the slave's name follows the master's are interpreted in
this way, the number of freedmen becomes much larger than seems natural,
so that it is probable that in most of these forms, as in the common
formula, we are dealing with two names.2 In some cases, the addition of
an S ( = servus) after the slave's name makes the matter absolutely clear.3
Other interesting variations in the form of the signature are the occasional
addition of figulus or figulus Arretinus, or Arretinus * alone, and signa-
tures of two or more potters or firms who evidently had formed a part-
nership.5

The earliest attempt to treat the inscriptions on Arretine vases as a
whole, to determine the location of the different potteries, and to draw
up lists of the slaves employed in each was made by Gamurrini in 1859.6
Since that time the number of inscriptions has greatly increased and
much new light has been thrown on the location of the potteries and their
relations to one another by excavations. Most of the inscriptions are now
recorded in the Corpus Inscriptionum Latinarum, those from Arezzo
itself in volume xi, others from Arretine vases found in other parts of
the Roman world in other volumes. On the basis of these collections,

1 Cf. C. I. L., xi, 6700, 386.

2 Cf. C. I. L., xv, p. 702; B. J., xcvi, 1895, p. 48, and en, 1898, p. 109.

3 Cf. C. I. L., xi, 6700, 727 and 7371; xv, 5676 (with Dressel's note) and 5694. The addition of
F (= fecit) after the slave's name, which occurs on fragments fovind at Rome and elsewhere, is
not surely attested for Arretium, although the unusual inscription "Vcnicius fecit h(a)ec" occurs
(cf. C. I. L., xi, 6700, 752). On the question of the use of F ( =fecit), cf. C. I. L., XV, p. 703, and
B. J., en, 1898, p. 126.

4 Cf. C. I. L., ii, 4970, 519; IX, C082, 1; x, 8056, 354; xi, 6700, 688; xv, 5649, a-1. The addition
of OF (=officina). which appears on a number of Roman vases, does not seem to be found on
genuine Arretine wares. Cf. C. I. L., xv, p. 70-2, and B. J., en, 1898, p. 126.

6 Cf. C. I. L., xi, 6700, 311 and 795; xv, 5748.

6 Cf . Gamurrini, Le iscrizioni degli antichi vasi fittili aretini. Rome, 1859.

[ 17 ]

A CATALOGUE OF ARRETINE POTTERY

Ihm has supplemented the work of Gamurrini,1 and in volume xi of the
Corpus is published an interesting map which shows the sites of the
different potteries, so far as they can be determined.2 The list which fol-
lows includes the names of the potters and the slaves whose signatures
appear on the vases and moulds of the Museum Collection. The slaves
have been grouped, as far as possible, under the masters by whom they
were employed, and a brief statement of the location of the pottery is
added in each case.

M. Perexxius. — In moulds and vases of M. Perennius, the most fa-
mous of the potters of Arretium, the collection is especially rich. His
name is found no less than twenty-three times (nos. 2, 10, 12, 21, 26, 29,
32, 34, 35, 37, 40, 55, 66, 67, 69, 76, 77, 78, 81, 104, 111, 128, 133), and
many of the unsigned specimens, to judge by the use of the same or similar
stamps, are undoubtedly from his workshop. In ten cases, the name of
Perennius is associated with some form of the signature Tigrani (nos.
2, 21, 29, 32, 37, 40, 67, 69, 81, 111), which also appears alone on five
fragments (nos. 7, 8, 24, 31, 72). 3 This at once raises the difficult question
of the connection between the two forms, which, in spite of considerable
discussion, still remains obscure. The facts in the case are as follows:
With various forms of the signature of Perennius, there frequently are
associated the forms Tigran, Tigra, or Tigr, as well as Tigrani.4 These
are usually interpreted as a slave's name, Tigranes, although the form
Tigrani (which must be a genitive) points rather to a nominative Tigra-
nus or Tigranius. Further, the form Tigrani or one of the shorter variants
occurs in combination with several names of slaves which elsewhere are
found in combination with different forms of the signature M. Perenni,
and in one case we find Menophil(us) M. Peren(ni) Tigrani.5 These
combinations are commonly taken to mean that the slave Tigranes was
later liberated, set up a factory of his own, and employed some of the
slaves of his former master. But it must be admitted that a much simpler
explanation is afforded by the supposition that Perennius and the sup-
posed Tigranes were one and the same person, that is, that the master of

1 Cf. "Die arretinischen Topfereien," B. J., en, 1898, pp. 106-126. 2 Cf. C. I. L., 3d. p. 1082.
' The letters NI, which are found on the fragment no. 16, also, are very surely the end of
PERENNI or TIGRANI.

4 Cf. C. I. L., xi, 6700, 450. • Cf. C. I. L., XI. 6700, 453.

[ 18]

A CATALOGUE OF ARRETINE POTTERY

the factory was called M. Perennius Tigranes (or better Tigranus or
Tigranius),1 and that he signed his products now with one form, now with
another. However this may be, the vases of Perennius are certainly the
finest products of the Arretine factories, going back, in most cases, to
excellent Greek models, and reproducing them with a great deal of taste.
The principal workshop of Perennius was located near the modern church
of Santa Maria in Gradi,2 and he also, apparently, possessed a branch es-
tablishment at Cincelli.3 His period of greatest activity is commonly held
to have been the reign of Augustus. Besides the doubtful Tigranes, the
slaves of Perennius whose names are found on pieces in the Museum
collection are Bargates (nos. 30, 66, 104, 128, 133), Nicephorus (nos.
34, 35, 76), and Pilades (no. 3). Cerdo, also, should probably be included
in this list, although only a single letter of his name has survived on the
fragment no. 17.

P. Cornelius. — Next to Perennius the most famous of the Arretine
potters is P. Cornelius, whose name is found three times on the specimens
of the collection (nos. 90, 91, 134). Fragments of his wares have been
found in great numbers in the neighborhood of Cincelli,4 and near the
so-called Ponte a Buriano not far from Cincelli.5 He flourished at a later
time than Perennius, whose factory at Cincelli he apparently acquired,
— fragments bearing his name were found above those with the name of
Perennius, — as well as the factory of C. Tellius near the Ponte a Buriano,
and perhaps that of C. Cispius at Cincelli.6 The list of slaves employed by
Cornelius is longer than that which can be drawn up for any other potter,
including some forty names, but of these only two appear in the Boston
collection, namely, Antiochus (no. 113) and Primus (no. 91). The lack of
examples from Cornelius's workshop is regrettable from an archaeological
point of view, but artistically the products of this potter are far inferior,
in general, to those of Perennius.

Rasinius. — Though the name of Rasinius appears but five or six times

1 Cf. B. J., en, 1898, pp. 115/.; Rhcinisches Museum, N.F. ldc, 1904, p. 137; and the remarks of
Lehner, B. J., cxxn, 1913, pp. 429/.

a Cf. Not. Scav., 1883, pp. 2G5 jf.; 1884, pp. 309/.; 1894, p. 93; 1890, pp. 453/.; Bull., 1884, p. 9.

8 Cf. Not. Scav., 1883, p. 209; B. J., en, 1898, p. 114.

4 Cf. supra, pp. 6/.

6 Cf. Not. Scav., 1893, p. 140.

6 Cf. Not. Scav., 1893, pp. 138 .jT.; B. J., xcvi, 1895, p. 50, and en, 1898, pp. 113/.

[ 19]

A CATALOGUE OF ARRETIXE POTTERY

(nos. 88, 102, 115, 116, 123, and probably 124), the four complete moulds
that bear his signature (nos. 88, 102, 115, 116) are among the finest in the
collection. On all the Boston specimens, the name has the form BASIN,
without prsenomen or cognomen, so that it is impossible to decide, on the
basis of the inscriptions alone, whether we are dealing with the well-known
L. Rasinius Pisanus, or with C. Rasinius, whose name is attested for
Arretium, or with an entirely different member of the gens Rasinia.1
Other considerations, however, make it probable that the last of these
suppositions is correct. The name of C. Rasinius has as yet been found
only on plain vases. L. Rasinius Pisanus apparently was active compara-
tively late in the period of the Arretine development; the style of his vases
is distinctly degenerate and some of them imitate the products of the
Gaulish potteries which brought about the ruin of the potteries of Arezzo.2
The decorated vases of the best period signed with the single name Ra-
sinius, therefore, very surely represent the work of a different man. Frag-
ments of moulds signed with Rasinius alone have been found especially
in the neighborhood of Santa Maria in Gradi, and here the workshop of
Rasinius was probably located.3 His importance is shown by the list of
his slaves, which is nearly as long as that which can be drawn up for P.
Cornelius. Four of them are represented in the Museum collection:
Certus (no. 123); Eros (no. 88) ;4 Pantagatus (nos. 115, 116); and Quartio
(no. 102).

C. Memmius. — The name of Memmius appears only once in the
Museum collection, in the combination Rasini Memmi (no. 33), the
slave's name having been lost. This signature, however, is of no little
interest, as a new piece of evidence to prove the theory that Memmius ac-
quired some of the slaves of Rasinius. Other more conclusive evidence
is that the slave Mahcs, whose name is found in connection with that of

1 A vase found at Arretium in 1897 has the signature Rufio Rasinia?, which still further compli-
cates the problem. Cf. C. I. L., XI, 6700, 520 note, and 547, b.

2 Cf. Dcchelette, Les vases ceramiques ornis de la Gaule romaine (Paris, 1904), I, pp. 113 jf.\
B. M. Cat. R. P., p. xvii.

» Cf. B. J., en, 1898, p. 119.

* The slave's name Eros, so far as I am aware, has not been noted before in combination with
Rasinius alone. It occurs, however, in combination with Memmi (cf. C. /. /... xi, 0700, 380), so that
Eros was probably one of those slaves of Rasinius who were later bought by C. Memmius; cf.
B. J., en, 1898, p. 120.

[ 20]

A CATALOGUE OF ARRETINE POTTERY

Rasinius,1 later signs himself C. Memm(i) C. l(iberti) Mahe(tis); 2 that
the slave's names Pantagatus and Quartio appear in combination not only
with Rasini, but also with Rasini Memmi; 3 that at least one other slave's
name is followed by the same combination, Chrestus Rasini Memmi;4
and that there are other fragments on which, as on no. 33, the slave's
name has been lost and only the words Rasini Memmi are preserved.5
Remains of Memmius's workshop are reported to have been found in
laying foundations on the Via Guido Monaco, near the church of San
Francesco.6

C. Tellius. — Three fragments in the collection are signed by C.
Tellius (nos. 84, 92, 119), whose pottery near the Ponte a Buriano 7 was
later acquired by P. Cornelius.8 One of these fragments (no. 84) bears
the slave's name Phileros.

L. Annius. — Three members, at least, of the gens Annia were pro-
prietors of potteries at Arretium, C. Annius, L. Annius, and Sex. Annius;
and the form Anni, without praenomen, may point to still a fourth member
of the family. The name of one of them is found on the small fragment
no. 125. The inscription should probably be read L. Anni, though this is
not absolutely certain. The fragment no. 106 is signed by Atticus, who
was one of the slaves of L. Annius. The factory of C. Annius was near the
site of the church of San Francesco, that of L. Annius probably in the same
neighborhood.9

A. Terentius. — The inscription A. TER of no. 93 should doubtless be
read A. Ter(enti), as this name is found in full on Arretine wares.10 The
site of Terentius's pottery has not yet been determined. His signature was
sometimes impressed with a stamp in the form of the sole of a foot, a fact
which is generally held to point to a comparatively late date in the period
of the Arretine potteries.

C. Vibius. — The small cup no. 135 has the signature C. VIB, im-

> Cf. C. I. L., xi, C700, 535, a. 2 Cf. C. I. L., xi, 6700, 386.

3 Cf. for Pantagatus Rasini, nos. 115, 116, and Loeb CoU., nos. 305, 306; for Pantagatus Rasini
Memmi, C. I. L., x, 8056, 2-18, and xv, 5514; for Quartio Rasini, no. 102, and C. I. L., xi, 6700,
545; for Quartio Rasini Memmi, C. I. L., xi, 6700, 546.

1 Cf. Loeb Coll., no. 271. 6 Cf. C. I. L., xi, 6700, 552, and Loeb Coll., nos. 308 and 337.

• Cf. Ann., 1872, p. 293; Not. Scav., 1892, p. 339; ibid., 1894, p. 119; B. J., en, 1898, p. 120.

7 Cf. C. I. L., xi, p. 1082. 8 Cf. supra, p. 19.

» Cf. Gamurrini, p. 28; B. J., CM, 1898, pp. 110/. 10 Cf. C. I. L., xi, 6700, 671.

[21 ]

A CATALOGUE OF ARRETINE POTTERY

pressed with a stamp in the form of the sole of a foot. The inscription
should probably be read C. Vib(i),1 though it is possible that it should be
completed C. Vib(ieni).2 Gamurrini places the pottery of C. Vibius just
outside the walls northeast of the modern city, in the district called
Fonte Pozzolo,3 but the evidence on which he bases this conjecture is
not very conclusive.4

Pisanus. — The unusual inscription RHITV PISA of no. 60 should
undoubtedly be completed Rhitu(s) Pisa(ni), and one is tempted to iden-
tify the potter with L. Rasinius Pisanus. The careful modelling of the
figures, however, is against such an identification, for the vases of L.
Rasinius Pisanus, as has been stated before,5 are distinctly degenerate
in style. This fragment, therefore, suggests that there was an earlier
Pisanus, working in the best period of the Arretine development, — a
problem which only more careful investigation of the vases and fragments
with the name Pisanus can answer.

Finally, the slave's name Phileros, which appears on no. 109, is one
that is found in connection with several different potters; 6 and the in-
scription of no. 136, which appears to be IVAI, is one for which I can
offer no plausible explanation.

The date of the Arretine wares can be determined, at least approxi-
mately, from a number of bits of evidence. Thus, the fact that the slaves'
names on the vases are largely Greek proves that the potteries cannot have
flourished before the Roman conquest of Greece in 146 B.C. But this
argument is of very little practical value, as it furnishes only a terminus
post quern, and other evidence points to a considerably later date for the
beginning of the manufacture. The forms of the letters of the inscriptions,
also, are not especially helpful; they show only that the vases were made
between 100 b.c. and 100 a.d. More definite inferences can sometimes
be drawn from the circumstances under which vases and fragments have
been found. A vase from Cincelli, signed by the slave Rodo, has as a
part of its decoration the imprint of a coin with the head of the young
Octavius and the inscription Augustus.1 At Haltern in Westphalia, where

1 Cf. C. I. L., xt, 6700, 773. * Cf. C. I. L., xi, 6700, 761. » Cf. C. 1. L., XX, p. 1082.

4 Cf. Not. Scav., 1894, p. 120. • Cf. p. 20.

6 The possibilities are mentioned in the note on no. 109. ' Cf. Not. Scav., 1894, p. 49.

[ 22 ]

A CATALOGUE OF ARRETINE POTTERY

the Roman settlements can be dated between 11 b.c. and 16 A.D., nu-
merous fragments of Arretine vases have been found, many of them iden-
tified by the signatures of well-known potters, such as L. Annius, Sex.
Annius, P. Cornelius, Memmius, Perennius, and Rasinius.1 At Mont
Beuvray, near Autun, the site of the ^Eduan town of Bibracte, fragments
with signatures of several Arretine potters were found. From this fact
Dragendorff argued that these vases must have been imported into Gaul
before the destruction of Bibracte by Caesar, and that the earlier Arretine
fabrics, therefore, went back to the first half of the first century, B.C.2
Excavations at Mont Beuvray have shown, however, that a settlement
existed on the hill until the last years of the first century, B.C., when
the town was transferred to the plain by the Emperor Augustus and re-
ceived the name of Augustodunum, preserved in the modern Autun.3 The
fragments, therefore, probably are relics of the later settlement, not of the
town destroyed by Caesar.4 Finally, an even more definite date for the be-
ginning of the manufacture has been proposed by Oxe, who bases his ar-
gument on the manner in which the names of slaves and masters are com-
bined in the inscriptions. Arguing principally from datable inscriptions
on stone, Oxe shows that none of the combinations that appear on Arre-
tine vases is earlier than the last years of the Roman Republic. Most of
them are similar to formulae in use during the earlier years of the Empire.
The beginning of the manufacture of the typical Arretine wares with bril-
liant red glaze, therefore, may be placed some time in the decade between
40 and 30 B.C.5 As for the end of the manufacture, the discoveries at

1 Cf. S. Loeschcke, Mitteilungen der Altertumskommission fitr Westfalen, v, 1909, pp. 119-127
and 167/.

» Cf. B. J., xcvi, 1895, p. 50.

3 Cf. Bulliot, Fouilles de Mont Beuvray, Autun, 1899; C. I. L., xiii, p. 402. From the coins found
at Mont Beuvray, De Barthelemy argued {Rev. Arch., 1870-71, p. 27) that the settlement was
not transferred to the plain until 5 or 6 B.C., and with this dating the latest investigator, Deche-
lette, agrees; cf. Dechelette, Les fouilles du Mont Beuvray de 1897 a 1901, Faris, 1904, pp. 118 JT.

4 Cf. 0x6, "Zur alteren Nomenklatur der romischen Sklaven," Rheinisches Museum, N.F.
lix, 1904, pp. 130/.

6 Cf. Oxe, loc. cit, pp. 127/.; Dragendorff, B. J., cxin, 1905, p. 252. With this dating the argu-
ments advanced by Frickenhaus (B. J., cxviii, 1909, pp. 27-33) as to the terminus post quern of the
Arretine wares agree. He argues, as others have argued before (cf. especially Dennis, Cities and
Cemeteries of Etruria,1 u, p. 390), that the Etruscan city occupied a different site from that of the
Roman Arretium and the modern town; that the Roman city dates from the colonization of Sulla
and that the potteries, therefore, which have been found in and near the modern town, were

[23 ]

A CATALOGUE OF ARRETINE POTTERY

Pompeii afford some evidence. Most of the examples of Arretine vases
that have been found there are distinctly late and degenerate in style, a
proof that by the year 79 a.d. the Arretine ware was in full decadence. The
remains of Roman settlements in Germany confirm the evidence of Pom-
peii. In general, fragments of Arretine vases are found on sites which
began to be occupied towards the end of the first century before Christ or
in the first half of the first century after Christ. It is noteworthy that at
Kbngen, where the earliest settlement is dated in the reign of Domitian
(81-96 A.D.), no Arretine ware was found.1 Roughly, therefore, the cen-
tury between 40 B.C. and GO a.d. may be regarded as the flourishing period
of the Arretine potteries. The finest products are works of the Augustan
age.

With these dates the style of the Arretine vases agrees perfectly. Even
a little study of any considerable collection of Arretine ware is sufficient
to show the mixed character of the style. Individual figures not infre-
quently are distinctly reminiscent of Greek works of the fifth century B.C.;2
others recall types which did not become common until the fourth cen-
tury;3 and others still seem to be drawn from the art of the Hellenistic
age.4 Again, on vases of Class I, as has frequently been pointed out, there
is a whole series of figures which are almost exact replicas of figures that
appear on the so-called Neo-Attic reliefs,5 and many others, though they
cannot be exactly paralleled in Neo-Attic work, exhibit similar tenden-
cies. Almost all the figures of this sort are characterized by a stiff, ar-

closely associated with the Roman city, and so cannot have been established before about 80 B.C.
Not every point in this argument can be regarded as proved, but it is a probable interpretation
of the few known facts, and it tends to confirm the dating which I have suggested. If the pot-
teries were established after 80 B.C. and for some years manufactured vases with a black surface
(cf. supra, p. 14) the period between 40 and 30 B.C. seems a very probable time for the beginning
of the red-glaze wares.

1 Cf. R. Knorr, Die rerzierten Terra sigillata-Gefasse von Kbngen-Grinario (Stuttgart, 1905), pp.
8-10. The cause of the decline of the Arretine potteries was undoubtedly the development of rival
establishments in Gaul during the first century after Christ. These Gallic potteries quickly drove
the Arretine manufactories out of the markets of the northern provinces and competed successfully
with them in Italy itself. Many examples of Gallic wares have been found at Pompeii. In Germany,
also, and in Britain, the Gallic products were widely distributed, and in imitation of them the
potters of Germany developed a flourishing industry in the manufacture of terra sigillata. On these
later developments, cf. DragendorfT, B. J., xevi, 1895, pp. 81-155; Dechelette. Lea vases cframiques
ornh de la (laulc Romaine (Paris, 1904); Walters, n, pp. 497-539; B. M. Cat. R. P., pp. xxiii-xlvi.

• Cf. nos. 6, 37. 91. ' Cf. nos. 13, 14. * Cf. nos. 60, 61, Si, 83.

' Cf. Hauser, Die neu-altischen Reliefs (Stuttgart, 1889), pp. 110/.

[ 24 ]

A CATALOGUE OF ARRETINE POTTERY

chaistic treatment of the drapery and by graceful, but rather affected,
poses. The vases of the second class, with their marked fondness for
naturalistic ornament and pictorial background, frequently recall the so-
called Hellenistic reliefs.1 The great use of scrolls of conventionalized
foliage finds its closest analogy in Roman work of the early Empire. Such
a combination of elements drawn from many sources is hardly possible
before the last days of the Roman Republic and the early years of the
Empire. The close parallelism between the decoration of the Arretine
wares and that of the monuments of the Augustan age, especially the Ara
Pacis Augusta?, has been pointed out by Dragendorff .2 On the other hand,
there is no trace in the Arretine vases of the "illusionist" style which came
in after the Augustan age,3 — a proof that the types of the potters' reper-
toire were fixed before the introduction of the illusionist style.

That the Arretine potters themselves invented the mixed style which
we find in their products is highly improbable. It is much more likely
that they borrowed their stock of decorative types from the same source
from which they took the types of their vases, that is, from vessels of
gold and silver and other metals. That the forms go back to metal
originals has long been recognized. It is proved by the thin walls of the
great majority of the vases, by the sharp and angular profiles of many
shapes, particularly the flat plates, and by the forms of the handles, which
are often exactly similar to handles of silver and bronze found in many
parts of the Roman world.4 For the decorative motives and the whole
scheme of the decoration, many analogies can be found among the silver
vases from Bernay, from Hildesheim, and from Bosco Reale,6 and the
clearness and delicacy of the designs constantly suggest the work of the
goldsmith and the silversmith. The analogy of the late Greek vases with
decoration in relief, also, such as the "Megarian bowls" and the "Calenae
phialse," which are certainly copied from metal prototypes, points in the
same direction. For all these reasons it seems practically certain that the
Arretine vases were intended to serve as less expensive substitutes for
vessels of gold and silver and bronze, and that they reproduce very closely

I Cf. Schreiber, Die hellenistischen Reliefbilder. Leipzig, 189-1.

II Cf. B. J., cm, 1899, pp. 87-109.

8 Cf. Wickhoff, Roman Art (translated by Mrs. S. A. Strong, New York, 1900), pp. 18/.
« Cf. the note on no. 137. 6 Cf. the notes on nos. 98, 113, 115, 116.

[ 25 ]

A CATALOGUE OF ARRETINE POTTERY

the decoration of such vessels.1 It is not at all impossible that single
figures, and perhaps whole compositions were in some cases modelled di-
rectly from metal prototypes. Pliny, in his brief account of metal chasing,
speaks of a certain Pytheas, who "made small drinking cups in the form
of cooks, called magiriscia, of which it was impossible to take a cast, so
liable to injury was their delicate chasing," 2 — a passage which implies
that the practice of making casts from silver vases for the purpose of re-
producing them in less valuable materials was a common one. If this is true,
these humble products of ceramic art gain immensely in value, for with
their help we can do much to reconstruct the form and the decoration of
that wealth of gold and silver vessels which evidently existed in Italy
in the early days of the Roman Empire, and of which the finds at Bernay,
at Hildesheim, and at Bosco Reale have given us hardly more than tanta-
lizing suggestions. Better, perhaps, than any other sort of Roman work,
the Arretine vases show how the great store of beautiful and graceful
forms evolved through long centuries by the artists of Greece, even when,
in the hands of the Romans, they had come to be used in an almost purely
decorative fashion, still retained much of the grace and charm that were
inherent in all the products of Greek genius.

On the other hand, it is hardly possible to study any considerable col-
lection of Arretine vases without being struck by the evident similarities
between the decorative motives, particularly the garlands Of fruit and
flowers, and those employed by many of the artists of the Renaissance.
This is an aspect of the study of Roman pottery which can only be
touched on here, but it suggests an interesting field of inquiry for students
of Renaissance and later art. It is, of course, well known that the Renais-
sance painters and sculptors drew their inspiration very largely from the
monuments which they saw about them, especially from Roman sar-
cophagi and marble reliefs with their elaborate floral ornamentation. In
view of the enthusiasm with which Ser Ristoro speaks of the earliest finds

1 Following a suggestion of Mr. Loeb's, several of the finest moulds in his collection have been
used for galvanoplastic reproductions with a silver finish by the 'Wurttembergische MetaJlwaren-
fabrik of Geislingen, Wtlrttemberg. (The published catalogue has the title Galranopla.sHsrhc Xarh-
bildungen arretinischer Gefiisse). The effect is very pleasing, and the experiment at least shows the
fitness of the designs for work in the precious metals.

* Cf. Pliny, N. H., 33, 157.

[26 ]

A CATALOGUE OF ARRETINE POTTERY

of Arretine vases, one may well ask whether these less important relics
of antiquity may not also have played a part in the development of
Italian art. The resemblances between the garlands of the Arretine bowls
and those used by artists like Ghirlandajo and the della Robbias are cer-
tainly striking, and closer study would probably reveal many analogies
that do not appear at first sight. If such a connection could be proved,
the Arretine pottery would gain a new importance, as one of the channels
by which the inheritance of antiquity was handed down to modern times.

CLASS I

(a) SINGLE FIGURES OF DIVINITIES ( APOLLO, ARTEMIS, LETO, NIKE),
SOMETIMES COMBINED WITH OTHER FIGURES

Moulds

i. About half of a mould for a large bowl. Put together from three
fragments. H. 10.8 cm. D. 22 cm. Reg. 98.867. Ann. Rep., 1898, p. 83,
no. 31. Plate III.

At the bottom of the field, summary indication of the ground below the
feet of the figures, with plant stalks rising at intervals, and a plain mould-
ing, which served as a guide to the potter in impressing the figures. At
the top of the field a row of bosses, and below it a conventional laurel leaf
pattern, broken, in all cases, by the upper parts of the figures. In the field,
passing behind the figures, are loops of conventional laurel leaf pattern,
attached in one case to the pattern at the top (the juncture covered by a
bell-shaped ornament), in two cases to large columns which separate the
figures. These columns are simple Doric shafts, composed, in each case,
of five drums, which are unfluted, but show anathyrosis at the joints. On
each column is a wreath of conventional laurel leaf pattern encircling the
shaft, and above each is a small statuette. Both of the statuettes repre-
sent closely draped female figures in front view, but the one at the left is
bare-headed and rests directly on the capital of the column, the one at
the right wears a high, pointed cap and stands on a low base.

The centre of the preserved fragment is occupied by an altar. It has
four mouldings at the bottom and is decorated with three draped female
figures in very low relief. All are dancing to the right, the first and second
looking back at the third. The first figure has her left hand at the side,
holding up the lower part of her drapery ; the second has her left arm raised
and with her right hand holds a flying end of the drapery of the first
figure; the third holds the edge of her chiton in her left hand and her
right swings idly behind her. The altar is finished off at the top by a low
cornice with dentils. On top of it are flames rising. At the left of the altar,

[ 28]

A CATALOGUE OF AKRETINE POTTERY

separated by a column, are Apollo and Artemis; at the right are Nike
and part of a figure of Leto. The description follows.

(a) Artemis in profile to right. She is dressed in a long, overgirt Ionic
chiton and a heavy himation, one end of which she holds with her ex-
tended right hand. The details of the drapery are rendered with great
care, especially the fastening of the chiton over the right arm; some of the
folds are treated archaistically. On the right arm is a twisted bracelet.
The hair is gathered in a knot behind, with ends falling to the right shoul-
der. In her extended left hand she holds a long torch.

(b) Apollo Citharcedus, in profile to right. The god is posed on tiptoe
in the manner of archaistic reliefs in marble. He wears a long, sleeved
chiton, overgirt, with a heavy himation falling from the shoulders; the
folds of the himation are treated archaistically. On his feet, the sandals
are carefully indicated. In his left hand he holds a large lyre, with the
strings summarily indicated; in his right, which is extended in front of
the lyre, he holds a plectrum. His long hair is gathered in a knot behind,
with two curls falling to the right shoulder; in the hair is a wreath (of
laurel?).

(c) Nike pouring a libation. The goddess is represented in profile to
left, posed on tiptoe, in archaistic fashion. She wears a long, overgirt
Doric chiton; the folds of the skirt are freely and gracefully rendered,
those of the apoptygma are markedly archaistic. The right arm is raised
and the right hand holds a small pitcher, from which the goddess pours
a libation upon the altar in front of her; the libation is indicated by very
faint lines drawn from the pitcher to the altar. The left arm is lowered and
bent at the elbow; on it are two simple bracelets, one on the upper arm,
the other just above the wrist. The thumb and the forefinger of the left
hand are brought together, as if they held some object, but this was not
added by the potter. The head is remarkably small for the figure, and
was evidently made from a stamp for a smaller figure. The hair is con-
fined by a fillet, which passes twice around the head. The wings are large,
and placed too high.

(d) Of Leto only the head (in profile to right) and the right arm and
breast (in front view) are preserved. The hair is tied in a knot behind,
and confined by a fillet, which passes twice around the head. The dress was

[ 29 ]

A CATALOGUE OF ARRETIXE POTTERY

a high-girt Doric chiton and a shawl-like himation. Part of the latter is
held in the raised right hand, the end falling behind the raised arm.

This subject — Apollo, Artemis, and Leto advancing toward Nike,
who pours a libation — is of frequent occurrence on monuments of the
Roman period. The most familiar examples are marble reliefs of archa-
istic style, of which a considerable number, showing slight variation in
details and sometimes omission or suppression of one or two figures, has
been preserved (cf. Overbeck, Griechische Kunstmythologie, m, Apollon,
pp. 259 jf., pi. xxi, 10-12; Schreiber, Hellenistische Reliefbilder, pis.
xxxiv-xxxvi). The most complete of these differ in several respects from
the Arretine fragment: they have as a background a high wall with the
upper part of a large Corinthian temple and a tree appearing above it;
at the left stands a large tripod on a tall pillar; at the right is an archaic
statue of Apollo, also on a high pillar; the altar stands at the extreme right;
and Apollo and Nike are placed closer together, so that Nike pours the
libation into a patera which Apollo holds in his right hand. The Arretine
potter, by placing the altar between Nike and Apollo, produced a less
effective design, but the similarity to the marble reliefs is so great that
there can be no doubt that both sets of monuments go back to a common
original. The date and the purpose of this original have been much dis-
puted (cf. Reisch, Griechische Weihgeschenke, pp. 24-27), but it was prob-
ably a Greek relief of the fourth or the third century B.C. dedicated at
Delphi by a winner of a musical contest in the Pythian games. On the
mural reliefs of terra-cotta, Apollo and Nike, grouped as they are on the
marble reliefs, appear frequently, but the figures of Artemis and Leto have
not been found on this class of monuments (cf. von Rohden-Winnefeld,
pp. 17-19, figs. 24-27, and pi. cxi, 2, 3).

The group of three dancing figures which is here used to decorate the
altar occurs frequently in Neo-Attic reliefs. The figures have been inter-
preted as the Nymphs, the Graces, or the Seasons. The first interpreta-
tion is the most probable, since in the earliest Greek monuments on
which these figures appear, they are closely associated with Pan and are
sometimes designated by inscriptions (cf. Pottier, B. C. H., v, 1881, pp.
349-357, pi. vn; Myres, B. S. A., in, 1896-97, pp. 170-174, pi. xiv; Ilauser,
Die neu-attischen Reliefs, p. 32, no. 40, with pi. m, 40) ; but by the time of

[ 30]

A CATALOGUE OF ARRETINE POTTERY

the Arretine development it is likely that they had lost much of their
original significance.
Cf. no. 5.

2. Mould for a large bowl with flaring lip. Put together from five pieces,
but complete except for one small fragment. H. 12.8 cm. D. 23.3 cm.
Reg. 04.20. Ann. Rep., 1904, p. 60, no. 2. Plates IV, V.

Above the main field the concave lip is decorated with a very delicate
wreath made up of sprays of grapevine, olive, ivy, and poppy, together
with somewhat conventionalized leaves and flowers. Below the main field
is a second field defined by a plain moulding below and a row of bosses
and a plain moulding above. In this field are alternating plain and notched
leaves, with flowers on curving stems between each pair and a band of
rosettes at their bases.

The principal field is divided into five parts by four large incense burners
and a large tripod set on a high base (or altar). The incense burners are all
alike. Each consists of a triangular base with palmettes at the lower cor-
ners, where the feet are attached. The stem is decorated with three large
discs set horizontally and ornamented with patterns. The three lower sec-
tions of the stem are ribbed vertically and each has a projecting convex
moulding at the centre; the uppermost member has the form of a small
crater with ribbed body and a notched moulding at the top. The bowl
is flat with a scalloped edge, and in it appear three objects resembling
pine-cones, probably to be interpreted as incense.

The tripod is of the usual form — a shallow bowl set on three legs. These
are rectangular in plan, tapering toward the bottom, and ending in lion's
paws. The centre leg is represented in front view, the other two in pro-
file. On either side of the central leg is a double spiral. The outer surface
of the bowl presents a series of broad ribs (four appear between each pair
of legs), and the upper edge has a plain moulding with a bead moulding
above it. Upon this three sphinxes with outspread wings, one over each
leg, serve as supports to an ornamental top, decorated with a conventional
laurel leaf pattern and with two plain mouldings at top and bottom.
Between each pair of sphinxes is a plain ring. The base (or altar) on which
the tripod stands is exactly like the altar of no. 1.

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A CATALOGUE OF ARRETINE POTTERY

In the five spaces thus distinguished are five large figures. Beginning
with the figure at the left of the tripod these are as follows: —

(a) Apollo Citharcedus, exactly like the Apollo, no. 1(6).

(b) Winged genius playing the double flute. The figure is in profile to left,
and so forms a pendant to the Apollo. She wears a short skirt, caught
up on the hips and falling only to the knees, and a chlamys fastened in
front of the neck and falling over the shoulders behind; the folds of both
these garments show archaic mannerisms. The wings are of the usual
closed type. Both arms are extended, and each hand holds one of the
flutes. In the hair a depression suggests a narrow fillet. Above and to the
left, the signature M. Peren(ni), placed upside down.

(c) Maenad holding liknon (vannus). The figure is in profile to right,
but the head is in full face. She is dressed in a long, overgirt Doric chiton
which is modelled in very delicate folds. Both hands are raised, the right
supporting the liknon, the left raising a long cloth which partially covers
it. In the visible portion of the liknon, fruit of indeterminate species is
represented, and under the cloth a large phallus can be made out. In the
hair of the maenad a wreath of ivy is summarily indicated.

(d) Dancing maenad holding tympanum. The figure is in profile to left,
and so forms a pendant to the maenad with the liknon, but the head is
turned and the maenad looks back toward the next figure. She is dressed
in Doric chiton and himation, modelled in very graceful, agitated folds.
Her left hand is raised and holds a tympanum, on which an eight-pointed
star is summarily indicated. A depression in the hair suggests a narrow
fillet. Above and to the left, the signature Tigrani.

(e) Dancing satyr playing the double flute. He moves to the right, but
turns to look towards the maenad (d). He is dressed only in a panther's
skin, the paws of which are knotted about his neck. Both hands are ex-
tended, grasping the flutes. The modelling in places is extremely careful;
the distended cheek, especially, is rendered with great care.

Many of the elements of the decoration are found on other Arretine
moulds and vases, especially on the products of the workshop of Peren-
nius. For the Apollo, cf. the note on no. 1; for the winged genius, the note
on no. 26. The maenad holding the vannus is found on a mould in the Metro-
politan Museum of Art, New York, signed by Philemon as workman of

[32]

A CATALOGUE OF ARRETINE POTTERY

Perennius, which is published in the Bull. Met. Mus. Art, iv, 1909, p. 127,
fig. 3; cf. also Not. Scav., 1884, pi. vn, 1, and Holder, pi. xxiv, 6. The high
stand described as an incense burner is frequently found; cf. B. M. Cat.
R. P., L 54, pi. vi, and L 73, fig. 14, p. 23. It is often called a lampstand
or a candelabrum, but the interpretation as a thymiaterion or incense
burner, proposed by K. Wigand in B. J., cxxn, 1912, p. 62, seems more
probable. The tripod, also, appears frequently (cf. Not. Scav., 1884,
pi. ix, 6) and is often combined with a base or altar (cf. Loeb Coll., pi.
in, no. 53). For the reliefs on the base, cf. the note on no. 1. For the in-
scription, cf. C. I. L., xi, 6700, 450, n.

3. About half of a mould for a large bowl. Put together from two pieces.
H. 13.2 cm. D. 22.7 cm. Reg. 04.21. Ann. Rep., 1904, p. 61, no. 12. Plate
VI.

The lower field is decorated with alternating leaves and flowers on
curving stems; below, a band of rosettes. The principal field has at the
bottom a plain moulding, on which the feet of the figures rest and from
which, at intervals, spring conventional plant stems with flowers; at the
top, a band of rosettes and a plain moulding. The figures of the frieze
are separated in one instance by an incense burner, exactly similar to the
incense burner on no. 2; in another by a tripod exactly like the tripod
on no. 2. Above the tripod is the signature Pilades.

Four figures are wholly or partially preserved; from left to right these
are as follows: —

(a) Winged genius playing a lyre. Only the right half of the figure is pre-
served, in profile to right. The dress is the usual short skirt, knotted at
the waist. The lyre was held in the left arm; the right hand, which is pre-
served, holds the plectrum.

(b) Winged genius playing the double flute. The figure is in profile to
left. It closely resembles the usual type, except that the figure is provided
with a sort of tail resembling an acanthus leaf; this projects from the
drapery behind, curling upward.

(c) Nike pouring a libation. The figure is similar to the Nike of no.
1 (c), but it is smaller in all respects, and much less careful in details.
The wings are here correctly attached.

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A CATALOGUE OF ARRETINE POTTERY

(d) Winged genius playing the lyre. This figure is almost entirely pre-
served. It resembles (a), and was evidently made with the same stamps.
The genius is in profile to right, dressed in a short skirt, knotted about the
hips and falling to the knees, with the acanthus-like tail projecting below
it. Over the shoulders is a chlamys, which is fastened in front of the
neck. A depression in the hair suggests a fillet.

Cf. for the types of winged genii, the notes on nos. 26 and 29; for the
Nike, the note on no. 1. The incense burner is reproduced (from a cast
in the Romisch-Germanisches Zentral-Museum in Mainz) by K. Wigand
in an article "Thymiateria," B. J., cxxn, 1912, pi. m, fig. 92, and pi. vi,
2. For the signature, cf. C. I. L., xi, 6700, 445, d.

4. Fragment of a mould for a bowl of medium size. H. 11.2 cm. L. 14.1
cm. Reg. 98.830. Ann. Rep., 1S98, p. 90, no. 65. Plate XXIII.

The field is bounded below by a row of bosses, and above by a row of
circles and two plain mouldings. The ground below the feet of the figures
is summarily indicated by horizontal bands, from which rise two pairs of
iris-like flowers on long stems.

The only figure which is completely preserved is Artemis, running to
right. She wears a doubly-girt Doric chiton, reaching only to mid-thigh,
and high boots with flaps. In her left hand she holds her bow; her right
hand is raised, as if she had just shot an arrow. Her hair is gathered in a
knot. Behind her is visible part of a nude figure in armor. He wears a
Corinthian helmet, pushed back so as to uncover the face, and carries
a shield on his left arm. In front of the shield appears part of a short
sword, which was, no doubt, carried in the right hand.

Vases

5. Fragment of a vase made from the mould no. 1. H. 11.1 cm. L.
15 cm. Reg. 10.225. Ann. Rep., 1910, p. 65. Plate XXIX.

The fragment shows, from left to right, most of the altar, the lower part
of the figure of Nike, a column with about half of the statuette on it, and
almost all of the Leto. The lower part of this figure is in profile to right.
The left arm, over which an end of the himation hangs, is extended and
the left hand holds a torch. At the extreme right end of the fragment a
small part of a second column is visible.

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A CATALOGUE OF ARRETINE POTTERY

That the vase from which no. 5 came was made from the mould no. 1
is clear from the relative positions of the figures and exact correspondence
in details, especially in the plant stalks rising from the ground, which were
produced by a pointed instrument and would probably never be exactly
the same in two moulds even if they were made with the same stamps.
The great contractility of clay is shown by the fact that in the mould the
height of the column is 5 cm., the distance from the altar to the column,
6.6 cm.; in the fragment, the corresponding measurements are 4.7 and
5.9 cm. respectively.

6. Small fragment of a large bowl. Put together from two pieces. H.
8 cm. L. 9.4 cm. Reg. 88.596. Robinson, Cat., no. 598. Plate XXIX.

The lower field is decorated with a row of acanthus leaves; above,
waved band; below, plain moulding. The principal field has a plain
moulding at the bottom, on which the feet of the figures rest.

The only figure that is well preserved is Nike, kneeling, in profile to
left. About her legs is wrapped a robe, the upper part of her body is nude.
With her left hand, she supports a tall basket, which rests on the ground
in front of her; with her right hand, which is extended, she appears to be
picking up something from the ground. Behind her the hind quarters and
the forelegs of one or more bulls (or cows) can be made out. At the left
is a part of another figure, too mutilated to admit of interpretation.

The subject appears to be related to the familiar representations of
Nike sacrificing a bull (cf. Smith, J. H. S., vii, 1886, pp. 275 ff.; von
Rohden-Winnefeld, pp. 82-89; B. J., xcvi, 1895, pp. 69/., pi. iv, 9) and
perhaps formed part of an extended composition made up of several
groups.

(b) BIRTH OF DIONYSUS

Moulds

7. Nearly half of a mould for a small cup-shaped bowl. H. 8.5 cm.
D. 11.4 cm. Reg. 98.868. Ann. Rep., 1898, p. 84, no. 32. Plate XXIII.

There is no lower field, and the only decorative pattern is a band of con-
ventional laurel leaf near the top of the mould. At the bottom, the ground
is indicated by irregular horizontal bands. The figures are more closely

[35 ]

A CATALOGUE OF ARRETINE POTTERY

crowded together than is usual, owing probably to a desire to work in all
the figures that are regularly introduced in scenes of this type. From left
to right, the preserved figures are: —

(a) Head and shoulders of a woman in front view, turning her head to
look back. Her hands are raised and hold a pair of cymbals, which she
is playing. Much of this figure is lost, but other examples show that except
for the head and shoulders the woman was hidden behind a curtain, part
of which appears on this mould; it is represented as if it were suspended
from the laurel leaf pattern at the top of the field.

(6) Youthful satyr striding to left. His only dress is a broad girdle of
(ivy?) leaves about his thighs. His left hand is raised and appears to be
touching the curtain in front of (a), his right is lowered and held a torch,
of which only the end has been preserved.

(c) Bearded satyr walking toward the right. He wears a loin-cloth
knotted about his waist, and carries over his left shoulder a large wine
skin, apparently held in place by a strap which passes under the satyr's
right arm. In his left hand he holds a fillet (or a purse?). His right is
raised, and holds a long torch over the head of the next figure.

(d and e) A woman and a youthful satyr sacrificing a pig. Between
them is a small altar, with flames rising from it. The woman is closely
draped in a long, sleeved chiton; her hair is confined by a net or veil.
She leans forward and grasps the pig's forelegs with her right hand and
his hind legs with her left. The satyr is nude. He bends forward over his
raised right knee, against which he holds the pig's head with his left
hand. His right foot is drawn up and crooked behind his left knee. In
his right hand is a broad sacrificial knife, with which he is cutting the
pig's throat. Blood flows from the pig's neck into a bowl which is set on
the ground beside the altar. Between the two figures, the signature
Tigrani. At the right, an indeterminate object hangs from the laurel
leaf pattern at the top of the field.

(/) About half of a draped female figure in front view, turning her head
to look toward the sacrifice. In her right hand she carries a small
pitcher. Other examples show that she probably held in her left hand
a dish containing an offering.

The composition to which these figures belong was a favorite in the

[ S6 ]

A CATALOGUE OF ARRETINE POTTERY

workshop of Perennius. Numerous fragments of moulds and vases found
at Arezzo show its popularity; cf. Pasqui, Not. Scav., 1884, pp. 370 /.,
Gruppo n; Dragendorff, B. J., xcvi, 1895, p. 61; B. M. Cat. R. P., L 93
(= fig. 21, p. 27); Rizzo, Memorie della R. Accademia di Archeologia,
Lettere e Belle Arti di Napoli, 1915, pp. 40^., figs. 1 and 2. It has often
been interpreted as a "Dionysiac sacrifice," but a complete mould in
the Loeb Collection (Loeb Coll., no. 1, pi. i) shows that the subject was
rather the birth of Dionysus; cf. A. J. A., xn, 1908, pp. 64/.; and Loeb
Coll., pp. 42 jf., where the interpretation is discussed at some length. A
slightly different interpretation, as "the first purification of the infant
Dionysus at the hands of the Sileni and the Nymphs," has lately been
proposed by Rizzo. The original was probably a silver vase of the Hellen-
istic period. The group representing the sacrifice of a pig is found on
other monuments; cf. Museo Borbonico, xm, pi. xn (marble disc in Naples).
The cymbal player behind a curtain appears as one of the musicians in
a banqueting scene on a vase signed M. Perenn(i) Tigrani, which was
found on the Fiirstenberg near Xanten and is now in Bonn; cf. B. J.,
cxxn, 1912, pp. 421-430, pis. lix and lx. For the inscription, cf. C. I. L.,
xi, 6700, 450, vv.

8. Smaller fragment of a very similar mould, made with the same stamps.
H. 9 cm. D. 11 cm. Reg. 04.32. Ann. Rep., 1904, p. 60, no. 8.

At the top a conventional laurel leaf pattern.

The figures which appear on this mould are: —

(a) Part of the bearded satyr with wine skin and torch; cf. no. 7 (c).

(6 and c) Woman and youthful satyr sacrificing a pig; cf. no. 7 (d)
and {e). Between them the signature Tigrani.

(d) Draped female figure in front view, turning her head to look at the
sacrifice; cf. no. 7 (/). This mould shows that the woman wears a chiton
with short sleeves, and over it a heavy mantle fastened on the left shoulder,
and holds in her raised left hand a broad, flat dish containing a pine cone.
Her hair is gathered in a knot behind.

(e) Part of the drapery of a figure leaning to right, probably the " woman
crowning an altar," who appears on other examples of this type.

Cf. the note on no. 7.

[37]

A CATALOGUE OF ARRETINE POTTERY

(c) HERACLES AND OMPHALE

Moulds

o. Mould for a large, low bowl with nearly straight sides. Put together
from five fragments, but nearly complete. H. 10.5 cm. D. 18.5 cm.
Reg. 98.870. Ann. Rep., 1898, p. 85, no. 34. Plates \TI, VIII.

Practically the whole surface is given over to a decorative frieze of
large figures. At the top there is a row of bosses on a plain moulding and
below this a band of conventional laurel leaf pattern, which is broken by
the heads of all the figures. At the bottom of the field there is no pattern,
only an indication of the ground, with an occasional flower or stalk rising

from it.

The frieze of figures falls into two distinct parts: —

(a) Heracles and attendants. In the centre, Heracles, bearded, and
dressed in a long Doric chiton and himation (which only appears where
it falls over his forearms), is seated in a chariot drawn by centaurs. The
chariot moves towards the left, but Heracles's upper body is turned so
that the shoulders are in front view and the head in profile to right as the
hero looks back toward two female attendants. The two centaurs who
draw the chariot are bearded and elderly in appearance; each has his
hands bound behind his back, though the hands are visible in only one
case. Of the harness, only the broad girth which passes around the breast
of each centaur is shown. Behind the centaurs appears the upper part of
a female attendant; she is dressed in chiton and himation; her right hand
is extended and appears to be holding one of the thongs by which the
hands of the nearer centaur are bound. In front of the two centaurs a
male attendant strides to left, turning about to look back at them, so that
his shoulders are in front view and his head in profile to right. He wears
a short chiton and carries a short whip in his raised right hand. His left
hand is lowered and grasps two thongs which disappear behind the farther
centaur (probably the ends of the thongs by which his hands are bound).
The two female attendants who follow the chariot are very similar to
each other and appear to have been made with the same stamps. They
are in profile to left, dressed in elaborately draped chitons and himatia,
with a long veil covering the hair and falling over the shoulders. The

[ 38]

A CATALOGUE OF ARRETINE POTTERY

first carries a sunshade in both hands, holding it over the head of Heracles,
the second, a fan.

(6) Omphale and attendants. The grouping resembles that of (a). In
the centre Omphale sits in a chariot drawn by two centaurs; the chariot
and the team of centaurs were made from the same stamps as the equipage
of Heracles. Omphale is nude, except for the lion's skin which she wears
as it is usually worn by Heracles, with the paws knotted about her neck
and the head drawn up over her hair. In her left arm she carries the club
of Heracles. The attendant who appears behind the centaurs is on this
side a young man represented in front view, but with the head in three-
quarters view to right, as he looks toward Omphale. Of his dress there
is no indication except possibly a bit of himation passing over the left
shoulder. In his left hand he holds a large two-handled bowl, his right
hand is extended toward the nearer centaur, but does not grasp the ends
of the centaur's thongs, which appear above and below the hand of the
attendant.

The male attendant who strides before the centaurs of Omphale is
largely destroyed ; so far as the figure is preserved it is exactly like the
corresponding attendant of Heracles, and appears to have been made with
the same stamps. The two attendants who follow the chariot are young
men in profile to left, exactly alike in all details. Each wears a long hima-
tion as his only garment, and carries in his left arm a triangular object,
probably a drinking horn.

This mould is reproduced (from a cast in Munich) in Roscher, Lex.
d. Myth., in, col. 898, fig. 8, in the article "Omphale," by Sieveking. A
complete vase in the Louvre, made from a similar mould and signed by
M. Perennius, is published by Rayet and Collignon (Histoire de la Cerami-
que Grecque, p. 357, fig. 131), who interpret the subject incorrectly as an
apotheosis of Heracles. Many fragments of similar representations from
Arezzo are listed by Pasqui, Not. Scav., 1884, pp. 371 /., Gruppo iv. A
fragment in Dresden, on which the chariot of Heracles is preceded by a
bearded satyr of the type of nos. 7 (c) and 8 (a) and a woman holding a lyre,
is published by Dragendorff, B. J., xcvi, 1895, pi. iv, 8, who misinter-
prets the subject (p. 63) as Dionysus and his train. Dragendorff makes the
suggestion that the original was a larger composition from which the Arre-

[39]

A CATALOGUE OF ARRETINE POTTERY

tine potters chose now one group of figures, now another, and Sieveking
carries this idea further with the conjecture that the original was a Hel-
lenistic painting representing Heracles and Omphale surrounded by their
followers and the Bacchic thiasos. Both suggestions are possible, but in
view of the methods of the Arretine potters, the introduction on the frag-
ment in Dresden of one or two stock figures from the train of Dionysus
cannot be held to have much value as evidence.

10. Fragment of a mould similar to no. 9, but not made with the same
stamps. H. 6 cm. L. 9.4 cm. Reg. 98.871. Ann. Rep., 1898, p. 86, no. 35.

At the top, the same decorative pattern as at the top of no. 9, — bosses
on a raised fillet and a conventional laurel leaf pattern.

At the right, the right arm and part of the body and the head of Heracles
are preserved. The female attendant behind the centaurs is perfectly pre-
served, with head in three-quarters view to right, looking toward Heracles.
Of the nearer centaur, most of the body is preserved (the human back
finely modelled, with heavy muscles), but the face and the legs are broken
away. Between the centaur and the attendant, the signature M. Perenni.

Cf. the note on no. 9; and for the inscription, C. I. L., xi, 6700, 435, b.

(d) NEREIDS WITH THE WEAPONS OF ACHILLES

Moulds

II. Fragment of a mould for a large bowl. H. 6.5 cm. L. 13 cm. Reg.
98.829. Ann. Rep., 1898, p. 90, no. 64. Plate XXIII.

At the top of the field, a row of plain bosses and a conventional laurel
leaf pattern, broken by the heads of the figures.

At the left, the upper part of a Nereid riding toward the left on a sea-
monster is preserved. The upper body is nude, the legs are covered by a
loose mantle. The hair is gathered in a knot behind, and tied with fillets.
The right hand is outstretched and holds a greave by the top; the lower
end of the greave rests on the right thigh. At the right appears the nude
upper body of a Triton to left, grasping a staff in his extended right hand.

The types for this subject have been listed by Dragendorff, B. J., xcvi,
1895, p. 71. An almost complete mould with the signature M. Perenni

[ 40]

A CATALOGUE OF ARRETINE POTTERY

Tigrani exists in the Museo Pubblico at Arezzo, but has never been pub-
lished. A fragment of a mould signed by Perennius is published in Not.
Scav., 1884, pi. vni, 1 (cf. p. 376, Gruppo vin).

12. From a mould for a large bowl. Considerably worn. H. 6.1 cm.
L. 13.8 cm. Reg. 13.146. Ann. Rep., 1913, p. 95.

At the top of the field, a conventional laurel leaf pattern and a row of
bosses.

At the left, the upper part of a Nereid riding toward the left on a sea-
monster and holding in her right hand a greave is preserved. The figure is
similar in all respects to the Nereid on no. 11, and was probably made with
the same stamps. The sea-monster also is similar to that of no. 11, except
that the end of the tail, which was impressed by means of a separate stamp,
is here placed at a different angle. At the right, the forepart of a sea-horse
prancing to left appears. In front of his neck can be seen part of a helmet,
which was doubtless held by a Nereid mounted on his back. Between the
two figures, near the top of the field, the signature M. Perenni.

Cf. the note on no. 11; and for the inscription, C. I. L., xi, 6700, 435, b.

(e) DANCING SATYRS AND MJ2NADS

Moulds

13. Fragment of a mould for a large bowl, with large figures over 9 cm.
high. H. 11.7 cm. L. 10.8 cm. Reg. 98.843. Ann. Rep., 1898, p. 78, no. 7.
Plate XXIII.

At the top, a row of bosses and a conventional laurel leaf pattern; to
the latter are attached loops of similar pattern, which pass behind the
figures.

The one figure which is well preserved is that of a dancing maenad in
front view, with head thrown back. Her dress consists of a thin chiton,
fastened only on the left shoulder, and delicately modelled in flying folds.
Loose locks of hair fall to her shoulders. Her right hand is raised and empty,
her left is lowered and holds a thyrsus, with a mass of ivy leaves at the
top and a fillet tied about the middle. At the right, part of a figure of a
bearded satyr dancing to left is preserved. He wears a panther skin, and

[ 41 ]

A CATALOGUE OF ARRETINE POTTERY

with his right hand seizes the chiton of the maenad. At the left of the
maenad, a tambourine appears; this was doubtless held by another dancing
maenad.

14. Fragment of a mould for a large bowl. H. 8.9 cm. L. 8.4 cm. Reg.
98.844. Ann. Rep., 1898, p. 79, no. 8. Plate XXIII.

At the top, row of bosses, tongue pattern, and conventional laurel leaf
pattern, broken by the figure.

Upper part of the figure of a maenad, dancing to right, with head thrown
back. The body is in three-quarters view, the head in full face. She wears
a Doric chiton. In her raised left hand she holds a snake, which coils
about her wrist. Behind her head ivy leaves appear, probably part of a
thyrsus which she carried in her right hand. At the right part of a tripod
(cf. no. 2) is visible.

(/) SATYRS DANCING AND DRINKING

Moulds

15. About one third of a mould for a small bowl. H. 7.9 cm. L. 13 cm.
Reg. 98.841. Ann. Rep., 1898, p. 78, no. 5. Plate XXIII.

There is no lower field, nor is the ground line indicated, except by very
sketchy stalks rising from the bottom.

At the top the decorative designs are a row of bosses and a conventional
laurel leaf pattern, from which hang a syrinx and a cymbal. Between the
figures are plant stalks rising from the ground.

From left to right, the figures which are wholly or partially preserved are : —

(a) Satyr seated to left on a rock, playing the scabellum (tcpoinrefc).
Only a part of the back of the satyr (with a bit of drapery about his loins),
the left foot, the scabellum, and the rock are preserved.

(b) Bearded satyr dancing unsteadily to right. He is nude, except for a
bit of drapery which hangs over his left arm. In his left hand he carries
a shallow bowl, in his right an indeterminate object. In his hair is a wreath
(or a fillet). In front of him stands a large calyx crater; the foot and the
lower part of the body are ribbed; about the "bell" a wreath of ivy is
summarily indicated.

[42 ]

A CATALOGUE OF ARRETINE POTTERY

(c) Satyr dancing to left (toward the crater). The upper part of the
figure is largely destroyed, but enough is preserved to show that he car-
ried on his right shoulder a wine skin from which he was directing a
stream of wine into the mixing bowl.

Various types of dancing and drinking satyrs on Arretine vases are
described by Dragendorff, B. J., xcvi, 1895, pp. 61/. The satyr playing the
scabellum appears in representations of the "Birth of Dionysus" (cf.
Loeb Coll., no. 1, pi. i) and also in banqueting scenes (B. J., cxxn, 1912,
pi. lx). Type (6) and the crater are identical with similar figures on a
mould in the British Museum (B. M. Cat. R. P., L 98 = fig. 24, p. 30)
and on a fragment of a vase in the Loeb Collection (Loeb Coll., no. 16).

16. Fragment of a mould similar to no. 15, and made with the same
stamps. H. 7.5 cm. L. 11 cm. Reg. 98.840. Ann. Rep., 1898, p. 77, no. 4.
Plate XXIV.

At the top the decorative patterns are a row of bosses, a naturalistic
grapevine, and a conventional laurel leaf pattern from which, at one
point, hangs a syrinx. In the field are plant stalks rising from the ground.

At the left, a fragment of the crater is preserved. Then follows the
youthful satyr (cf. no. 15, c) with the wine skin. The figure here is well
preserved, only the feet and the lower part of the legs are lost. The figure
is nude and beardless, and has pointed ears. At the right, a large part of
the bearded satyr (cf. no. 15, b) is preserved. At the extreme left, above
the crater appears the end of the signature, NI, = (Peren)ni or (Tigra)ni.

Cf. the note on no. 15.

17. Fragment of a mould for a large bowl. II. 7 cm. L. 7.8 cm. Reg.
98.842. Ann. Rep., 1898, p. 78, no. 6. Plate XXIV.

At the top, row of bosses and conventional laurel leaf pattern, from
which, at one point, hangs a syrinx.

Only one figure is well preserved, a bald, bearded satyr, in profile to
right. He is dressed in a panther's skin, tied about his neck, and holds in
both hands a wine skin, from which he was evidently pouring wine. Around
his head is an ivy wreath, very skilfully modelled. Behind him a fluted
column, which supports a disc and has a garland twined about it, and,

[43]

A CATALOGUE OF ARRETINE POTTERY

partly concealing pillar and disc, a lyre and the right hand of the lyre
player appear. At the extreme right, between the wine skin and the syrinx,
the first letter of the signature (C) is preserved.

The inscription should probably be restored C(erdo); a fragment of a
similar mould in the Museo Pubblico at Arezzo is signed by this slave of
Perennius; cf. C. I. L., xi, 6700, 437,/.

Vases

18. Fragment of a bowl. H. 7.1 cm. L. 5.8 cm. Reg. 88.600. Robinson,
Cat. no. 599. Plate XXIX.

At the top of the principal field, egg and dart. Below this, loops of con-
ventional laurel leaf pattern, tied with long fillets. Above, part of the lip,
decorated with a plain moulding, is preserved.

Of the principal decoration, only a part of one figure is preserved —
a satyr dancing to right. His upper body and head are thrown back. In
his hands he holds a skin, which swings out behind him and partially con-
ceals his legs.

19. Small fragment of a bowl. H. 5.8 cm. L. 4 cm. Reg. 88.605. Robin-
son, Cat. no. 589. Plate XXIX.

The patterns consist of a plain moulding and a band of triangles above,
part of a loop of conventional laurel leaf pattern, and (between them)
an elaborate rosette.

The only preserved figure is a satyr in front view carrying a ram on his
shoulder. His dress is a skin knotted in front of the neck. His left arm is
raised, and his left hand grasps the forelegs of the ram; his right hand is
lowered and holds a shepherd's crook (?).

This fragment is classed with representations of "Satyrs dancing and
drinking" on the basis of a fragment in Dresden, which shows a similar
figure grouped with a satyr playing the double flute (cf. B. J., xcvi, 1895,
p. 62, no. 7, pi. iv, 2).

[44]

A CATALOGUE OF ARRETINE POTTERY

(g) SATYR SACRIFICING A BULL

Moulds

20. From a mould for a large bowl with flaring lip. Two fragments
joined. H. 10.9 cm. L. 16 cm. Reg. 13.145. Ann. Rep., 1913, p. 95. Plate
XXIV.

The lip is decorated with an elaborate garland, made up of convention-
alized leaves, flowers, buds, ears of wheat, and poppy heads. It is set off
from the principal field by two plain mouldings. At the top of the prin-
cipal field is a conventional laurel leaf pattern.

Of the decoration, the larger part of a group representing a satyr sac-
rificing a bull is preserved. The bull was evidently kneeling on the ground,
forced down by the satyr, who presses his left knee against the bull's
shoulders. With his left hand the satyr pulls back the bull's head, while with
his right, which is drawn back and holds a short thyrsus, he prepares to
deal his victim the final blow. The satyr's dress consists of a panther's skin,
which passes about his neck and flies out behind. The stamp for the head
of the satyr was impressed twice in the mould, producing a double pro-
file. In front of the group appear the upper parts of three stalks, which
evidently rose from the ground, and higher up, in the field, is a group
of bosses; behind the group are two stalks and part of an elaborate in-
cense burner.

(h) SATYRS GATHERING GRAPES AND TREADING THEM OUT

Moulds

2i. Nearly complete mould for a large bowl. Put together from three
pieces, but only small and unimportant parts are lacking. H. 10.3 cm.
D. 19.2 cm. Reg. 04.24. Ann. Rep., 1904, p. 60, no. 7. Plate IX.

The lower field is bordered below by a row of bosses, and decorated with
conventional acanthus leaves, with large flowers on curving stems between
them. The principal field is set off by a plain moulding below and by two
plain mouldings above.

In the principal field, the ground is indicated by irregular projections,
intended to represent stones. Above these, and in some instances con-

[45]

A CATALOGUE OF ARRETINE POTTERY

cealing them, are bunches of grapes irregularly placed. These were im-
pressed in the mould after the principal figures, since in some cases they
cover and distort the feet of the figures, in others, the bunches of grapes
were evidently so placed as to avoid this difficulty.

The field itself is divided into two parts by two vine branches; these
spring from the bunches of grapes which mark the ground line, are car-
ried up nearly to the top of the field, and run in opposite directions until
they meet on the opposite side. The vine and its tendrils were apparently
hand-drawn, the leaves and the bunches of grapes were impressed with
stamps. Between the two vines where they rise from the ground is a
herm of Dionysus on a short pillar. In the two fields thus distinguished
the arrangement is not symmetrical; on one side are three satyrs and a
statue of Priapus, on the other, three satyrs only. The detailed descrip-
tion of the figures begins with the herm of Dionysus.

(a) Herm of Dionysus on a low column. The column is fluted except
on the lower portion, where three plant stems appear, as if they rose from
the ground. The capital suggests Corinthian forms, but is very summarily
treated. The herm has a square base of its own, and consists of a rectangu-
lar pillar tapering toward the bottom and surmounted by a head of the
bearded Dionysus; at the sides, near the top, are the customary rectangu-
lar projections.

(6) Bearded satyr in three-quarters view to left. The details are unclear,
but he apparently has pointed ears and a wreath of ivy in his hair. About
his waist is a short loin cloth, apparently a skin, with one paw hanging
down between his legs. A cord is tied about his neck, and in his raised
left hand he holds a rope. His right arm hangs at his side, the hand con-
cealed by the raised right knee. The pose suggests that he is treading
out the grapes beneath his feet. At the right, the signature M. Peren(ni).

(c) Youthful satyr in profile to right. He wears a skin, thrown about
his shoulders like a chlamys and fastened on the right shoulder. Both arms
are extended and covered by the skin, one edge of which appears along the
right arm. In the sack thus formed are three large bunches of grapes,
intended evidently to suggest a heavy load, for the satyr bends backward
as if he were carrying a considerable burden.

(d) Youthful satyr, somewhat similar in general type to (c). The figure

[ 46 ]

A CATALOGUE OF ARRETINE POTTERY

differs from (c), however, in facing left and in having a loin cloth of leaves
worked out in considerable detail. His right hand is raised to pick a bunch
of grapes from the vine above his head.

(e) Bearded satyr, similar in pose to (a), but differing from that figure
in facing to right and in being entirely nude; the lowered arm, also (here
the left), is somewhat farther in front of the body, so that the left hand
can be seen. In the hair are traces of a wreath of ivy.

(/) Small statue of Priapus on a high base. The base is triangular and has
two steps at the bottom and a cornice in four bands. Under the cornice,
on each side, hangs a garland, and about the centre of the base is tied a
fillet. The god is represented in profile to left and ithyphallic. The drapery
consists of a chlamys, which covers the back and the right side, but leaves
the breast and the left side bare. In his left hand the god holds a long
horn of plenty, supporting it in the hollow of his arm; his right hand is
raised and holds a cantharus.

(g) Same as (d). To the right the signature Tigrani.

(h) Same as (e).

This subject was much employed in the workshop of Perennius and
many examples have been preserved: cf. B. J., xcvt, 1895, p. 62, and
pi. iv, 1; Loeb Coll., nos. 17-52, and pi. n; Not. Scav., 1884, pi. ix, 3;
B. M. Cat. R. P., L 58 ( = fig. 11, p. 21); Behn, Rom. Keramik, pi. iv;
Holder, pi. xxiv, 2 and 5. Similar figures are found on Neo-Attic reliefs:
cf. Hauser, Die neu-attischen Reliefs, p. 103, 35; Museo Borbonico, n,
pi. xi ; Arndt-Amelung, Einzel-Verkauf, no. 19. The subject was a fa-
vorite with the makers of mural reliefs, but the types which they em-
ployed are quite different from those employed by the Arretine potters
and based on different models; cf. von Rohden-Winnefeld, pp. 60-69.
For the signature, cf. C. I. L., xi, 6700, 450, n.

22. Mould for a cover. Unbroken except for two small pieces of the
rim, of which one has been replaced, the other restored in plaster. All the
decoration is preserved. D. 19.6. Reg. 98.837. Ann. Rep., 1898, p. 77, no.
1. Plate VI.

The decoration is similar to that of no. 21, but was produced with smaller
stamps. The ground is indicated by bits of plain moulding, irregularly

[47]

A CATALOGUE OF ARRETINE POTTERY

placed. The grapevine is bordered above and below by a plain moulding.
Grapes are represented on the ground only between the two bearded satyrs
who are actually treading them out.

Four grapevines are represented, rising in pairs at exactly opposite
points. In each of the two fields thus distinguished are four figures, ar-
ranged in the same order, namely (from left to right) : —

(a) Youthful satyr to right carrying grapes, same as no. 21 (c).

(b) Bearded satyr to right treading out grapes, same as no. 21 (e).

(c) Bearded satyr to left treading out grapes, same as no. 21 (b) except
that he has no tail.

(d) Youthful satyr to left picking grapes, same as no. 21 (d).

Cf. the note on no. 21. The exact symmetry of the two groups on
no. 22 and the fact that grapes are represented only under the feet of
(b) and (c) suggest that this mould reflects accurately the original com-
position.

33. Fragment of a mould for a large bowl. H. 10 cm. L. 16.7 cm.
Reg. 98.839. Ann. Rep., 1898, p. 77, no. 3.

The field is bordered above by a band of small, plain bosses, and below
by a row of large bosses with cross-hatching. Three figures are wholly
or partially preserved, all considerably larger than the figures on no. 21.
From left to right, they are: —

(a) Youthful satyr to right carrying grapes, same as no. 21 (c).

(6) Bearded satyr to right treading out grapes, same as no. 21 (e).

(c) Legs of a bearded satyr to left treading out grapes, same as no. 21 (6).

At the extreme right appears the foot of a fourth figure, probably the
youthful satyr to left picking grapes.

Cf. the notes on nos. 21 and 22.

Vases

34. Bowl of medium size, put together from fragments with consider-
able restoration. The foot is simple, with a pair of mouldings at the
bottom, and the lip flares outward and has at the top a hatched moulding
between two plain mouldings. H. 11.2 cm. D. 16 cm. Reg. 01.8116.
Plate I.

[48]

A CATALOGUE OF ARRETINE POTTERY

Four grapevines rising in pairs define two fields, in each of which are
four figures in the same arrangement, from left to right: —

(a) Youthful satyr to right carrying grapes, same as no. 21 (c).

(b) Bearded satyr to right treading out grapes, same as no. 21 (e).

(c) Bearded satyr to left treading out grapes, same as no. 21 (b).

(d) Youthful satyr to left picking grapes, same as no. 21 (d).

On one side, between figures (6) and (c), where two grapevines meet,
the signature Tigran(i).

This arrangement of the figures is the same as that of no. 22. Cf. the
notes on nos. 21 and 22, and for the signature, C. I. L., xi, 6700, 450, uu.

25. Small fragment of a bowl. H. 8 cm. L. 6.5 cm. Reg. 98.838.
Ann. Rep., 1898, p. 77, no. 2.

At the top, a conventional laurel leaf pattern and a small fragment of
the lip with a hatched moulding.

The preserved part of the decoration consists of parts of two grape-
vines rising from the ground and crossing, and at the right of them a
youthful satyr to right carrying grapes, of the same type as no. 21 (c).

Cf. the notes on nos. 21 and 22.

(l) WINGED GENII

Moulds

26. Nearly half of a mould for a large bowl (the foot entirely preserved).
Put together from seven pieces. H. 13.6 cm. D. 18.5 cm. Reg. 00.316.
Ann. Rep., 1900, p. 84, no. 1. Plate X.

The lower field is bordered by a plain moulding above and below, and
decorated with a conventional laurel leaf pattern. The upper field has
at the top a row of bosses, a spray of olive leaves and berries, and a con-
ventional laurel leaf pattern; at the bottom, rough projections suggest
rocky ground.

In the centre of the main field is a tripod like the tripods of no. 3, set on
a high base, which resembles the altar of no. 1. The whole resembles the
tripod on a base of no. 2, but the base here is plain except for loops of
conventional laurel leaf pattern. On either side of the tripod stands a
winged genius. The one at the left stands on the right leg; the left foot is

[ 49 ]

A CATALOGUE OF ARRETIXE POTTERY

set back and touches the ground only with the toes. She wears a loin
cloth, fastened in a knot at the waist, and also a chlamys fastened on the
right shoulder. She has wings attached at the shoulders, and a tail in the
form of an acanthus leaf projects below the loin cloth. In her short hair
a depression suggests a fillet. In her left arm she holds a large lyre, which
she is playing with a plectrum held in the right hand. Above the lyre,
the signature Perenni.

The figure at the right of the tripod is similar. She faces left, and rests
her weight on her left leg. The folds of her loin cloth are treated archais-
tically. Both arms are extended and the hands grasp the pipes of a double
flute which she is playing.

Behind each of the figures is a large incense burner like the incense
burners of no. 2, and beyond each of these about one half of a figure is
preserved. These are exactly similar to the two completely preserved fig-
ures, and were apparently made with the same stamps.

A pair of winged female figures of this sort, heraldically placed on either
side of an altar, a candelabrum, a tripod, or an elaborate floral ornament,
is one of the commonest types on the Arretine vases; cf. Not. Scav., 18S4,
pp. 369 jf., and pi. vn, 3; Loeb Coll., nos. 62-70, pis. ix and xvi; B. M.
Cat. R. P., L 73 (= fig. 14, p. 23), and L 107 ( = fig. 28, p. 33); Holder,
pi. xxiv, 3; B. J., xcvi, 1895, pp. 63/. There are several variants: the
figures are sometimes entirely human except for a pair of wings attached
to the shoulders; sometimes, as here, they have in addition the awk-
ward tail in the form of an acanthus leaf; sometimes the legs are bird's
legs, ending in claws (cf. no. 27). Figures of the last type are often iden-
tified as Sirens, and the whole series is thought to be derived, through a
gradual process of humanization, from the human-headed bird, which
is the commonest form for figures of the Sirens in Greek art; cf. Weicker,
Der Seelenvogel, p. 203, and in Roscher, Lex. d. Myth., iv, 1, col. 639.
On the mural reliefs, where several types of such winged genii are found
(cf. von Rohden-Winnefeld, pp. 198-202), it is noteworthy that although
the type with bird's legs does not occur, there is another type (which does
not appear on the vases), in which the legs from the knees are represented
by elaborate acanthus scrolls (e.g., von Rohden-Winnefeld, p. 201, fig.
409). For the inscription, cf. C. I. L., xi, 6700, 435, g, h.

[50]

A CATALOGUE OF ARRETINE POTTERY

27. Fragment of a mould for a large bowl. H. 11.5 cm. L. 11.3 cm.
Reg. 98.831. Ann. Rep., 1898, p. 91, no. 66. Plate XXIV.

At the top of the field, egg and dart and a row of bosses on a plain
moulding. At the bottom, conventional laurel leaf pattern.

At the left, a winged genius facing left is almost completely preserved.
The figure is similar to the genius playing the flute on no. 26, but the
legs are bird's legs, ending in claws. The wing and the tail were added by
means of separate stamps. At the right, part of the wings and the back
of a similar figure, facing right, appears.

This fragment is reproduced (from a cast in the Albertinum at Dresden)
by Weicker, Der Seelenvogel, fig. 102, p. 203, and in Roscher, Lex. d.
Myth., iv, 1, col. 638, fig. 33. Cf. the note on no. 26 and Loeb Coll., nos.
69 and 70, pi. xvi.

28. From a large mould with flaring lip. H. 10.5 cm. L. 4.7 cm. Reg.
13.151. Ann. Rep., 1913, p. 95. Plate XXIV.

The lip is set off from the principal field by a conventional laurel leaf
pattern and decorated with a scroll of leaves and conventionalized
flowers.

In the principal field, the upper part of a winged genius facing right
appears. Enough is preserved to show that she wears the usual loin cloth
and chlamys and holds a lyre in her left hand. The fingers of the right
hand are placed on the strings. Her hair was fastened in a loose knot at
the back of the head. The hair and the wing show very careful execu-
tion. In the field, at the left, a bit of foliage.

Cf. the note on no. 26.

20. Practically complete mould for a large bowl with rolling lip. Put
together from three fragments, but only small and unimportant pieces
are lacking. H. 13 cm. D. 23.6 cm. Reg. 04.19. Ann. Rep., 1904, p. 59,
no. 1. Plate X.

On the bottom are six concentric bands of patterns, as follows (beginning
at the centre): plain moulding; row of large, cross-hatched bosses; row
of small, plain bosses; band of alternating conventional flowers and poppy
heads on curving stems; band of laurel; row of small, plain bosses. The

[51 ]

A CATALOGUE OF ARRETINE POTTERY

lip is decorated with alternating bell-shaped flowers and pendent lilies (?),
between plain mouldings. The principal field has a row of small, plain
bosses at the top. At the bottom a plain moulding broken by irregular
projections marks the ground line.

The main field is divided into three parts by tripods on high bases,
exactly like the tripods on bases of nos. 2 and 26. In each of the fields thus
distinguished are two figures back to back (or heraldically placed in rela-
tion to the tripods). Between the two figures in each field are three flowers
rising on long stems from the ground, and in the upper part of the field,
a tympanum hangs from the row of bosses at the top.

Of the six figures, the three which face right are winged genii, the
three that face left are, in two cases, similar genii, in one case, a kala-
thiskos dancer. All the figures are posed on the toes as if dancing. The
detailed description of the three types follows : —

(a) Winged female figure to right. The left leg is advanced, the right
set back. She is dressed in a doubly girt Doric chiton, reaching only to
the knees, and wears a necklace with six pendants, and bracelets. The
hair is in a knot behind, and is confined by a fillet, which passes twice
around the head. Both arms are extended. The left hand is raised to
about the level of the head, and both hands hold a garland, with a single
large flower in the middle.

(6) Similar figure facing left, with right leg advanced. The dress is the
same as that of (a), except that she has a diadem in the hair, instead of
the fillet, and wears earrings with three pendants. The raised hand (here
the right) is on a level with the eyes.

(c) Kalathiskos dancer facing left, with right foot advanced. The lower
body and the head are in profile, the upper body is turned so as to appear
in three-quarters view. She wears a short Doric chiton, girt high, so that
it does not reach the knees, and the characteristic headdress. The right
arm is bent at the elbow, the right hand is clenched and rests on the breast,
the left arm is extended behind the figure, and the left hand is open.
Below the headdress, the hair appears as a mass of short curls.

Between this dancer and the tripod which she faces, the signature
M. Perennii) Tigrani.

Cf. Bull. Met. Mus. Art, iv, 1909, p. 127, fig. 3 (signed by Philemon,

[ 52 ]

A CATALOGUE OF ARRETINE POTTERY

as workman of Perennius) ; Not. Scav., 1884, pi. ix, 6. This type of winged
genius is very similar to the "Nike pouring a libation" of nos. 1 and 3.
The same types are used in the stucco reliefs which decorated the famous
house found in the garden of the Villa Farnesina (Hon. dell' Inst, Suppl.,
pis. xxxiv and xxxv). For the kalathiskos dancer, cf. the note on no.
31; and for the inscription, C. I. L., xi, 6700, 450, ii.

Vases

30. Fragment of the upper part of a large bowl. H. 8.6 cm. L. 11.6
cm. Reg. 88.590. Robinson, Cat, no. 601.

The lip is decorated with a hatched moulding at top and bottom. At
the top of the principal field, an egg and dart pattern, with a conven-
tional laurel leaf pattern below.

In the field, the upper part of a winged genius playing the double flute
is preserved. She faces left, and differs from the similar figure on no. 26
only in that she has no chlamys about her shoulders. Behind her BAR,
the first letters of the signature Bar (gates).

Bargates was one of the slaves of Perennius; cf. nos. 66, 104, 128, 133,
and C. I. L., xi, 6700, 451, and xv, 5422.

(j) KALATHISKOS DANCERS

Moulds

31. Nearly half of a mould for a large cup with slightly concave sides.
H. 14.1 cm. D. 16 cm. Reg. 98.845. Ann. Rep., 1898, p. 79, no. 9. Plate
XI.

The main field is decorated at the top by a row of bosses, and, below
this, by a band of conventional laurel leaf pattern, broken by the heads
of the figures. To the laurel leaf garland, loops of similar pattern, which
pass behind the figures, are attached by large fillets.

Two figures dancing toward the left are perfectly preserved. Each
is dressed in a high-girt Doric chiton, modelled in very graceful folds,
and wears on her head the basket-like kalathos from which these figures
are named. The one at the right has both hands clenched and resting on
the breast. Behind her a bit of the drapery of another figure is preserved,

[ 53]

A CATALOGUE OF ARRETINE POTTERY

and in front of her are three flowers on slender stalks. The figure at
the left has her right hand clenched and placed on her breast, her left
hand is open and extended behind her. In front of her three flowers on
slender stems rise from the ground line, and a cymbal decorated with
knotted fillets hangs from the laurel leaf pattern at the top of the field.
Above the laurel leaf pattern at this point is the signature Tigrani. At
the extreme left, a small part of a fourth figure, with left arm raised and
hand open, is visible.

The kalathiskos dancers form one of the commonest subjects on Arre-
tine vases of Class I. A list of the different types is given by Dragen-
dorff, B. J., xcvi, 1895, pp. 58-60. For published examples, cf. Loeb Coll.,
nos. 53-61, with pis. in, rx, and xvi; Bull. Met. Mus. Art, vi, 1911, p.
30, fig. 1; Not. Scav., 1884, pi. vii, 2; Walters, n, pi. lxvi, 5 (= British
Museum L 108) ; Holder, pi. xxiv, 4. The same types are found on marble
reliefs (cf. Clarac, pi. 167 and 168; Zoega, Bassirilievi, i, pis. xx, xxi;
Kekule, Die gr. Skulptur* pp. 140 /.) and on mural reliefs in terra-cotta
(cf. von Rokden-Winnefeld, pp. 10-12, figs. 11-13, and pis. xvm and
evil, 1). Exhaustive lists of examples in different materials were made
by Stephani (Compte Rendu, 1865, pp. 60/.). Among the examples dis-
covered since these lists were made, the most striking is the group of
three figures which form a part of the famous "Acanthus Column,"
found by the French excavators at Delphi (cf. Homolle, B. C. H., xxi,
1897, pp. 603-614, and Fouilles de Delphes, iv, pis. lx-lxii, and Album,
pi. xv). It seems clear that all the types were derived from some one
original, but no generally accepted theory has yet been proposed. Furt-
wangler (Masterpieces, pp. 438/.) argued that they go back to the "sal-
tantes Lacsenae" of Callimachus (Pliny, N. H., 34, 92), but this cannot be
proved. More recently, Deonna has argued (Revue de Vhistoire des re-
ligions, lxviii, 1913, pp. 350-357) that the kalathiskos dancers were de-
rived ultimately from Egypt. The Arretine potters probably drew their
immediate inspiration from metal vases of the Hellenistic period. For
the inscription, cf. C. I. L., xi, 6700, 450, vv.

32. Unbroken mould for a bowl of medium size. H. 9.3 cm. D. 17.8
cm. Reg. 04.33. Ann. Rep., 1904, p. 60, no. 3. Plate XI.

[54 ]

A CATALOGUE OF ARRETINE POTTERY

The lower field is divided from the principal field by a plain moulding
and has at the bottom a row of bosses. It is decorated with alternating pal-
mettes and flowers on curving stems. At the top of the principal field,
a row of bosses.

The principal field is divided into four parts by four large ornaments,
made with small, separate stamps. Each begins at the bottom with a large
conventional leaf, flanked on each side by a pointed staff with spirals,
which rises obliquely into the field. Above the leaf, in order, come a small
double flower, a large, bell-shaped flower, a pair of large, ragged flowers,
and a statuette on a low base. The statuette represents a male figure
(Dionysus?) in front view, standing with right leg firm and left leg bent
at the knee and placed to one side. He wears a robe which reaches only
to the knees and one edge of which he holds above his left shoulder in his
raised left hand. His right hand is lowered and holds a bunch of grapes.

In the four fields thus distinguished are four exactly similar female
dancers, in profile to left. They are posed on tiptoe, with right leg ad-
vanced and left set back. The dress consists of a Doric chiton, which
reaches only to the knees and flies out behind in carefully modelled folds.
The arms are bent at the elbows, the hands rest on the breast. On the heads
are slight indications of kalathoi. In the field, at exactly opposite points,
are the signatures, M. Peren{ni) and Tigrani.

The figures appear to have been made with a stamp from which the
upper part had been removed, so that only slight traces of the charac-
teristic headdress remained. For the signature, cf. C. I. L., xi, 6700,
450, n.

Vases

33. Tall cup with one handle. Put together from four pieces, and con-
siderably restored. The top, to judge from the broken edges, flared out-
ward. H. 11.7 cm. D. at bottom, 7.5 cm.; at top (as restored), 11.3 cm.
Reg. 88.587. Robinson, Cat, no. 579. Plate II.

The main field is defined at top and bottom by plain mouldings. It
was divided into four parts by four elaborate conventional ornaments,
of all of which considerable parts are preserved. These ornaments consisted
in each case of a large acanthus leaf, flanked by smaller, pointed leaves

[55 }

A CATALOGUE OF ARRETINE POTTERY

(with strongly marked central ribs), which rise obliquely into the field.
Above the acanthus leaf is a conventional flower and a small leaf, from
which spring three ribbed calyx ornaments, one rising vertically, the
other two obliquely. From the ends of the latter rise long leaves with
serrated edges. The central calyx ornament is surmounted by an eight-
petalled flower on a short stem and by pointed staffs with rings which rise
obliquely into the field. Above one of these complicated ornaments is the
signature Rasini Memmi, the two parts separated by the eight-petalled
flower. Over another, and partly obliterating it, is attached the handle,
which has the form of a simple loop with a marked central groove divided
at the lip into two short fillet-like bands. The juncture of the bottom of
the handle with the body of the vase is covered by a small disc, on which
are two parrots, perched on a small crater.

In each of the four fields defined by the conventional ornaments was
a kalathiskos dancer. Of the four figures, one is completely preserved,
and two others are very nearly complete. The types (beginning at the
right of the handle) are as follows : —

(a) Dancer moving to right with head in profile and shoulders nearly
in front view (the lower part of the figure is lost). She wears a high-girt
Doric chiton and the characteristic headdress, here summarily indicated
by parallel grooves. Both arms are bent at the elbow, the hands are
placed on the breast.

(b) Dancer in profile to right, standing on tiptoe. She wears a Doric
chiton, girded high, so that it does not reach the knees, and the char-
acteristic headdress. Both arms are extended and bent at the elbow and
the forearms are raised vertically, so that the hands rise above the level
of the head.

(c) Same as (6).

These figures are distinguished from those of nos. 31 and 32 by the
different form of the kalathos; cf. B. «/., xcvi, 1895, p. 59, fig. 14 (from a
vase found at Capua) ; Loeb Coll., nos. 56 and 58, pi. xvi. On Roman mural
reliefs similar dancing figures appear on either side of a statue of Pallas;
cf. von Rohden-Winnefeld, pp. 10-12, figs. 11-13, and pis. xviii and
cvn, 1. For the signature, cf. C. I. L., xi, 6700, 552.

[ 56 ]

A CATALOGUE OF ARRETINE POTTERY

(k) SYMPOSIA

Moulds
34. Complete mould for a large bowl. Put together from two pieces, but
uninjured except for chipping at the edges of the break. H. 10.6 cm.
D. 20 cm. Reg. 04.23. Ann. Rep., 1904, p. 61, no. 11. Plates XII,

XIII.

The lower field is set off from the main field by a plain moulding, and
has a plain moulding below. It is decorated with alternating rosettes
and poppies on curving stems, which rise from the moulding at the bot-
tom. The lower end of each stem is covered by a small rosette. At the
top of the main field, a very delicate grapevine runs around the mould;
it is bordered by a row of plain bosses above and by a conventional laurel
leaf pattern below.

In the main field, four pairs of figures are represented, in each case a
man and a woman reclining on a couch. The couches are all similar, and
were evidently made with the same stamps, the body of the couch, the
legs, and the head and foot being impressed in the mould with small,
separate stamps. The groups of figures, however, show great variety, and
no two are exactly alike. The description begins with the group at the
left of the inscription : —

(a) The man reclines on a cushion, and has his left arm wrapped in his
mantle. The upper part of his robe has slipped from his shoulders, so that
his breast, which is almost in front view, is uncovered. His right arm is
extended behind the woman's back. He has a fillet with long ends tied
about his head. The woman's pose is similar to that of the man. She
reclines on her left arm and turns to look at her companion, so that her
upper body is in front view. She wears a long, high-girt chiton, which
covers her whole body except the right arm and shoulder and the upper
part of the left arm. In her left hand she holds a wreath. Her left knee is
raised and supports a lyre, which she holds in her extended right hand.
Above the foot of the couch, a small Cupid flies toward the right. His
upper body is turned, so that the shoulders and the head are in front view.
He has a robe thrown loosely over his shoulders and hanging over his
arms. His left hand is raised, his right is lowered, and holds a bell (or a

[57]

A CATALOGUE OF ARRETINE POTTERY

bell-shaped flower). Between this group and the next is the signature
Nicephor(us) Perenni.

(b) The man has fallen asleep, with his right arm thrown over his head
and his left hanging down and pressing into a large cushion. Only a small
part of his robe is visible, covering his right side. The woman has raised
herself on her left arm and looks over the man's head toward the group
on the next couch to the right. She wears a thin chiton, which has slipped
down from her shoulders, leaving the right breast uncovered. Her right
arm is raised, but the hand is empty. A depression in her hair suggests a
fillet. Above and at the left is a lyre (with the body marked to suggest a
tortoise shell), which was thought of, perhaps, as suspended on the wall.
Beyond, a curtain is suspended from the laurel leaf pattern and from a
pole, and from behind this a girl gazes at the pair on the couch; only her
head and her right shoulder and arm are visible.

(c) The man turns his head sharply to the right, as if to look at the
group on the next couch. Only a small part of his body is visible; there is
no indication of drapery. Under his left arm is a large cushion, doubled
over. The woman turns toward the man, pressing her left hand against
the couch, and grasps his chin with her right. He seizes her forearm with
his left hand. She wears a thin chiton which does not cover her right
shoulder. Her hair is confined by a veil (?), and on her wrists are brace-
lets. Under her left arm a cushion appears. Above and at the left is a
Cupid dancing to right, exactly similar to the Cupid associated with group
(a). In front of him a bell (or bell-shaped flower) hangs from the laurel
leaf pattern, and behind him a tympanum is similarly suspended.

(d) The man reclines on a cushion at the head of the couch. His robe
passes over his right shoulder and is wound about his left arm, which
rests on the cushion. In his hair is a fillet, with long ends. In his left hand
he holds a vase or box, from which he appears to be removing the cover
with his right. The female figure is the same as the female figure of
group (a). Above and at the left a wreath is suspended from the laurel
leaf pattern.

An incomplete list of the types which are used in representations of
symposia is given by Dragendorff, B. J., xcvi, 1895, p. 72. In the Loeb
Collection there is a complete mould signed by Nicephorus which is prac-

[ 58 ]

A CATALOGUE OF ARRETINE POTTERY

tically a replica of no. 34, though the figures are on a smaller scale (cf.
Loeb Coll., no. 76, pi. iv). A mould in the Metropolitan Museum, New
York, also designed by Nicephorus, differs from no. 34 only in minor de-
tails (cf. Bull. Met. Mus. Art, iv, 1909, p. 127, fig. 4). Other examples
show many variations: cf. nos. 36-59; Not. Scav., 1884, pi. rx, 4 and 5; B. J.,
xcvi, 1895, pi. iv, 10 and 11; B. J., cxxn, 1912, pi. lix; Loeb Coll., nos.
77-84, pis. ix, x, and xvi. For the inscription, cf. C. I. L., xi, 6700, 444, 6.

35. Complete mould for a bowl very similar to no. 34, made by the
same potter, with the use of many of the same stamps. H. 9.7 cm. D.
21.3 cm. Reg. 04.22. Ann. Rep., 1904, p. 60, no. 10.

The lower field is undecorated. It is bordered below by a row of plain
bosses, and set off from the main field by a band of rosettes between
plain mouldings. The main field is decorated at the top with a row of plain
bosses and a band of eggs. Just below the latter a band of conventional
laurel leaf pattern runs around the mould ; this is broken by the heads of
some of the figures, and from it, at intervals, various objects are suspended.

The principal field is divided into two parts by two short pillars of
Corinthian type; each is fluted in its upper portion and has two plant
stalks rising from the ground at the base. On top of each pillar is a
dancing Cupid exactly similar to the Cupids on no. 34, and made with
the same stamps. In each of the two fields thus set off are two pairs of
figures reclining on couches, made with the same stamps as the similar
groups of no. 34, as follows : —

(a) Same as no. 34 (c). Above the group is the inscription, Nicephor(us)
Perenni, and above this, attached to the laurel leaf pattern, a bell-shaped
flower, a lyre, and a large wreath with fillets.

(b) Same as no. 34 (6). Above, attached to the laurel leaf pattern,
a large wreath with fillets, a lyre, and a Pan's pipe.

(c) Same as no. 34 (a). Above, attached to the laurel leaf pattern, a
small bell-shaped flower and a large wreath with fillets.

(d) Same as no. 34 (b). Above, attached to the laurel leaf pattern, a
lyre (with the body marked to suggest a tortoise shell), a bell -shaped
flower, and a wreath with fillets.

Cf. the note on no. 34.

[59]

A CATALOGUE OF ARRETIXE POTTERY

36. From a mould for a large bowl. Put together from two small
fragments. H. 6 cm. L. 9.5 cm. Reg. 13.152. Ann. Rep., 1913, p. 95.

At the top of the field, a conventional laurel leaf pattern and a row
of bosses. In the field, the right shoulder and part of the torso and legs
of a female figure reclining to left but turning to look toward the right.
Below is part of a wreath, which the woman apparently held in her left
hand. Above, in the field, a larger wreath. The pose is similar to that
of the female figures of nos. 34 (c) and 35 (a), but not the same.

37. Fragment of a mould for a large bowl. H. 7.5 cm. L. 15.8 cm. Reg.
98.861. Ann. Rep., 1898, p. 82, no. 25. Plate XXIV.

At the top of the field are a row of plain bosses and a conventional laurel
leaf pattern. In the field, parts of four figures appear.

In the centre, the larger part of two figures, a man and a woman, is
preserved. The man reclines (on a couch?) facing left, resting on his left
elbow. He is nude, except for a mantle which is draped about his legs and
his left forearm. In his hair is a broad fillet. His right arm is raised, and
with his right hand he touches the head of the woman, who is seated in
front of him, also facing left, so that her back is toward her companion.
She appears to be weeping, resting her head on her hands. The upper
part of her body is nude, except for a breast-band, her legs are covered by
a robe. Her hair is confined by a veil. On her left wrist is a bracelet.
Beyond her (to left) is the inscription M. Peren{ni) Tigrani (the stamps
arranged in the form of a letter T), and beyond the inscription, the upper
part of a bearded figure, seated to left and playing a double flute. He is
nude except for a loin cloth (or a robe draped about the thighs), knotted in
front. In his hair is a wreath of ivy leaves. Finally, at the right of the
fragment are the head and shoulders of a nude figure of the type of no.
34 (d).

Cf. Loeb Coll., no. 78, pi. rx; Not. Scav., 1884, pi. rx, 4; and for the same
figures differently combined on a vase signed M. Perenn(i) Tigrani,
B. J., cxxn, 1912, pi. lix. For the signature, cf. C. I. L., 11, 4971, 7, d.

38. Fragment of a mould for a large bowl. H. 8 cm. L. 10.5 cm. Reg.
98.806. Ann. Rep., 1898, p. 83, no. 30. Plate XXV.

[ 00]

A CATALOGUE OF ARRETINE POTTERY

On a large couch, of which one leg is partly preserved, a man and a
woman recline. Of the woman's figure, only the head and the breast are
preserved (at the right-hand side of the fragment). She is fully draped and
was evidently reclining on her left elbow, facing left. The figure of the
man is almost perfectly preserved. He is posed in an unusual attitude,
as he turns to look toward the woman and stretches out his right hand
toward her, supporting his weight on his left forearm, which rests on a
large cushion, doubled over. In his left hand, which is visible, he holds a
wreath or a heavy fillet. He wears a large robe, which has slipped down
from his right shoulder, leaving his whole right side uncovered, and falling
over the edge of the couch in heavy folds.

39. About one half of a large mould. Put together from fourteen frag-
ments, considerable parts missing. H. 10 cm. D. about 19 cm.

At the top of the principal field, conventional laurel leaf pattern, egg
and dart, and row of bosses; at the bottom, plain moulding and band of
pairs of concentric circles. The field was divided into four parts by youth-
ful ithyphallic herms (hair bound by a fillet), set on small piles of stones.
Two of these and part of a third are preserved. The figures have one hand
resting on the hip, the other raised; in their raised hands, they hold loops
of conventional laurel leaf pattern, which pass behind the groups in the
four fields. Of these groups three are partially preserved, all erotic in
character (in two cases a man and a woman, in the other two men).
The couches are more elaborate than usual; the one which is well preserved
has a high, curving head, ending in the head of a satyr. Very careful
modelling throughout.

40. Fragment of a mould for a large bowl. H. 10.7 cm. L. 19 cm. Reg.
98.863. Ann. Rep., 1898, p. 83, no. 27.

On the flaring lip, a frieze of large calyx-shaped flowers alternating
with pendent flowers which resemble lilies. Below this two plain mouldings,
and at the top of the principal field, a conventional laurel leaf pattern.

Of the figures, the greater part of an erotic group representing a young
man and a woman on a couch is preserved. Above and to the left, the
signature M. Peren(ni) Tigrani.

For the signature, cf . C. I. L., xi, 6700, 450, n.

[61 ]

A CATALOGUE OF ARRETIXE POTTERY

41. Fragment of a mould for a large bowl. H. 8.5 cm. L. 10 cm. Reg.
98.864. Ann. Rep., 1898, p. 83, no. 28. Plate XXV.

At the top of the main field, a row of plain bosses and a band of double
rosettes, from which are hung a loop of conventional laurel leaf pattern
and (at the left side of the fragment) a heavy wreath with a fillet twisted
around it.

Of the figures, the only portion that is well preserved is part of the same
group that appears on no. 40, made, apparently, with the same stamps.
At the left, the end of a second couch and the left elbow of a reclining
figure appear.

42. Fragment of a mould for a large bowl. H. 7.5 cm. L. 7 cm. Reg.
98.8G5. Ann. Rep., 1898, p. 83, no. 29.

At the top of the field is a well-executed grapevine between a row of
plain bosses (above) and a conventional laurel leaf pattern (below).

In the field and projecting into the grapevine above, part of an erotic
group is preserved, including the head and the breast of a male figure
and the head and the left leg of a female figure. The modelling throughout
is excellent. Both figures have the hair bound with a fillet, the man's
fillet, especially, being very broad.

Cf. Not. Scat., 1884, pi. ix, 2 (apparently made from the same stamps);
Loeb Coll., nos. 80-82, pi. x.

43. Fragment of a mould for a large bowl. H. 8.6 cm. L. 9.8 cm.

At the top of the main field, a band of rosettes with cross-hatched centres
between a row of bosses and a plain moulding (above) and a conven-
tional laurel leaf pattern (below).

Of the figures, the only parts preserved are the head and the left shoulder
of a young man and the head and the torso of a woman from a group
exactly similar to that of no. 42, and made, apparently, with the same
stamps.

44. Fragment of a mould for a large bowl. H. 7.2 cm. L. 7.9 cm. Reg.
98.855. Ann. Rep., 1898, p. 81, no. 19. Plate XXV.

At the top, a row of plain bosses and a conventional laurel leaf pattern.

[ 62]

A CATALOGUE OF ARRETINE POTTERY

Parts of three figures are preserved. In the centre is a youthful lyre
player in profile to right, completely preserved except for the left foot.
He stands on his right leg, his left is set back, and the left foot evidently
touched the ground only with the toes. He wears a long chlamys, fas-
tened on the right shoulder and falling in folds almost to the ground. A
depression in the hair suggests a fillet. He holds the lyre in his left arm,
and strikes the strings with a plectrum held in his right hand. At the
left, the head and the left shoulder of a man reclining on a large cushion
of the type of no. 34 (c) can be seen. At the right of the central figure
the knees and the ends of the flutes of a flute-player seated to left are
preserved.

Cf. the note on no. 49.

45. Fragment of a mould for a large bowl. H. 8 cm. L. 7.6 cm. Reg.
98.858. Ann. Rep., 1898, p. 82, no. 22. Plate XXV.

At the top, row of plain bosses above an egg and dart.

At the left-hand side of the fragment, about one half of a youthful lyre-
player exactly similar to the lyre-player of no. 44, but somewhat larger
in scale, appears. At the right, a seated flute-player is almost completely
preserved. She is seated on a chair in profile to left, the upper body nude,
the lower body covered by the folds of an ample robe. She wears a neck-
lace with long pendants. Her hair is tied in a loose knot behind. Both
hands are raised and hold the two flutes, which are carefully executed.
Behind her head is a bit of drapery.

Cf. the note on no. 49. A bowl in Bonn (B. J., cxxn, 1912, p. 424, fig.
3, and pi. lx) suggests that the drapery at the right of the flute-player
was part of a curtain behind which stood a woman playing a pair of
cymbals.

46. Fragment of a mould for a large bowl. H. 7 cm. L. 7 cm. Reg.
98.860. Ann. Rep., 1898, p. 82, no. 24.

At the top of the field, a row of bosses, a plain, flat moulding, and a con-
ventional laurel leaf pattern.

At the right-hand side of the fragment, about one half of a seated flute-
player, very similar to the seated flute-player of no. 45, but not, appar-

[ 63]

A CATALOGUE OF ARRETINE POTTERY

ently, made with the same stamps, is preserved. At the left an ear of
wheat, three buds, and a large pine cone fill the field.
Cf. the note on no. 49.

47. Fragment of a mould for a large bowl. H. 8 cm. L. 8 cm. Reg.

98.856. Ann. Rep., 1898, p. 81, no. 20. Plate XXV.

At the top, a row of plain bosses and a conventional laurel leaf pattern.

At the right, a youthful lyre-player, of the same type as the lyre-player
of nos. 44 and 45, is almost completely preserved. At the left is a youth-
ful flute-player (perhaps a satyr). He is in front view, with his left arm
extended across the body to grasp one of the flutes. His only garment is
a skin, which is thrown over his shoulders and knotted at the neck. In
the field a hastily executed plant stem rises from the ground.

Cf. Loeb Coll., no. 85, pi. x, and the note on no. 49.

48. Fragment of a mould for a large bowl. H. 5 cm. L. 6.7 cm. Reg.

98.857. Ann. Rep., 1898, p. 82, no. 21.

At the top, a row of plain bosses and an egg and dart.
In the field, the upper part of a youthful lyre-player and a small piece of
one of the flutes of a female flute-player are preserved.
Cf. the note on no. 49.

49. Fragment of a mould for a large bowl. H. 4.4 cm. L. 6 cm. Reg.
98.859. Ann. Rep., 1898, p. 82, no. 23.

At the top, a conventional laurel leaf pattern and a row of plain
bosses.

In the field, the head, the right forearm and hand, and most of the
lyre of a youthful lyre-player appear at the left, and parts of the flutes of
a female flute-player at the right.

Nos. 44-49 form a closely related group, representing musicians. That
they were associated with banqueting scenes is suggested by nos. 37
and 44 and shown more clearly by a vase in Bonn (B. J., cxxn, 1912, p.
424, fig. 3, and pi. lx). These types, therefore, are properly included in
Dragendorff's list of figures used in the composition of symposia (B. J.,
xcvi, 1895, p. 72, 10). The satyr of no. 47 and the flute-player of no. 37

[64 ]

A CATALOGUE OF ARRETINE POTTERY

and the vase in Bonn, who is the satyr of the "Birth of Dionysus" minus
a tail (cf. Loeb Coll., no. 1, pi. i), suggests that figures not strictly appro-
priate were introduced to make up such groups.

Vases

50. Fragment of a mould for a large bowl. H. 6 cm. L. 5.5 cm. Reg.
88.604. Robinson, Cat, no. 595.

At the top of the main field, conventional laurel leaf pattern (broken
by the heads of the figures), egg and dart, and plain moulding. Above, a
small piece of the lip, with a hatched moulding at the bottom, is preserved.

Of the principal decoration, only the upper parts of two figures, a man
and a woman, are preserved. The man was evidently reclining on his left
elbow, facing left. His shoulders are bare, but a robe is wrapped around the
lower part of his body and over his left arm. His right arm is extended,
and the hand grasps the hand of another figure, now lost except for the
hand and the forearm. The woman is behind the man; only her head and
shoulders facing left appear at his left. Her head is bowed and entirely
covered by her robe, in an attitude of grief. Her left hand is raised, and
the fingers grasp an edge of her robe.

51. Fragment of a large bowl. H. 8.1 cm. L. 5.5 cm. Reg. 88.592.
Robinson, Cat., no. 594. Plate XXIX.

At the top appears part of a naturalistic grapevine, with a conventional
laurel leaf pattern below.

A female figure of the type of the female figure in group (b) of no. 34
reclines on a couch, of which about one half is preserved. Her left arm
and shoulder and her head are lost. On the left side of the fragment,
part of a curtain like the curtain associated with group (b) on no. 34.

52. Fragment of a large bowl. H. 7.4 cm. L. 8 cm. Reg. 98.862.
Ann. Rep., 1898, p. 83, no. 26.

At the top of the field, row of bosses above an egg and dart. Above,
part of the lip with a hatched moulding at the bottom. In the main field,
part of a loop of conventional laurel leaf pattern is visible.

The only portion of the figure composition that has been preserved is

[ 65]

A CATALOGUE OF ARRETINE POTTERY

the upper part of a weeping woman, exactly similar to the weeping figure
on no. 37.

33. Nearly half of a large bowl with flaring lip. Put together from
thirteen fragments, foot missing. H. 14 cm. D. 10.6 cm. Reg. 13.109.
Ann. Rep., 1913, p. 95.

The principal field is bordered below by a band of acanthus leaves
between two conventional laurel leaf patterns; and above by a conven-
tional laurel leaf pattern, an egg and dart, and a plain moulding. It was
divided into four parts by short pillars set up on irregular piles of stones
and surmounted, in each case, by a small Eros in front view. The pil-
lars have Corinthian capitals, and the upper part of each shaft is chan-
nelled. From the Erotes are suspended loops of conventional laurel leaf
pattern, which pass behind the groups in the four fields.

Of these groups, two are preserved, both erotic in character (in one
case a man and a woman, in the other two men, exactly like the groups
on no. 39). The couches of no. 53, however, are of the usual type, simpler
than those of no. 39.

54. Fragment of a large bowl. H. 8.5 cm. L. 11.7 cm.

Below the principal field, a band of rosettes and traces of a band of
cross-hatched pendants; above, egg and dart, a row of bosses, and a plain
moulding.

Of the decoration an erotic group of two men on a couch (heads missing)
is the only part that is well preserved. The type is that of nos. 39 and 53.
The couch had a high, curving head, like the couch on no. 39. At the left,
part of a draped standing figure, facing left, and a small part of the head
of a second couch appear, and at the right, a small portion of a similar
draped figure.

35. Part of a large bowl. Put together from three pieces. H. 8 cm.
L. 13.2 cm.

At the top of the principal field, a conventional laurel leaf pattern
(broken by the heads of the figures) and a grapevine.

In the field, at the left, part of an erotic group of the type of nos. 40

[66]

A CATALOGUE OF ARRETINE POTTERY

and 41 (complete except the head and the right arm of the female figure,
the legs of the male figure, and most of the couch) ; at the right, another
group, of the type of nos. 42 and 43 (complete except a part of the couch).
Between the two groups, the signature M. Peren(ni). Beyond, at the right,
a small part of a third group.

For the inscription, cf. C. I. L„ xi, 6700, 435, i.

56. Fragment of a large bowl. H. 6.4 cm. L. 3.8 cm. Reg. 88.603.
Robinson, Cat, no. 593. Plate XXIX.

At the top of the main field, conventional laurel leaf pattern and a plain
moulding.

Of the principal composition only the upper part of a female figure from
an erotic group of the type of nos. 42 and 43 is preserved.

57. Lower part of a large bowl, including the foot. Put together from
four fragments. H. 8.6 cm. D. of foot, 10.9 cm.

Near the top of the field a small part of a conventional laurel leaf pat-
tern with a wreath attached is preserved, and in the field part of a loop
of conventional laurel leaf pattern, with the lower part of a mask above

it, appears.

Of the two erotic groups which originally decorated the bowl, two (a
man and a woman in each case) are almost completely preserved. In
both the grouping resembles that of nos. 42 and 43, but the female figure
is differently posed in both cases; in one the upper body appears in three
quarters back view, in the other in three quarters front view, and in the
latter the woman's left arm is raised and her left shoulder and upper
arm are covered by a bit of drapery.

58. Fragment of a large bowl. H. 9.5 cm. L. 6.5 cm. Reg. 13.103.
Ann. Rep., 1913, p. 95.

At the top of the field, part of a loop of conventional laurel leaf pattern,
and above it part of a band of palmettes lying on their sides.

The only portion of the figure compositions that is preserved is part of
an erotic group, including the head and the left shoulder of the man, the
head and the torso of the woman, and a considerable part of the couch.

[67]

\J

A CATALOGUE OF ARRETINE POTTERY

The type is the same as one of those on no. 57 (with the female figure in
three quarters back view).

59. Small fragment of a bowl of medium size. H. 4.5 cm. L. 6.7 cm.
At the top of the field, a conventional laurel leaf pattern, from which

hangs a small box with a conical cover.

In the field an erotic group of two men, almost complete except the
couch.

(I) MISCELLANEOUS FIGURE SUBJECTS

Moulds

60. From the upper part of a mould for a large bowl. Three fragments
combined. H. 9.5 cm. L. 18.9 cm. Reg. 13.149. Ann. Rep., 1913, p. 95.
Plate XXV.

At the top of the field, a rope pattern and a band of double bosses.

In the centre of the field, a tablet with the signature Tsv
Rhitu(s) Pisa(ni) is represented as if it were suspended |\7 sHlTV
from the rope pattern. The point of suspension is marked nW i LidLjU.
by five bosses and a knotted cord with hanging ends. At ^
the right, the upper part of a figure of a young man (to just below the
hips) is preserved. He was represented standing in three quarters view to
right, but with the head so turned that it is in profile. He wears a mantle,
which is draped over the shoulders so as to leave the whole front of the
body uncovered. Both arms are raised, the right passing above his head,
and in his right hand he holds a baldric, which he is evidently about to put
on. At the right, a small part of a second male figure in profile to right ap-
pears; only the right thigh, part of the right side, and the folds of a robe
which hung from the shoulders are preserved. At the left of the inscribed
tablet, a third male figure is preserved to just above the waist. He is in
three quarters view to right, with head in profile, and was, apparently,
standing quietly. His arms are crossed in front of him in a manner which
suggests that he was leaning on a short staff or some similar object. Over
his left upper arm the folds of a robe appear, but except for this, the
figure is nude. At the left is a small portion of a fourth figure (perhaps a
man leaning on a twisted staff). The scale of all the figures is unusually
large and the heavy, stocky forms are rendered in great detail.

[68]

A CATALOGUE OF ARRETINE POTTERY

In size and in careful modelling the figures of this fragment resemble
those of a series of fragments of moulds in the Loeb Collection (Loeb Coll.,
nos. 86-90, pi. x). One of these (no. 89) shows a small part of the figure
arming himself which is here almost completely preserved. The subject,
however, is obscure. The figure of a woman who holds a child on one
of the Loeb fragments (no. 86) suggests the possibility that the subject
is Hector and Andromache, but this can only be regarded as a conjecture
and perhaps not a very probable one. The inscription RHITV PISA has
not, I think, been noted before. The signature PISA is often regarded
as one of the forms of the signature of L. Rasinius Pisanus (cf. C. I. L.,
XI, 6700, 519, b, c), but the excellent modelling of the figures of no. 60
suggests an earlier date than can well be assigned to this potter; cf.
Introduction, p. 22.

6i. From a mould for a large bowl. Two fragments joined together.
H. 11.8 cm. L. 17.1 cm. Reg. 13.148. Ann. Rep., 1913, p. 95. Plate
XXVI.

The field is defined below by a series of plain mouldings, and above by a
tongue pattern and a row of bosses.

At the left is a young man seated to left on a rock, but turning to look
toward a girl who is seated behind him, so that his shoulders are in front
view and his head in profile to right. His right foot is placed on the ground,
his left rests on a ledge in the rock on which he sits. His left hand is
placed on the rock behind him, his right rests lightly on his left knee. In
his hair a depression suggests a fillet. The girl is seated in profile to left,
looking toward the young man. The position of her left hand is similar to
that of the man's left, her right is raised and holds a robe, which covers
the right forearm and falls down over her legs. Her hair is bound by a
fillet. Beyond the man (at the left) some folds of drapery and the end of
a long, twisted staff suggest a figure moving toward the left. Beyond the
girl (at the right) a bit of a fourth figure can be made out. As in no. 60,
the large scale of the figures and the emphasis on anatomical details are
noteworthy.

The female figure appears on a fragment published by Dragendorff,
B. J., xcvi, 1895, pi. iv, 12. It presents close analogies to the figure of

[69 ]

A CATALOGUE OF ARRETINE POTTERY

Ariadne on a series of mural reliefs which represent the desertion of
Ariadne by Theseus (cf. von Rohden-Winnefeld, pp. 102-104, pi. ex, 1),
and that may be the subject of no. 61. In view' of the eclectic character
of Augustan art, however, this interpretation can only be regarded as
a possibility and nothing more. The style suggests a connection with
no. 60 and the related fragments in the Loeb Collection.

Vases

62. About one quarter of a deep bowl. At the top, a part of the out-
ward-curving lip, with it mouldings, is preserved. H. 12.2 cm. L. 10.2
cm. Reg. 03.879. Plate XXIX.

At the top of the main field, egg and dart moulding. Below this is a
band of ivy leaves laid on their sides, and from this, at intervals, hang
comic masks, suspended by elaborate fillets with knotted ends (two such
masks are preserved in the fragment).

Below the mask at the right appears the upper part of an incense burner
of simple form. Advancing toward this is the one figure that is preserved
— an Egyptian king (or priest?) in profile to right, but with the shoulders
turned so that they are in three-quarters view (complete except for the
right foot) . He wears a loin cloth in the Egyptian manner, and has on his
head the familiar linen headdress and a group of three ears of wheat (?).
His right hand is lowered and holds a circlet (perhaps a misunderstood
ankh), his left hand is advanced, and holds a sort of sceptre, which is sur-
mounted by a uraeus serpent.

Egyptian and Egyptianizing subjects are not uncommon in decorative
compositions of the Early Imperial period. Among the mural reliefs, one
large class is decorated with representations of pygmies in an Egyptian
setting (von Rohden-Winnefeld, pp. 155-159, pis. xxvii, cxl, cxli); an-
other with a figure of Bes or a figure of Isis between sphinxes {ibid., pp.
164-167, pis. xliv, cxiv, 2) ; and others still with figures of kneeling Egyp-
tian priests (ibid., pp. 217 /.). But I know of no exact parallel for the
figure of no. 62.

63. Small fragment of a large bowl. H. 4.6 cm. L. 5.2 cm. Reg. 88.608.
Robinson, Cat., no. 591. Plate XXIX.

[70]

A CATALOGUE OF ARRETINE POTTERY

Nothing is preserved except a part of the figure of a warrior striding
towards the left. He carries a round shield on his left arm, and wears a
chlamys, the folds of which are roughly indicated.

64. Fragment of a large bowl. H. 5.8 cm. L. 8.8 cm. Reg. 88.598.
Robinson, Cat., no. 597. Plate XXIX.

At the top of the main field, egg and dart. Above, a small part of the
lip is preserved, with plain mouldings at the bottom.

Only one figure is preserved in any completeness — a female dancer
in armor (broken at the knees). She is apparently moving towards the
left, but is posed almost in front view. She wears a long, doubly girt
chiton, over which a baldric can be seen, hung over the right shoulder.
On the head is a low helmet, but this part is so rubbed that all details are
unclear. Her right arm is raised and bent at the elbow, so that the hand,
which holds a sword, is just visible behind the head. On her left arm is a
shield, which is swung around so as to show the inside, with careful in-
dication of the handles and an ornamental pattern of bosses. At the
right, the right arm and a bit of the drapery of a second figure appear.
The right hand holds some object, perhaps a spear.

65. Small fragment of a large bowl. H. 5.3 cm. L. 5.4 cm. Reg. 98.833.
Ann. Rep., 1898, p. 91, no. 68. Plate XXIX.

Of the decoration only the lower part of a figure of Zeus is preserved.
The god was seated in profile to right, with right foot advanced and left
drawn back and resting on the toes. His legs are covered by a robe, with
the folds carefully worked out. The throne was elaborate, with turned
legs, and below it an eagle in front view, with spread wings. Under the
feet of Zeus is a footstool.

A larger fragment in the Museo Pubblico at Arezzo shows that this
vase was of Class I, but gives no suggestion as to the subject as a whole.
Cf. Loeb Coll., no. 197, pi. xix.

CLASS II

(a) DEATH OF PHAETHON

Moulds

66. Mould for a low bowl. Put together from six fragments, two tri-
angular pieces missing; badly rubbed. H. 8 cm. D. 19 cm. Reg. 98.828.
Ann. Rep., 1898, p. 89, no. 63. Plates XIV, XV.

There is only one field for decoration, bordered by a band of rosettes
above and by a conventional laurel leaf pattern below. Below the rosettes,
another band of conventional laurel leaf runs almost entirely around the
mould, broken in places by the figures.

The composition falls into two distinct parts, the divisional points
being emphasized by the signatures, M. Peren{ni) and Bargate(s). In one
of the two fields thus set off (to the right of the signature of Perennius),
Phaethon is represented falling from his chariot. The figure extends
horizontally across the field, the legs in profile, the upper body twisted
about so that both shoulders are visible. The head falls to one side, the
arms are extended helplessly. He is nude, but above the left side and
below the legs bits of flying drapery are summarily indicated. Above the
left arm is a wheel with eight spokes, evidently a part of his broken chariot.
At the left of Phaethon, Helios is represented. He is mounted on a horse
which gallops toward the right and behind which a second horse appears.
In his extended right hand he grasps the reins of two galloping horses in
the upper part of the field, evidently part of the runaway team of Phaethon.
Behind him are the other two horses, which rush away towards the left;
the reins of one of them fly out behind him. Above Phaethon and to the
right is a flying female figure with wings widely spread, grasping in her
hands a long bow. The type resembles Nike in some respects, but more
probably she is a being symbolical of the heavens. Just beyond her is
Artemis, facing left, dressed in a long, girt robe fastened only on the left
shoulder, with drawn bow shooting at Phaethon. Beyond her is Zeus,
seated to left, wearing a long robe which has slipped down from his shoul-

[ 72 ]

A CATALOGUE OF ARRETINE POTTERY

ders. His right hand is raised and grasps the thunderbolt which he is
hurling at Phaethon. Behind him is a female figure (Tethys) carrying a
wheel of the chariot which she has picked up. She rushes away toward the
right, but turns her head to look upward; her long robe flies out behind.
In front of her, three stalks suggest plants rising from the ground.

The second scene, which follows, represents the transformation of the
Heliades. It begins with a large poplar tree (probably one of the daughters
of Helios completely transformed). At the right are three stalks rising
from the ground, and beyond them is a young man, who grasps a bough
of the tree in his left hand, and in his right holds a curved pruning hook
(icXacrTrjpiov) , with which he is attacking the tree. His only dress is a loin
cloth. Below his feet the ground is summarily indicated. Behind him
(to the right) is a twisted pillar surmounted by a rosette, which seems to
be used simply to fill space; against the pillar leans a short ladder. Then
follow two female figures (Heliades) in profile to right, with short branches
rising from their heads. Both were made with the same stamp. They wear
long robes, which leave the upper body bare, and each has her right arm
raised, grasping one of the branches which rise from her head. The first
of these maidens is attacked by a nude youth who seizes one of the branches,
the second is attacked by a figure with a loin cloth, made with the same
stamp as the first nude figure in the scene.

This mould is unique among the products of the Arretine potters. On
account of its unusual subject, it has been considerably discussed: cf. in
addition to the Ann. Rep. for 1898, Hartwig, Philologus, lviii, 1899, pp.
481-497 (with a plate reproduced from a drawing); Goez, ibid., lx, 1901,
pp. 478 /.; Knaack, in Roscher, Lex. d. Myth., m, 2, col. 2195, fig. 1
(reproduced from the plate in Philologus, lviii); and for brief mention,
Walters, History of Ancient Pottery, n, p. 483; B. M. Cat. R. P., pp. xvii and
xxi; TJie Art of the Romans, p. 147. This is the earliest preserved monument
on which the story of Phaethon is represented; it was probably based on a
Hellenistic model and it presents interesting analogies to sarcophagi of
later date with the same subject (cf. Knaack, Quaestiones Phaethonteae,
pp. 71-77). For the inscription M. Peren(ni), cf. C. I. L., xi, 6700,
451, b; and for the inscription Bargate(s), ibid., 6700, 451, a, c, f, I, o
(these lack the decorative border of the Boston example).

[ 73 ]

A CATALOGUE OF ARRETINE POTTERY

(b) DANCERS

Moulds

67. Mould for a bowl of medium size. Broken into two pieces, but com-
plete except for chipping at the edges of the break. H. 8.7 cm. D. 16.3
cm. Reg. 04.34. Ann. Rep., 1904, p. 60, no. 4. Plate XVI.

The surface is divided into two fields by a plain moulding. The lower
field is defined at the bottom by a plain moulding and a row of single
bosses; the upper field has a band of rosettes at the top.

The lower field is decorated with six small flowering plants, which rise
from the moulding at the bottom of the field; each has a double boss at
the base, and on each is perched a large bird, to left, but with the head
turned and looking toward the right. Alternating with these is a con-
ventional pattern, consisting of a pointed staff with cross hatching be-
tween two shorter pointed staffs with spirals; at the base of each group
of three pointed staffs is a rosette.

The main field is divided into six roughly equal spaces by six conven-
tional patterns, made up of a large leaf surmounted by a flower, with an
ear of wheat rising obliquely from the ground line on each side of the leaf.

The six figures which form the principal decoration are: —

(a) Female dancer in voluminous robe, treated in very graceful folds.
The lower part of the body is in front view, the upper part turns toward
the left, the head toward the right. In her right hand, the woman holds a
triangular harp (/iayaSt?), on which she is playing with her left hand. At
the right of the figure, in the upper part of the field, M. Peren(ni).

(b) Male dancer dressed in exomis. He moves toward the left, but the
upper body is twisted about, so that the shoulders are nearly in front view
and the head in profile to right, as he looks down toward the ground. The
arms are raised, and each hand holds a large castanet.

(c) Woman dancing to right, but turning and looking down, so that
she forms a pendant to (6). She wears a voluminous robe, girt high, and
flying out on either side in graceful folds. The arms are raised above the
head, with castanets in the hands. The hair is tied in a knot behind.

(d) Male flute-player in profile to left. He wears a short chiton and a
chlamys. His left foot is firmly planted on the ground, with his right he

[ 74 ]

A CATALOGUE OF ARRETINE POTTERY

beats time on a large scabellum (xpovve^a). Both arms are extended, the
fingers bent as he plays. At the right of the figure, near the top of the
field, Tigrani.

(e) Same as (c).

(/) Male dancer wearing short exomis. The legs are in profile to left,
the upper body in full front, the head in profile to right and tilted far
back. Both arms are raised above the head. The backs of the fingers are
brought together, and it is this feat, apparently, at which the man is
looking.

These types of small dancing figures are very common on Arretine
vases of the second class: cf. nos. 68-75; Loeb Coll., nos. 125 and 126, pis.
v and XI (125 signed M. Perenni Tigrani); B. J., xcvi, 1895, pi. v, 49;
B. M. Cat. R. P., L 103 (= fig. 26, p. 32) and L 104. For the inscription,
cf. C. I. L., xi, 6700, 450, n.

68. Mould for a cover. Put together from three fragments, but com-
plete except for two small pieces. H. 3.8 cm. D. 19.6 cm. Reg. 04.35.
Ann. Rep., 1904, p. 60, no. 5. Plate XVI.

Beginning at the centre, the decorative patterns are: a row of bosses;
a plain moulding; a row of small bosses; palm leaves alternating with small
flowers on curving stems; a very narrow plain moulding; conventional
laurel leaf pattern. Around the outer edge run a plain moulding and a row
of bosses.

The main field is divided into six parts by elaborate ornaments made
up of conventional leaves; on top of each ornament is perched a bird.
The six dancing figures which fill the six spaces were apparently made
with the same stamps as those of no. 67. They are as follows: —

(a) Same as no. 67 (a), (d) Same as no. 67 (6).

(b) Same as no. 67 (d). (e) Same as no. 67 (/).

(c) Same as no. 67 (c). (/) Same as no. 67 (c).
Cf. the note on no. 67.

69. Mould for a cup with nearly straight sides. Unbroken. H. 9 cm.
D. at top, 9.9 cm.; at bottom, 5.4 cm. Reg. 00.315. Ann. Rep., 1900,
p. 85, no. 4. Plate XVII.

[75 ]

A CATALOGUE OF ARRETINE POTTERY

The field is bordered at the top by a plain moulding and a conventional
laurel leaf pattern, and at the bottom by two plain mouldings on which
the feet of the figures rest. It is divided into five parts by pairs of ver-
tical plain mouldings. Where these meet the two mouldings at the bottom,
stalks of plants rise from the ground lines on either side. Where they
cross the laurel leaf pattern at the top, loops of conventional laurel leaf
pattern are attached to them by fillets. These loops pass behind the
figures. The figures are in some cases of the same types as those of nos.
67 and 68, but they are all on a larger scale. The five spaces are filled as
follows: —

(a) Female figure in profile to right. She wears an Ionic chiton and a
himation, which is drawn up over the back of her head. Both arms are
extended in front of her, and she is clapping her hands, as if to give the
time for the dancers. In front of her is the signature M. Peren(ni) (from
above downwards).

(b) Group of two female figures. The one at the right is in three-quarters
front view, but her head is in profile to right. She wears a Doric chiton
and a himation. The right hand is raised and touches an object (perhaps
a lyre) which the woman holds with her left. The figure at the left is in
front view, with her head turned to right. She wears chiton and hima-
tion and has a long veil over her hair. Her weight rests on the right leg,
the left is bent at the knee and touches the ground only with the toes.
Her right hand rests on her hip.

(c) Same as no. 67 (/). At the right, the signature Tigrani (from above
downwards) .

(d) Male dancer in exomis, running to right. Both arms are extended,
but the hands appear to be empty.

(e) Same as no. 67 (6).

Cf. the note on no. 67; and for the signature, C. I. L., xi, 6700, 450, ??.

70. Nearly half of a mould for a small bowl. H. 7 cm. D. 12 cm. Reg.
98.848. Ann. Rep., 1898, p. 80, no. 12.

At the top of the field, a row of bosses and a conventional laurel leaf
pattern, broken by the heads of the figures; at the bottom, rough pro-
jections to indicate the ground, with plant stems rising at intervals. The

[76]

A CATALOGUE OF ARRETINE POTTERY

field was divided into parts by ornaments made up of conventional
leaves, with a bird perched on top of each ; two of these ornaments appear
on the fragment. Three figures made, apparently, with the same set of
stamps as the figures of no. 69, are wholly or partially preserved: —

(a) Same as no. 69 (d).

(6) Same as no. 67 (b).

(c) Same as no. 67 (c).

Cf. the note on no. 67.

71. About one third of a mould for a small bowl. Put together from
two fragments. H. 7.7 cm. L. 13.7 cm. Reg. 98.847. Ann. Rep., 1898,
p. 79, no. 11.

At the bottom of the field, rough indications of the ground with plant
stalks rising between the figures. At the top, row of bosses, naturalistic
grapevine, and conventional laurel leaf pattern, broken by the figures.
The figures have the same dimensions as those of nos. 69 and 70. The
three which are preserved are: —

(a) Same as no. 67 (a).

(6) Same as no. 69 (a).

(c) Same as no. 67 (6).

At the extreme left, the upper right-hand corner of a tripod can be made
out.

Cf. the note on no. 67.

72. Fragment of a mould for a wide, low bowl. H. 6.5 cm. L. 12.8 cm.
Reg. 98.846. Ann. Rep., 1898, p. 79, no. 10.

At the top, row of bosses and a conventional laurel leaf pattern. The
field was divided into small spaces by single ears of wheat rising from the
ground; two of these ornaments are partially preserved. Above them are
bucrania to which loops of conventional laurel leaf pattern are attached
by fillets; these loops pass behind the figures. At the right a third bu-
cranium is preserved. The figures are of the same size as those of nos.
69-71, and were probably made with the same stamps. There are two
nearly complete figures : —

(a) Same as no. 69 (a).

[77]

A CATALOGUE OF ARRETINE POTTERY

(6) Same as no. 67 (/). At the right, the first three letters of the in-
scription Tigrani (from above downwards) are preserved. At the ex-
treme left, a small part of a third figure appears.

Cf. the note on no. 67.

73. Small fragment of a mould for a small bowl. H. 6 cm. L. 11 cm.
Reg. 98.849. Ann. Rep., 1898, p. 80, no. 13.

At the top, a row of bosses and a conventional laurel leaf pattern, broken
by the figures. The ground does not appear to have been indicated, but a
slender plant stalk rises into the field at one point.

The preserved figures are: —

(a) Same as no. 67 (d).

(b) Same as no. 69 (6).

(c) Same as no. 67 (/).
Cf. the note on no. 67.

74. Fragment of a small mould. H. 4.9 cm. L. 4.7 cm. Reg. 03.861.
At the top of the principal field, a row of bosses and a conventional

laurel leaf pattern. Of the decoration only the head and the arms of a
flute-player in profile to left are preserved (cf. no. 67, d). In front of him
are plant stalks rising from the ground.
Cf. the note on no. 67.

75. Fragment of a mould for a low bowl. H. 5.6 cm. L. 6.2 cm. Reg.
98.850. Ann. Rep., 1898, p. 80, no. 14.

At the top of the field, conventional laurel leaf pattern and plain moulding.

The main field was divided into smaller fields by bearded herms rising
from floral ornaments. One of these is well preserved, at the right-hand
side of the fragment. From the herm, loops of conventional laurel leaf
pattern are suspended, as well as cymbals on long cords. At the right of
the herm a bunch of grapes is preserved at the top of the field; at the left,
as if perched on the loop of pattern, is a bird.

Below the bird, part of a female figure dancing to right, of the same type
as no. 67 (c), is preserved.

Cf. the note on no. 67.

[ 78]

A CATALOGUE OF ARRETINE POTTERY

(c) HUNTING SCENES

Moulds
76. Nearly half of a mould for a bowl of medium size. Put together
from two pieces. Considerably worn, with bits of clay still adhering to
the mould in many places. H. 10 cm. D. 14 cm. Reg. 04.31. Ann. Rep.,
1904, p. 60, no. 9. Plate XVII.

The lower field has a border of small leaves at the bottom. It is deco-
rated with alternating long leaves and pointed staffs with rings. Near the
base of every pointed staff a flower is added to it, and in the spaces be-
tween the leaves and the pointed staffs, near the top of the field, are single
small rosettes. The principal field has at the top a conventional laurel
leaf pattern, broken by one of the figures. At the bottom, the ground is
indicated by a series of broad strokes, with flowers on short stems rising
at intervals.

The preserved portion of the principal field is divided into two parts
by a gnarled tree. At the right of this appears a huntsman rushing to the
aid of a companion who is being attacked by a bear. Of the first figure,
only the legs, the lower part of the torso, and the left elbow are preserved.
The man wears high hunting boots, and around the left arm is wrapped a
cloak, which flies out behind him in agitated folds. The bear is in profile
to right, standing on his hind legs and attacking a man who has fallen
to the ground. Only a part of this figure is preserved. He lies upon the
ground under the bear in profile to left. With his right arm he seizes the
bear by the throat, his right foot is raised and pressed against the bear's
belly. Above the bear, part of the signature (Nicep)hor(us Pere)nni fejoffc
is preserved. At the extreme right end of the fragment, part of the tSHQ
branch of a second tree appears.

At the left of the gnarled tree is a hunter running toward the left.
The figure is in profile for the most part, but the shoulders are turned
about so that both are visible in back view. The man wears high boots,
chiton, and a chlamys which covers his left arm, and has his hair bound
with a fillet. In his hands he holds a spear, with which he is thrusting
toward the left. Behind him is a hunting dog, running to left, and above
and at the left, a branch of a tree is visible.

[ 79 ]

A CATALOGUE OF ARRETINE POTTERY

Cf. Not. Scav., 1884, pi. vni, 3; Loeb Coll., no. 137, pi. xi; and the note
on no. 81. For the signature, cf. C. I. L., xi, 6700, 444, a.

77. From a mould for a bowl of medium size. Made with the same
dies as No. 76; less worn. H. 7 cm. L. 11.8 cm. Reg. 13.147. Ann. Rep.,
1913, p. 95. Plate XXVI.

At the top of the principal field, a conventional laurel leaf pattern and
a row of bosses.

In the field, about one half of the group representing two hunters and
a bear is preserved. The huntsman who rushes to the aid of his com-
panion is complete down to the knees. His right arm is raised and in his
right hand he holds an axe, with which he is about to deal a blow at the
bear. Over his right shoulder and his back passes a baldric. The pre-
served parts of the bear are the back of the head, the shoulder, and the
back. Above him is the signature, M. Perenni. Very careful and skilful
modelling throughout.

Cf. no. 76 and the note on no. 81. For the inscription, cf. C. I. L.,
XI, 6700, 435, b.

78. Fragment of a mould for a large bowl with nearly straight sides.
H. 7.8 cm. L. 9 cm. Reg. 98.851. Ann. Rep., 1898, p. 80, no. 15. Plate
XXVI.

At the top of the principal field, a row of bosses; below it, a conven-
tional laurel leaf pattern, broken by the figure.

One figure is completely preserved — a youthful hunter swinging an
axe above his head. He is in profile to right, but his shoulders and his right
leg are turned so as to be nearly in front view. His only garment is a
cloak, which covers the left arm and flies out behind. Behind him (at the
left) is the end of the inscription, NXI, i.e., (Pere)nni. In front of him
(to the right) is a scraggy tree; the trunk and branches are all made up
of short strokes with bunches of leaves at the ends of some of the branches.
Beyond the tree the shoulder and the foreleg of a bear in profile to right
can be made out.

Cf. B. J., xcvi, 1895, pi. iv, 13 and 14; Loeb Coll., no. 139, pi. xi; and
the note on no. 81.

[ 80]

A CATALOGUE OF ARRETINE POTTERY

79. Fragment of a mould for a bowl with nearly straight sides. H. 7.4
cm. L. 9 cm. Reg. 98.853. Ann. Rep., 1898, p. 81, no. 17. Plate XXVI.

At the top of the principal field, row of bosses; below it, a conventional
laurel leaf pattern.

The one figure which is well preserved is a youthful hunter facing right,
with shoulders and left leg almost in front view, like those of the hunter
on no. 78. His arms, however, are lowered, and with both hands he grasps
a three-pronged spear, with which he is thrusting at a boar, whose head
and forelegs only in profile to left are preserved. The hunter wears a cloak,
very similar to that of the hunter on no. 78, and his hair is confined by a
fillet with long ends. In front of him is a tree, behind which he has ap-
parently taken refuge. The boar's head is skilfully rendered ; below his
feet is an indication of rocky ground.

The torso of this figure appears to have been made with the same stamp
as the torso of the huntsman of no. 78. By the use of separate stamps for
the arm and the spear, a figure of quite different appearance was pro-
duced. The necessity of blotting out part of the first impression probably
accounts for the awkward arrangement of the tree and the spear. Cf.
Loeb Coll., no. 138, pi. xi, and the note on no. 81.

80. Fragment of a mould for a large bowl. H. 7.6 cm. L. 12 cm. Reg.
98.852. Ann. Rep., 1898, p. 81, no. 16. Plate XXVI.

At the top of the principal field, a row of bosses; below it, a conventional
laurel leaf pattern.

In the main field, at the right, a lion attacks a fallen man. The man is in
a sitting posture on the ground, facing left. He apparently was supporting
himself with his right arm, his left is enveloped in drapery. The lion holds
him by placing a paw on his shoulder, and bites his head. Beyond (at the
right) part of the drapery of another figure is preserved. Behind the lion
(at the left) the greater part of the figure of a hunter rushing to the aid
of his comrade appears. He swings an axe above his head, and is in all
respects exactly similar to the huntsman of no. 78.

The figure of which a bit of drapery is preserved at the right does not
seem to have been the horseman with a short sword or dagger who is
often combined with figures of the lion and his victim and the hunter with

[ 81 ]

A CATALOGUE OF ARRETINE POTTERY

the axe (cf. B. M. Cat. R. P., L 101 = fig. 25, p. 31, and Walters, n, pi.
lxvi). In this combination the figure on horseback has been interpreted
as Alexander, the hunter with the axe as Craterus, and the whole has been
thought to reflect a bronze group by Lysippus and Leochares which was
set up at Delphi by the younger Craterus (Plut., Alex., 40; Pliny, N. H.,
34, 63/.). Other supposed reflections of the bronze group are discussed by
Loeschcke, Jahrb. arch. I., m, 1888, pp. 189 fi., pi. vn, and by Perdrizet,
J. E. S.y xrx, 1899, pp. 273/. It may be doubted, however, whether it is
justifiable to apply the names of Alexander and Craterus to the figures on
the Arretine vases. On several unpublished moulds at Arezzo, these fig-
ures are variously arranged and are combined with bear-hunting and
boar-hunting scenes of the types of nos. 76-79, so that it is probable that
to the Arretine potters all these figures represented generalized types, not
particular individuals.

8i. Fragment of a mould for a large bowl, with nearly straight sides
and outward-curving lip. H. 12 cm. L. 9 cm. Reg. 98.854. Ann. Rep.,
1898, p. 81, no. 18. Plate XXVII.

The lip is set off from the principal field by two plain mouldings, and
decorated with an elaborate wreath, in which ivy leaves and berries and
tendrils, laurel leaves, and several different fruits and flowers appear.
Near the top of the principal field is a conventional laurel leaf pattern.

One figure is almost completely preserved — a youthful hunter on
horseback, in profile to right. The horse is finely modelled, as he is pulled
up by the rider. Bridle and breast band are carefully indicated, as well as
an animal's skin which served as a saddle-cloth on the horse's back. The
rider wears a short chiton and has on his head a small petasos. His left
hand is lowered, grasping the reins; his right is raised and holds a short
spear, which he is about to throw. Below, just in front of the horse's fore-
feet, the right arm and knee and part of the right shoulder and the head of a
fallen man can be made out. Above, near the top of the field. KJ7pc\
is the inscription, evidently part of the signature M. Perenni \JJ- J^l
Tigrani.

Cf. B. J., xcvi, 1895, pi. iv, 16. The different types which were com-
bined to form hunting scenes are briefly discussed by Dragendorff, B. J.,

[ 82 ]

A CATALOGUE OF ARRETINE POTTERY

xcvi, 1895, pp. 73-75, and cm, 1898, p. 89, note 3. In the former article,
he placed vases of this sort in Class I, but in the latter, he placed
them in Class II. In view of the neglect of the principle of isocephalism
which they show and the emphasis on the background, especially in the
boar-hunting scenes, his later opinion is to be preferred. Walters, also,
although he mentions hunting scenes in Class I (History of Ancient Pot-
tery, ii, p. 492; B. M. Cat. R. P., p. xx), places some of them, at least, in
Class II (B. M. Cat. R. P., p. xxi). The purely decorative feeling of the
potters is well shown by fragments in Arezzo, on which kalathiskos dancers
are combined with boars, and by a fragmentary vase found on the Esqui-
line Hill, on which figures of Apollo and Artemis appear in combination
with hunting scenes (Bull. Comm., i, 1872-73, p. 308, no. 138).

(d) CHARIOT SCENES

Moulds

82. Fragment of a mould for a large bowl. H. 10.2 cm. L. 13.8 cm.
Reg. 98.874. Ann. Rep., 1898, p. 86, no. 38. Plate XXVII.

The lower field was decorated with alternating conventional leaves and
groups of flowers on long stems, but only a part of one leaf and two flowers
are preserved. On either side of the leaf is a group of three bosses. The
upper field is bordered at the top by a row of bosses and a band of con-
ventional laurel leaf pattern; at the bottom it is set off from the lower field
only by the ground lines below the principal figures.

The subject was a race of two-horse chariots driven by Cupids. One biga
is almost completely preserved. The horses are modelled with consider-
able care, galloping to the right. Girths, breast bands, bridles, and reins
are summarily indicated. Below the horses three plant stalks rise from
the ground. The chariot has a large wheel with eight spokes and a low
box on which is a rather sketchy scroll pattern. In the box stands a Cupid,
leaning forward with knees bent. His left hand is extended, holding the
reins, his right is drawn back and holds a short whip by the middle.
Around his neck is fastened a chlamys, which blows out behind. At the
left, the head and the forelegs of one of the horses of a second biga appear.

Cf . the note on no. 87.

[83]

A CATALOGUE OF ARRETIXE POTTERY

83. Fragment of a mould with groups similar to those of no. 82, but
made with smaller and less carefully modelled stamps. H. 7.5 cm. L.
8.1 cm. Reg. 98.873. Ann. Rep., 1898, p. 86, no. 37. Plate XXVII.

At the top of the principal field, a row of bosses and a conventional laurel
leaf pattern; at the bottom, indication of the ground, with plant stalks
springing from it.

The greater part of one biga is preserved. The horses, galloping to
right, show little modelling of details, but the girth, the breast band
(decorated with knobs), and the bridle of the nearer horse are carefully
indicated. The chariot has a six-spoked wheel, the front of the box is
decorated with a palmette. The Cupid leans far back, and gazes upward.
Both his hands are extended in front of him, grasping reins and whip.
The reins are very badly rendered by four broad wavy lines, carelessly
drawn.

Cf. the note on no. 87.

84. Small fragment of a mould for a low bowl, decorated with groups
similar to that of no. 83, but on a still smaller scale. H. 4.5 cm. L. 9.5 cm.
Reg. 98.872. Ann. Rep., 1898, p. 86, no. 36.

At the top of the field, a row of bosses and a tongue pattern.

Parts of two bigas galloping to the right are preserved. Of the first
only the hind legs of the horses, the six-spoked wheel of the chariot, a
small part of the pole and the box, and part of the drapery of the driver
are preserved. Of the second, most of the horses, the head, shoulders, arms,
and part of the wings of the driver appear; he leans far forward, grasping
the reins in his extended hands. Above the horses, the inscription frHtEK^
Philer(os) C. Telli. MEZSJ>

Cf. the note on no. 87; and for the inscription, C. I. L., xi, 6700,
669, b (where, however, C. TELLI stands above PHIER).

Vases
83. Fragment of a low bowl, with design similar to that of no. 84 (the
mould from which it was made might have been produced with the
same stamps that were used for no. 84). H. 7.1 cm. L. 6.8 cm. Reg.
98.875. Ann. Rep., 1898, p. 87, no. 39.

[ 84 ]

A CATALOGUE OF ARRETINE POTTERY

At the top of the field, a trace of a tongue pattern, at the bottom two
plain mouldings.

Of the single biga which is partially preserved, the foreparts of the horses
are lost. The chariot and the driver, however, are complete. The chariot
has a very low box, the Cupid stands with knees bent, leaning forward.
He wears a long robe, which flies out behind. Behind the chariot are three
tapering metae decorated with very simple designs. The one which is
completely preserved is surmounted by a pine cone.

Cf. the note on no. 87.

86. Fragment of a low bowl, with figures of the same dimensions as those
of no. 85. H. 6.1 cm. L. 5.6 cm. Reg. 98.805. Ann. Rep., 1898, p. 87,
no. 40. Plate XXIX.

At the top of the field, part of a tongue pattern; at the bottom, indica-
tion of the ground, with plant stalks rising from it.

The horses of one biga, with the arms and part of the head of the driver,
are preserved. In front of the horses, a meta like those on no. 85 is com-
pletely preserved.

Cf. the note on no. 87.

87. Small fragment of a similar bowl. H. 4.7 cm. L. 4 cm. Reg. 98.806.
Ann. Rep., 1898, p. 87, no. 41.

Below the principal field, two plain mouldings. The horses of one biga
are almost completely preserved. In front of them, parts of the wheel of a
chariot and the flying drapery of the driver appear.

Cf. Fabroni, pi. 111, 7; Loeb Coll., nos. 143-149, pis. xi and xvii. The
subject — a chariot race in which the drivers are Cupids, often with
metae and other paraphernalia to suggest the Roman circus — is fre-
quently found on other classes of monuments, notably on small sar-
cophagi intended for children; cf. Amelung, Die Sculpturen des Vatika-
nischen Museums, 1, pi. 32, no. 8, and pi. 65, no. 456. On the mural reliefs,
though the races in the circus are represented in forms that sometimes
suggest the Arretine designs, the type with Cupids as drivers does not
occur; cf. von Rohden-Winnefeld, pp. 138/.

[ 85 ]

'A CATALOGUE OF ARRETINE POTTERY

(e) CUPIDS WITH FESTOONS

Moulds

88. Unbroken mould for a bowl of medium size. H. 8.7 cm. D. 16.7
cm. Reg. 04.28. Ann. Rep., 1904, p. 61, no. 13. Plate XVIII.

The lower field is set off from the main field by a row of bosses. It is
bordered below by a band of conventional laurel leaf pattern, and deco-
rated with thirteen flowers, pointing downwards. The main field has a
band of rosettes at the top.

The main field is divided into three parts by three exactly similar
Cupids moving toward the right. Each has the legs in profile, the upper
body turned so as to show both shoulders, the head almost in front view,
but turned slightly, so that the gaze is directed downwards and toward the
left. Only the left wing is visible, the left arm is raised and the hand grasps
the handle of an amphora, which rests on the left shoulder; the right
arm is thrown out behind. Over the arms a small, shawl-like robe is sum-
marily indicated. The spaces between the Cupids are filled with heavy
festoons of grapevine, naturalistically rendered.

Below each of the Cupids is a patera, decorated by a rosette, and above
the centre of each festoon is a tragic mask in profile to right, suspended
from the band of rosettes at the top of the field.

Above the festoon at one point, the inscription Eros, and directly oppo-
site Rasin{i).

Cupids with festoons form one of the favorite subjects of the Arretine
potters; cf. Fabroni, pi. i, 6; Loeb Coll., no. 306, pi. vm. They occur fre-
quently on other classes of Roman monuments: cf. for marble reliefs,
the series of slabs in the Gabinetto delle Maschere in the Vatican (Amelung,
Sculpturen des Vatikanischen Museums, n, p. 679, no. 426a, pi. 78, and
other pieces on the following pages and plates); for sarcophagi, Robert,
Die antiken Sarkophag-Reliefs, n, pi. LI, lx, and in, pi. lxiii, and Altmann,
Architectur und Ornamentik der antiken Sarkophage, pp. 74 ff.; for mural
reliefs, von Rohden-Winnefeld, pp. 187-189, pi. lix and cxxiv, 1. The
sluve's name Eros, so far as I am aware, has not been noted before for the
factory of Rasinius. For the form of the signature Eros, cf. C. I. L., xi,
6700, 278, b; for the form of the signature Rasin(i), ibid., 6700, 520, a.

[86]

A CATALOGUE OF ARRETINE POTTERY

89. Unbroken mould for a bowl of medium size. H. 8.5 cm. D. 16.4
cm. Reg. 04.27. Ann. Rep., 1904, p. 61, no. 14. Plate XVIII.

The lower field, which is undecorated, is set off from the main field by
a band of large rosettes, and bordered below by a conventional laurel leaf
pattern, with berries indicated by small bosses. The principal field is deco-
rated at the top with a vine between rows of bosses. The vine is made up
of bunches of grapes, with grape leaves below and ivy leaves above them.

The principal field is divided into three parts by Cupids, exactly similar
in all respects to those of no. 88. Between them are festoons of conven-
tional laurel leaf pattern, to which are attached long pendants (in two
cases, eight, in one case, nine), which imitate metal work. Above each
festoon is a large mask representing a satyr in front view, from which
a long fillet extends into the field on either side.

Cf . the note on no. 88.

Vases

90. Fragment of a large bowl with nearly straight sides. H. 8.3 cm.
L. 9.1 cm. Reg. 98.826. Ann. Rep., 1898, p. 89, no. 61. Plate XXX.

At the top, a small part of the lip, with hatching at the base, is preserved.
The principal field is bordered at the top by small bosses (a single boss
alternating with pairs of bosses placed one above the other), and at the
bottom by a band of four-petalled roses.

The principal field was divided into parts by large conventional orna-
ments, one of which is largely preserved (at the right-hand side of the
fragment). It consists of a twisted pillar on a low base, surmounted by
a knotted lion's skin and a triangular ornament with five ribs. This tri-
angular ornament has a four-petalled rose at the top and, on either side,
the forepart of a prancing horse (only the horse at the left is completely
preserved). Above is the signature P. Cornel{i). To the horses' \fVT)RF'7

heads elaborate festoons of fruit and flowers were attached by " '

simple fillets. One of these festoons is largely preserved; it resembles
closely the festoons of nos. 115 and 116. At the centre of the festoon is a
Cupid, who seems to be holding it up. He is in profile to right, with his
upper body bent backwards as if he were holding a heavy weight.

Cf. the note on no. 88; and for the inscription, C. I. L., xi, 6700, 204, ee.

[87]

A CATALOGUE OF ARRETINE POTTERY

(/) MISCELLANEOUS FIGURE SUBJECTS

Moulds

91. Unbroken mould for a bowl of medium size. H. 8.9 cm. D. 17.8
cm. Reg. 04.30. Ann. Rep., 1904, p. 61, no. 18. Plate XIX.

A narrow lower field is set off from the principal field by a plain mould-
ing and bounded at the bottom by a row of bosses and a plain moulding.
It is decorated with a conventional laurel leaf pattern.

The principal field is bordered at the top by a rope pattern and a gar-
land of fruits and flowers. It is divided into three parts by large twisted
pillars, with bases and capitals. Above the capital, in all three cases, is a
large disc, decorated with small pointed leaves. From each disc a waving
fillet extends into the field. To the capital of each pillar a festoon of leaves
and fruits is attached by a cord on each side, so that the festoons fill the
three parts of the field. The festoons were all impressed in the mould with
a single short stamp and the spaces between the separate sections are
filled in several cases by a small bee. At the centre, each festoon is broken
by a large female figure in profile to left. The woman has the right foot
slightly raised. Her arms are extended and in her right hand she holds a
fruit (apple? pomegranate?), which she appears to have taken from the
garland at the top of the field. She wears a Doric chiton, a himation, and
bracelets, and has her hair bound with a fillet. In front of one of these
figures, near the top of the field, is the inscription Primus, and exactly
opposite is the second inscription, P. Cornell.

For the inscription Primus, cf. C. I. L., xi, 6700, 244, a; for the inscrip-
tion P. Corneli, C. I. L., xi, 6700, 204, ee.

Q2. Almost one half of a mould for a bowl of medium size. H. 9 cm.
D. 17.3 cm. Reg. 98.869. Ann. Rep., 1898, p. 85, no. 33. Plate XIX.

The field is bordered at the top by a row of bosses and a tongue pattern,
at the bottom, by two plain mouldings.

At the right of the centre of the fragment stands a herm of Dionysus,
in profile to left, on a high base. The herm has the form of a pillar with
head and arms. It is draped in chiton and himation. The head is bearded.
The left arm hangs by the side, the right is raised and grasps a long, knotted

[88]

A CATALOGUE OF ARRETINE POTTERY

staff. The high base is decorated with two cross-hatched bands which
form diagonals; at the point where they intersect is a boss. Under the base,
rocky ground is indicated.

At the left of the herm, the first figure is a woman facing left. Her legs
are in profile, but her upper body is turned so that the shoulders are in front
view, the head in three quarters. She wears a long, sleeved chiton, and a
himation, caught up by a girdle at the waist. Her hair is confined by a
veil. Her left hand is raised and holds a flat plate, her right is lowered and
extended toward the next figure. This is also a woman. She is in profile to
right, bending forward and grasping with her right hand the bristles of a
pig, which pulls away toward the right. This woman wears a sleeveless
chiton and a himation which is wound about her waist. Her raised left
hand holds a flat plate, above which three lumps suggest offerings. Above
the heads of the two women is the signature C. Telli. At each corner of
the tablet which bears the inscription is a double boss.

Behind the woman with the pig (to the left), part of the figure of a
bearded satyr is preserved. His upper body is nude, but part of a loin
cloth, knotted at the waist, is preserved. His arms are raised, and in his
hands is a double flute (one pipe curving upward at the end), which he is
playing. Except for traces of a beard, the head is destroyed.

At the extreme right-hand side of the fragment, behind the herm of
Dionysus, the upper part of the figure of a child in front view and the
head of an adult figure facing left appear.

The subject appears to be a sacrifice to Dionysus, but so long as the
rest of the composition is unknown, it is impossible to determine whether
this was the subject of the whole; cf. Loeb Coll., no. 172, pi. xvm. For the
inscription, cf. C. I. L., xi, 6700, 660, a.

93. From a mould for a large bowl. H. 9.5 cm. L. 9 cm. Reg. 13.150.
Ann. Rep., 1913, p. 95. Plate XXVII.

At the top of the field, a plain moulding, a band of eggs, and a conven-
tional laurel leaf pattern (the last two broken by the head of the figure) ;
at the bottom, part of a band of conventionalized flowering plants.

In the field a battlemented tower, pierced by an arched gateway, is al-
most completely preserved. From the top of the tower a woman leans out

[89]

A CATALOGUE OF ARRETINE POTTERY

towards the right, with both arms extended. Her hands are closed, but
apparently hold nothing, unless a small lump above the right hand is
meant to represent some object. She wears a close-fitting, sleeved chiton
and has her hair confined by a net. In front of her, part of a loop of con-
ventional laurel leaf pattern appears, and behind her the signature A.
Ter(enti).

A fragment described by Dragendorff (B. J., xcvi, 1895, p. 79) as
showing " perspectivisch einen von Zinnen bekronten Thurm aus grossen
Quadern erbaut" probably came from a similar representation. The sub-
ject may have been the story of Hero and Leander. The figure leaning
from the tower certainly presents a striking similarity to the figure of
Hero on coins of Sestos and Abydos (cf. for Sestos, B. M. Cat. Coins,
Thrace, p. 200, no. 18; for Abydos, ibid., Troas, p. 7, no. 60, pi. in, 2), on
contorniates (cf. Cohen, Monnaies frappees sous V Empire romain, vin,
p. 297, no. 198), and on gems (cf. King, Antique Gems and Rings, n, p. 78,
no. 9, pi. ii, 9). In these examples, Hero leans from her tower, holding a
lamp, Leander swims towards her through the waves of the Hellespont;
both figures are sometimes identified by inscriptions, so that there can be
no doubt of the interpretation. For the inscription, cf. C. I. L., xi, 6700,
671, c.

Vases

94. Fragment of a large bowl. H. 7.8 cm. L. 9.1 cm. Reg. 88.597.
Robinson, Cat. no. 588. Plate XXX.

At the top of the fragment a small part of the rim, with hatching at
the bottom, is preserved. At the top of the principal field is a row of bosses
and an egg and dart.

r At the centre of the fragment, in the main field, is a large ornament
which resembles a knotted fillet, with a pendant attached to it; below this
is a single boss. To this ornament are attached loops of conventional laurel
leaf pattern, which are broken by the figures. Of these two are partly pre-
served. At the left is a nude male figure. The body is in front view, but
the head is turned so that it is in profile to left. The right hand grasps a
spear, the left is lowered and rests on the rim of a shield, which stands on
the ground, and has hatching on the rim and a boss at the centre. At the

[90]

A CATALOGUE OF ARRETINE POTTERY

right is a bearded man in profile to left, gazing at the young warrior. He
is seated and leans forward, resting his elbows on his thighs. Over the
left arm is a bit of drapery. Still farther to the right, an indeterminate
object.
Cf. Loeb Coll., no. 102, pi. xvi.

93. Fragment of a large bowl. H. 7.6 cm. L. 6.8 cm. Reg. 03.862.

At the top, a small part of the lip, with a plain moulding at the bottom,
is preserved. At the top of the principal field, a row of small bosses.

A large part of the main field is occupied by an elaborate acanthus
scroll, which evidently rose from the ground line. Near the lower end of
the scroll, a large poppy head is attached to it on the right. At the left of
the scroll is a large double rosette, with a conventional laurel leaf pattern
running from it towards the top and the bottom of the field, and beyond
this, part of a second acanthus scroll is visible. Above the first scroll is the
forepart of a dog, emerging from a wreath of acanthus leaves, and at the
right of the scroll, part of the figure of a female dancer is visible. She is in
profile to left, and has her right arm bent at the elbow; the hand doubtless
rested on the breast.

96. Small fragment of a large bowl, put together from two pieces. H.
5.3 cm. L. 6.1 cm. Reg. 88.602. Robinson, Cat. no. 596.

At the top of the principal field, hatching and an indeterminate pat-
tern ; at the bottom, groups of bosses forming a rosette pattern and a plain
moulding.

Of the figures, only the hind quarters of a horse in profile to left and the
right forearm and the left knee of a man who appears to be in pursuit of
him are preserved.

(</) ANIMALS
Vases

97. Fragment of a large bowl with nearly straight sides. H. 6.6 cm.
L. 5.9 cm. Reg. 88.599. Robinson, Cat. no. 600. Plate XXX.

At the bottom of the main field, part of a band of rosettes and two plain
mouldings.

[91 ]

■»-

A CATALOGUE OF ARRETINE POTTERY

In the main field, a stag, seated on his haunches to right, raises his left
foreleg at a dog, which is barking at him. Only the head and neck and one
foreleg of the dog are preserved. Under the feet of both animals rough pro-
jections suggest rocky ground.

Cf. Loeb Coll., no. 207, pi. xn (in the text, p. 105, the stag is incorrectly

called an ass).

98. Small fragment of a bowl. H. 2.9 cm. L. 5.7 cm. Reg. 88.607.
Robinson, Cat. no. 592. Plate XXX.

Of the decoration, nothing is preserved except the figure of a boar,
seated on its haunches, in profile to right. The modelling is careful.

On a silver bowl from Bosco Reale (Mon. Piot, v, 1899, pp. 79-81, pi.
xv), a very similar squatting boar appears.

(k) STATUETTES

Moulds

99. Unbroken mould for a small bowl. H. 5.6 cm. D. 11.5 cm. Reg.
98.812. Ann. Rep., 1898, p. 88, no. 47. Plate XX.

At top and bottom the field is bordered by a row of bosses and a plain
moulding. Near the top is a conventional laurel leaf pattern, broken at
intervals by the figures.

The field is divided into six triangular spaces by six pairs of plain mould-
ings, which run obliquely from the laurel leaf pattern to the moulding at
the bottom. The points where they meet are marked by large bosses with
cross hatching. Three of the six spaces are decorated with a figure of the
youthful Dionysus. He stands on a large flower, from each outer corner of
which rises an ear of wheat on a curving stem. The Dionysus is in front
view, with right leg firm and left leg placed to one side. He wears a chiton
which reaches only to the knees, and high boots. His left hand is raised
and rests on a long sceptre, his right is lowered and holds a bunch of
grapes. In the other three spaces is a small herm of the bearded Dionysus
in profile to left, draped in a long robe. The left hand rests on the hip, the
right is extended and holds an indeterminate object.

Cf. Fabroni, pi. n, 3; Loeb Coll., nos. 220 and 221, pi. xx.

[ 92 ]

A CATALOGUE OF ARRETINE POTTERY

ioo. Fragment of a mould for a small bowl. H. 4 cm. L. 5 cm. Reg.
98.825. Ann. Rep., 1898, p. 89, no. 60.

At the top of the field, a row of bosses and a conventional laurel leaf
pattern.

Of the decoration only a small part has been preserved; at the left of the
fragment, part of an acanthus ornament, surmounted by a bell-shaped
flower and a small, kneeling satyr in profile to left, holding a cornucopia
on his bent left arm; at the right, a rose and a bud from a second scroll.

For the kneeling satyr, cf. Loeb Coll., no. 1, pi. i; no. 217, pi. xn; and
no. 222, pi. xxi.

Vases

ioi. Fragment of a large bowl. H. 7.8 cm. L. 12.8 cm. Reg. 88.595.
Robinson, Cat. no. 603.

The lower field is divided from the main field by a band of large rosettes,
and bordered below by a conventional laurel leaf pattern. It is decorated
with alternating ears of wheat and large scrolls. The scrolls resemble a pair
of Ionic volutes; inside of each is a conventional leaf.

In the principal field is a small Cupid standing in profile to right, on a
flower. From the flower, scrolls rise obliquely into the field. At the right,
the bottom of an elaborate pattern is preserved. It begins with a small
vase, flanked on either side by a pointed staff with spirals, rising obliquely
into the field; above the vase is a bell-shaped flower, and above this the
beginning of an acanthus leaf can be made out. At the left of the Cupid,
part of a similar ornament is visible.

(i) MASKS, HEADS, BUCRANIA, PAIRS OF ANIMALS, ETC.

Moulds
102. Mould for a large bowl. Put together from three fragments, but
complete except for one small triangular piece and chipping about the foot.
H. 13.2 cm. D. 23 cm. Reg. 00.317. Ann. Rep., 1900, p. 84, no. 2. Plate
XXI.

The lower field is set off from the principal field by two plain mouldings
and a rope pattern, and bordered below by two plain mouldings and a row

[93] '

A CATALOGUE OF ARRETINE POTTERY

of bosses. It is decorated with thirteen large rosettes. The principal field
has at the top a row of bosses and an egg and dart moulding, and just
below the latter, a band of conventional laurel leaf pattern.

The main field is divided into four parts by large crossed thyrsi, which
end below in small knobs, to which large cross-hatched bosses or pine cones
are attached. Where the thyrsi cross they are fastened together by large
knotted fillets, and from the points of intersection a branch of grapevine,
with two leaves, a bunch of grapes, and long tendrils is suspended. In the
field above the point of intersection, there is in each case a large, six-
petalled flower.

In the four fields thus set off, the scheme of the decoration is in all cases
the same, though there are differences in detail. In each field a loop of
conventional laurel leaf pattern runs from thyrsus to thyrsus, the ends
being attached near the tops of the thyrsi by cords which end in large
tassels, and from each of these loops of pattern nine long pendants with
cross hatching are suspended. The space above the loops of pattern is
filled in each case by a large mask ; two represent bearded satyrs and two
very youthful satyrs. The modelling in all cases is extremely careful.
The bearded satyrs are bald, with wreaths of ivy leaves and berries bound
about the brows; the youthful satyrs have similar wreaths, partially con-
cealed by large leaves or kerchiefs, and, below the chins, large necklaces
or garlands. At opposite points, near the top of the field, are the signa-
tures, Quartio and Rasin(i).

For a similar scheme of ornamentation, cf. Loeb Coll., no. 223, pi. vn
(signed by Certus as slave of Rasinius) ; and for exact replicas of the two
types of masks, ibid., nos. 248 and 265, pi. xx. For the inscription, cf.

C. I. L„ xi, 6700, 545.

103. Mould for a bowl of medium size. Put together from four pieces,
but complete except for chipping at the edges of the breaks. H. 10 cm.

D. 21 cm. Reg. 04.25. Ann. Rep., 1904, p. 61, no. 16.

The decoration is made up of the same elements as that of no. 102, and
was produced with the same stamps.

At the bottom is a very narrow lower field, bordered below by a plain
moulding and above by a plain moulding and a conventional laurel leaf

[ 94 1

A CATALOGUE OF ARRETINE POTTERY

pattern, and decorated with rosettes and palmettes laid on their sides.
At the top of the principal field is a pattern of pairs of ivy leaves alternat-
ing with single grape leaves, bordered below by a plain moulding and above
by a row of bosses.

The principal field is divided into four parts by pairs of crossed thyrsi,
connected by loops of conventional laurel leaf pattern. The loops are at-
tached near the tops of the thyrsi by cords which end in large tassels, and
from each loop hang leaf-shaped pendants with cross hatching (in two
cases five, in one case six, in one case seven). Above these in every case are
two bell-shaped flowers, attached by curving stems to the moulding at the
top of the field; and between these is a disc decorated with small, over-
lapping leaves and surrounded by groups of three bosses (berries?) on
short, straight stems. Where the thyrsi cross they are fastened by large
knotted fillets, and from these points of intersection, a branch of grape-
vine with two leaves, a bunch of grapes, and long tendrils is suspended.

In the four fields thus distinguished are large masks (two bearded
satyrs and two youthful satyrs) exactly similar in all details to those on
no. 102. Above each head a loop of conventional laurel leaf pattern con-
nects the points of the thyrsi on either side; below each of the two youthful
satyrs is a rosette.

Cf. the note on no. 102.

104. Mould for a large bowl. Unbroken. H. 9.3 cm. D. 19 cm. Reg.
98.807. Ann. Rep., 1898, p. 87, no. 42. Plate XX.

The decorative patterns at the bottom are: plain moulding, band of
rosettes, plain moulding, frieze of notched leaves alternating with flowers
(or seed pods) on curving stems, plain moulding. Above the main field:
band of alternating eggs and pointed staffs with spirals, above which,
row of bosses.

In the main field are four masks of satyrs, crowned with ivy leaves and

berries. Between these are garlands of ivy leaves, grape leaves, and bunches

of grapes. From the points where the garlands are attached to the masks

hang single flowers (or seed pods) on long curving stems. Above the

garlands, at exactly opposite points, the signatures Bargathi ]K|\^c/\H'j

and Perenni.

[95]

A CATALOGUE OF ARRETINE POTTERY

For the inscription Perenni, cf. C. I. L., xi, 6700, 435, g, h; and for
Bargates as slave of Perennius, ibid., 6700, 451 (none of the forms there
recorded is exactly like that of no. 104).

105. Part of a mould for a large bowl. H. 11.5 cm. L. 17.1 cm. Reg.
04.26. Ann. Rep., 1904, p. 61, no. 17.

The decoration is similar to that of nos. 102 and 103, and many of the
same stamps were employed.

Of the patterns below the main field, several are partially preserved.
From the bottom up, they are as follows: frieze of notched leaves alter-
nating with seed pods on curving stems, plain moulding, band of double
rosettes, band of cross-hatched bosses. Above the main field: row of
bosses, band of laurel leaves and berries, pair of plain mouldings.

As in nos. 102 and 103, the main field was divided into four parts by
crossed thyrsi. The tops of these are here connected by loops of conven-
tional laurel leaf pattern, from which hang long pendants, with knobs
at the ends and vertical ribs as a decoration for the lower half. The one
group that is completely preserved consists of seven pendants. Above
in the field is a large rosette. Where the thyrsi cross they are fastened
together by a large knotted fillet, with a spray of grapevine below. Of
the four fields defined by the thyrsi only two are preserved; in one is a
mask of a bearded satyr, in the other a mask of a youthful satyr; so that
the scheme of decoration evidently was the same as that of nos. 102 and
103. Above each mask, a loop of conventional laurel leaf pattern connects
the tops of the adjacent thyrsi.

Cf. the note on no. 102.

106. Fragment of a mould for a large bowl. H. 9 cm. L. 6.5 cm. Reg.
98.808. Ann. Rep., 1898, p. 87, no. 43. Plate XXVII.

Above the main field, a tongue pattern and a row of bosses. In the field,
a mask of a bearded satyr crowned with ivy leaves and berries is almost
completely preserved. The type resembles the bearded masks of nos.
102, 103, and 105, but is on a larger scale and more carefully modelled.
Above, the signature Atticus.

Atticus was a slave of L. Annius; cf. C. I. L., n, 4970, 67; xi, 6700, 65.

[96]

A CATALOGUE OF ARRETINE POTTERY

107. Fragment of a mould for a bowl of medium size. H. 6.8 cm. L.
7.3 cm. Reg. 98.809. Ann. Rep., 1898, p. 87, no. 44.

The main field was defined below by a pair of plain mouldings. Of its
decoration, the lower part of the mask of a bearded satyr, a small portion
of a wreath of ivy leaves, and at the right a small flower-pot are pre-
served.

108. Fragment of a mould for a low bowl. H. 6.5 cm. L. 7 cm. Reg.
98.810. Ann. Rep., 1898, p. 87, no. 45. Plate XXVII.

At the top of the main field, a tongue pattern and a row of bosses. In the
field, bordered above and below by a row of double bosses, is a comic
mask wreathed with ivy leaves and berries, at either side of which part of
a festoon is preserved. Of the elements of which the festoon is composed,
only acorns can be made out with certainty.

109. Fragment of a mould for a bowl of medium size. H. 5.9 cm. L.
7.5 cm. Reg. 03.860.

At the top of the principal field, a tongue pattern and a row of bosses.
In the field, at the left, is a tall, slender crater on a high foot (lower part
of body ribbed, upper part decorated with a narrow band of ornament
about centre; on lip, vertical grooves). From this a spray of leaves and
fruits rose obliquely into the field at either side. The component parts
are not very clear; little can be made out except pine cones and an acorn.
Between these sprays is a disc with cross-hatching. At the right, part of
another spray rises obliquely, no doubt from a similar crater. At the point
where this spray comes close to the spray which rises from the left, the two
are separated by a small disc, decorated with seven small rings, and from
this, on a knotted fillet, hangs a mask of a youthful satyr. In #-rrr
the upper part of the field, at the right, the signature Philer(os).

The slave's name Phileros occurs with the names of at least four different
potters: C. Annius (C. 7. L., xi, 6700, 53); P. Cornelius (C. I. L., xi, 6700,
239) ; Memmius (C. I. L., xi, 6700, 383) ; and C. Tellius (C. I. L., xi, 6700,
669).

no. Fragment of a mould for a large bowl. H. 7.3 cm. L. 7.7 cm.
Reg. 98.815. Ann. Rep., 1898, p. 88, no. 50.

[97]

A CATALOGUE OF ARRETINE POTTERY

At the top of the principal field, a row of bosses, egg and dart, and a
plain moulding.

In the field are slight traces of two masks of satyrs. Between them is a
large inverted palmette with incurving leaves. Above are two scrolls ending
in spirals (suggestive of two pairs of Ionic volutes), between which is a
pine cone. Inside the scrolls, in one case part of a rosette, in the other
a disc decorated with overlapping pointed leaves.

in. Mould for a shallow bowl or cup. Unbroken. H. 5.4 cm. D.
14.3 cm. Reg. 04.36. Ann. Rep., 1904, p. 60, no. 6. Plate XXII.

The single field for decoration is bordered below by a row of bosses and
above by a row of bosses and a plain moulding. It is divided into four
parts by small bucrania, each of which has a large fillet attached at each
side. The bucrania are connected by conventional laurel leaf patterns,
which run horizontally, and by elaborate festoons of fruit and flowers,
naturalistic in effect, but so summarily modelled that the component parts
cannot be surely determined. Acorns are the only forms that can be
named. Each festoon was produced by repeating a small stamp six
times. Above the centre of each festoon is a bird holding a flower in its
bill. There are two types of birds which alternate. Between the festoon
and- the laurel leaf pattern, at exactly opposite points, are the signatures
M. Peren(ni) and Tigrani.

For a similar scheme of decoration, cf. Loeb Coll., no. 224, pi. xn. Fes-
toons attached to ox-skulls form a favorite device in the art of the Early
Imperial period: cf. Petersen, Ara Pads Augusta, pp. 38-48, figs. 23-25,
and pi. ii ; Altmann, Architectur und Ornamentik der antiken Sarkophage,
pp. 66 f. ; Die rbmischen Grabaltare der Kaiserzeit, pp. 59 f. For the in-
scription, cf. C. I. L., xi, 6700, 450, n.

ii2. Mould for a small cup with flaring lip. Unbroken. H. 4.9 cm.
D. 8.4 cm. Reg. 04.37. Ann. Rep., 1904, p. 61, no. 19.

The lower part is undecorated. Above, a narrow field is bordered below
by a band of conventional laurel leaf pattern and a plain moulding and
above by a plain moulding, a band of separate flowers pointing upwards,
and a row of bosses. The field is divided into four parts by small bucrania,

[ 98]

A CATALOGUE OF ARRETINE POTTERY

and the space between each pair of bucrania is filled by a very simple
festoon, consisting in each case of a bunch of grapes and a grape leaf be-
tween single ivy leaves with tendrils.
Cf. the note on no. 111.

113. Fragment of a mould for a large bowl. H. 7.4 cm. L. 15 cm. Reg.
98.819. Ann. Rep., 1898, p. 89, no. 54. Plate XXVII.

At the top of the main field, a row of bosses. The decoration consisted
of a series of lions' skins displayed, as if they were attached at top and
bottom to cords passing horizontally around the vase. One is almost com-
pletely preserved; it shows the legs of the skin tied in simple knots and
the tail tied in an elaborate bowknot. At the left, part of a similar dis-
played skin is preserved. Between the two is a pointed staff with spirals,
above which is the signature Antiochus.

For the motive of the displayed lion's skin, cf. Fabroni, pi. vi, 9; Loeb
Coll., nos. 130, 244, 245, 279-304 (two of these with the signature of P.
Cornelius, one with that of Primus, a slave of P. Cornelius), and espe-
cially Loeb Coll., no. 223, pi. vii (signed by Certus, slave of Rasinius).
Similar motives appear on two silver canthari from Hildesheim (Pernice
and Winter, Der Hildesheimer Silberfund, pis. xi and xii). Antiochus
was a slave of P. Cornelius; cf. C. I. L., xi, 6700, 209, c, and xv, 4987, d.

Vases

114. Fragment of a small bowl. H. 4 cm. L. 4.6 cm. Reg. 88.606.
Robinson, Cat. no. 590.

At the top of the main field, a conventional laurel leaf pattern and a
row of bosses. In the field, two masks of bearded Sileni, one framed by
a wreath of conventional leaves, are almost completely preserved.

(j) NATURALISTIC PLANT FORMS

Moulds

115. Mould for a large bowl. Unbroken. H. 10.3 cm. D. 20 cm. Reg.
00.314. Ann. Rep., 1900, p. 84, no. 3. Plate XXII and Fig. 2, p. 12.

The surface is divided into two fields by a band of rosettes, and a similar

[99]

A CATALOGUE OF AERETINE POTTERY

band decorates the upper field at the top. The lower field is bordered at
the bottom by two plain mouldings and a row of bosses, and below this
are three other patterns, which run around the mould, namely, a con-
ventional laurel leaf pattern, a row of bosses, and a plain moulding. The
lower field is occupied by a spray of naturalistic ivy, with leaves, berries,
and tendrils worked out with very great care.

In the upper field, the decoration consists of an elaborate festoon, with
many supplementary figures. The festoon was produced with one small
stamp, which was impressed in the mould fifteen times, though one im-
pression (evidently the last) did not give the whole pattern owing to lack
of space. The pattern is made up of fruits and flowers and leaves; the
quince, the acorn, and the pine cone can be recognized, the other parts are
less distinctly characterized. At the points where the separate sections
met, a small space was left in every case, and these spaces were filled by
small figures of bees and birds. There are two types of bees, one smaller
than the other, and three types of birds.

Above the garland, at two points almost exactly opposite each other,
are the inscriptions Pantagatus and Rasin(i), the latter placed bottom
up. Beginning at the right of the inscription Pantagatus, the supplemen-
tary figures above the garland are as follows : —

(a) Long-tailed bird (daw?) with neck outstretched, in profile to right.

(b) Bee flying to left.

(c) Daw(?), same type as (a).

(d) Lizard to right.

(e) Bee, same type as (6).
After the inscription Rasin(i) :

(f) Daw(?) in profile to left.

(g) Daw(?), same type as (a).

(h) Bee flying to right, same type as (b).
(i) Daw(?), same type as (/).

Below the garland, directly below the signature Pantagatus:
(j) Small Cupid seated in profile to left.
Then to the right:

{k) Bee flying to right, same type as (6).
(/) Lizard to right, same type as (d).

[ 100 ]

A CATALOGUE OF ARRETINE POTTERY

(m) Bee flying to right, same type as (6).

(ri) Cupid, same type as (j).

(o) Daw(?), same type as (a).

(p) Lizard to left, same type as (d).

(q) Bee flying to right, same type as (b).

(r) Bird in profile to right with head turned upwards.

(s) Cupid, same type as (j).

(t) Lizard to right, same type as (d).

(u) Daw(?), same type as (a).
Cf. the note on no. 116.

1 1 6. Mould for a bowl of medium size. Put together from two pieces,
but only slightly injured at the edges of the break. H. 8.6 cm. D. 16.4
cm. Reg. 04.29. Ann. Rep., 1904, p. 61, no. 15.

A narrow lower field is set off by a plain moulding at top and bottom
and decorated with a band of large rosettes. The main field is bordered at
the top by a tongue and dart pattern.

The main field is divided into three parts by small comic masks, each
framed in a border of rose petals. On either side of each mask is a small
star, with a broad fillet depending from it. The space between the masks
is filled in each case with a naturalistic garland of fruits and foliage, exactly
similar to the garland of no. 115, but somewhat smaller in scale. The
same stamp was repeated three times in each of the three fields, in such
a way as to leave small spaces between the sections. These are filled by
different combinations of small designs: a large bee, two leaves, and a
poppy head (in two cases) ; a large bee, two leaves, and three poppy heads;
a flower, two leaves, and a poppy head; a flower and two poppy heads;
and a flower and a single poppy head. Below each of the three garlands
are a lizard (facing right) and a small bee (flying to left), above are other
small figures, less regularly arranged. Beginning at the right of the signa-
ture Rasin(i) these are in order: —

(a) Small Cupid flying to right, with arms extended.

(6) Bird perched on garland facing left, but turning head to preen raised
wings.

(c) Bird perched on garland, facing left, same type as no. 115 (/).

[ 101 ]

A CATALOGUE OF ARRETINE POTTERY

(d) Cupid, same as (a).

(e) Bird perched on garland, facing right, same type as no. 115 (a).
(/) Bird preening wings, same as (6).

(g) Cupid, same as (a).

(h) Small bee, flying to left, same type as no. 115 (b).

The signatures, which are in the field above the garland, not quite op-
posite each other, are Rasin(i) and Pantagatus.

Cf. no. 115 and Loeb Coll., nos. 305 and 306, which have the same sig-
nature; Fabroni, pi. I, 6. This sort of decoration is one of the commonest
and one of the most effective in the repertoire of the Arretine potters. It
has close analogies in other work of Early Imperial times, such as vases
in silver (cf. Mon. Piot, v, pis. vu and vm — from Bosco Reale; Pernice-
Winter, Der Hildesheimer Silberfund, pi. x); marble altars (cf. Altmann,
Die rbmischen Grabaltare der Kaiserzeit, passim); and many kinds of
utensils and articles of furniture. For the inscription Pantagatus, cf.

C. /. L., xi, 6700, 51, b; for the inscription Rasini, ibid., 6700, 520, a.
The combination Pantagatus Rasini is not recorded in the Corpus, but is
found on the two moulds in the Loeb Collection (cf. Loeb Coll., nos. 305
and 306, pi. vm).

117. Mould for a small cup. Unbroken, but slightly chipped. H. 5 cm.

D. 10 cm. Reg. 00.627. Ann. Rep., 1900, p. 85, no. 5. Plate XXVII.
The lower part is undecorated. Above, a garland runs around the centre.

The lower part of this is made up of nine sections; five of these, composed of
naturalistic fruits and flowers, were made with one stamp; four, composed
of two pairs of leaves and a pine cone, with another. The upper part of
the garland is made up of alternating grape leaves and bunches of grapes.
Above is a band of flowers pointing upwards, between two plain mouldings.

118. Fragment of a mould for a large bowl. Put together from two
pieces. H. 7.5 cm. L. 9.3 cm. Reg. 98.817. Ann. Rep., 1898, p. 88, no. 52.

At the top, a tongue pattern and a row of bosses. In the main field, a
spray of large oak leaves, and bunches of (ivy?) berries running around
the vase.

Cf. the note on no. 119.

[ 102 1

A CATALOGUE OF ARRETINE POTTERY

119. Fragment of a mould for a bowl of medium size. H. 6 cm. L. 7.3
cm. Reg. 98.818. Ann. Rep., 1898, p. 88, no. 53. Plate XXVIII.

Below the main field, a small part of a plain moulding is preserved; at
the top, tongue pattern and row of bosses.

In the main field, a spray made up of large oak leaves, acorns, and bunches
of (ivy?) berries coming from the right meets the end of a similar spray
coming from the left. At the point of meeting, a fillet is summarily indi-
cated. Above, the signature C. Telli.

Leaves, acorns, and berries were all made with the same stamps as
those of no. 118. Cf. Loeb Coll., no. 331, pi. xxii; and for the inscription,
C. I. L., xi, 6700, 660, a.

120. Fragment of a mould for a large bowl. H. 6.3 cm. L. 8 cm. Reg.
98.821. Ann. Rep., 1898, p. 89, no. 56.

Of the decoration, only a small part of a spray of grapevine, with large
leaves, bunches of grapes, and tendrils, is preserved.

Cf. Loeb Coll., nos. 318, 319, pi. xxi, and no. 320, pi. xxii; Holder,
pi. xxiv, 11.

121. Fragment of a mould for a bowl of medium size. H. 5.5 cm. L.
5.2 cm. Reg. 03.859.

The main field is bordered, above and below, by a row of double discs.
In it, part of a spray of ivy leaves and bunches of berries is preserved.

Cf. Inghirami, Monumenti Etruschi, Serie v, pi. 1, 2; Loeb Coll., no. 325,
pi. xxii, and nos. 326-330 (no. 327 signed by P. Cornelius).

(k) CONVENTIONALIZED PLANT FORMS AND OTHER CONVENTIONAL

PATTERNS

Moulds
122. Fragment of a mould for a deep bowl. H. 10 cm. L. 11.5 cm. Reg.
98.813. Ann. Rep., 1898, p. 88, no. 48. Plate XXVIII.

At the bottom of the main field, a conventional laurel leaf pattern; at
the top, a band of large conventionalized flowers (daisies?) and a small part
of a plain moulding.

[ 103 ]

A CATALOGUE OF ARRETINE POTTERY

The field was divided into compartments by vertical bands of daisies(?).
In each compartment was an elaborate ornament, made up of a central
daisy (the stamp only partially impressed in the mould, so that only one
half of the flower appears) with a seed pod and a very simple palmette (re-
sembling a fleur-de-lis) above and below it and with a pointed staff with
spirals rising obliquely from it on each side.

123. Fragment of a mould for a deep bowl. H. 8.5 cm. L. 6.4 cm.
Reg. 98.816. Ann. Rep., 1898, p. 88, no. 51. Plate XXVIIL

A lower and an upper field are divided by a band of rosettes between
pairs of plain mouldings, and above the upper field the same arrangement
of patterns is repeated.

Of the decoration of the lower field, only an elaborate knotted fillet,
decorated with a small rosette, and small bits of conventional foliage
are preserved. The upper field has, near the top, a pattern of alternating
ribbed calyx ornaments and small rosettes (the calyx ornaments point
first to the right and then to the left). Below each rosette hangs a large
bell-shaped flower, below each calyx ornament is a rosette in the field.
Between this pattern and the mouldings which separate the upper and
lower fields, the signature Certus Ra$in(i). "

For Certus as slave of Rasinius, cf. C. 7. L., xi, 6700, 525; and for the
form of the inscription Rasin(i), ibid., xi, 6700, 520, a.

124. Fragment of a mould for a large bowl. H. 6.5 cm. L. 7.5 cm. Reg.
98.820. Ann. Rep., 1898, p. 89, no. 55. Plate XXVILT.

The main field was bordered below by a band of small rosettes, above
by a band of larger rosettes. It was decorated by a band made up of large
leaves and pointed staffs with spirals to left, arranged in pairs and alter-
nating in position. At the right, the first letter (R) of a signature (Rasini?).

Cf. Fabroni, pi. 11, 1 and pi. in, 6; B. J., xcvi, 1895, pi. vi, 60; Loeb Coll.
no. 395, pi. xxm.

125. Small fragment of a mould for a bowl of medium size. H. 4 cm.
L. 7.3 cm. Reg. 98.822. Ann. Rep., 1898, p. 89, no. 57.

At the top, tongue pattern and row of bosses. Below, a row of double

[ 104 ]

A CATALOGUE OF ARRETINE POTTERY

bosses and in the principal field part of a large knotted fillet and a conven-
tional garland design. Between the tongue pattern and the row of double
bosses, the signature (?ANNIr

The inscription should probably be read Philero(s) L. Anni, although
the first letter of the second line is unclear. Of the Annii, L. Annius is the
only one whose name appears with the two N's written together. Phileros
has not been noted before as a slave of L. Annius, although the name oc-
curs with that of C. Annius (C /. L., xi, 6700, 53).

1 36. Fragment of a mould for a bowl of medium size. H. 6.7 cm. L.
6.2 cm. Reg. 98.823. Ann. Rep., 1898, p. 89, no. 58. Plate XXVIII.

At the top, conventional laurel leaf pattern and a row of bosses. In the
main field: at right part of a large volute crater with ribbed body and
cover, on which perches a bird facing right; at left part of a pattern of
acanthus leaves, rosettes, and palmettes, connected by curving stems.

For the crater and the bird, cf. Loeb. Coll., no. 220, pi. xx.

127. Fragment of a mould for a straight-sided cup. H. 4.5 cm. L. 8.5 cm.
Reg. 98.824. Ann. Rep., 1898, p. 89, no. 59.

At the bottom, a band of rosettes and a conventional laurel leaf pattern.
Above, part of a simple vertical moulding with a rosette at the lower end,
which served to divide the whole into smaller fields. In the two fields
which are partially preserved, parts of a design of acanthus foliage, ro-
settes, and bell-shaped flowers, rising from inverted acanthus leaves.

Vases

128. Deep, nearly straight-sided bowl. Put together from seventeen
pieces, small parts restored. H. 11.3 cm. D. 15.8 cm. Reg. 97.379. Ann.
Rep., 1897, p. 31, no. 26. Plate I.

At the bottom of the single wide field, conventional laurel leaf pattern
and two plain mouldings; at the top, conventional laurel leaf pattern and
egg and dart. Plain rim, with slightly flaring lip.

The field is filled with complicated conventional patterns. The arrange-
ment of these was determined by means of a plain moulding which runs
around the vase a little above the centre of the field. Fcom this sixteen flat

[ 105 ]

A CATALOGUE OF ARRETINE POTTERY

mouldings, slightly ribbed, extend obliquely into the lower part of the field,
forming eight zigzags. The principal groups of patterns were arranged at
the eight points where the oblique mouldings meet the horizontal moulding.
Each consists of a large palmette topped by a pointed flower and flanked by
pointed staffs (with rings on the lower portion and herring-bone patterns
on the upper parts), which rise obliquely into the field; from the base of
the palmette a smaller palmette extends horizontally into the field on
each side, covering the horizontal moulding, and a conventional leaf hangs
down between the oblique mouldings; below the leaf, in each case, is a
rosette. Where the oblique mouldings meet near the bottom of the field,
their points of juncture are masked in each case by a crown of small leaves,
from which ribbed pointed staffs with rings rise obliquely into the field.
Above rises a palmette, with a "seed-pod" ornament at its centre and a
hatched ring above its point. Above, in the field: in six cases a pelta-
shaped ornament with a cross at the centre; in two cases (at opposite
points) the signatures Bargatki and M. Perenn(i), each inside a simple,
notched border.

Cf. for the inscription M. Perenn(i), C. I. L., xi, 6700, 435, xx; and for
the inscription Bargathi, ibid., 6700, 451, n (both of these lack the decora-
tive borders of the Boston example).

129. Fragment of a large bowl. H. 7 cm. L. 6.8 cm. Reg. 98.814. Ann.
Rep., 1898, p. 88, no. 49.

In the main field, the upper parts of two elaborate conventional orna-
ments; the preserved portions show a flower, and above it a palmette
of the fleur-de-lis type, with a pointed staff with spirals rising obliquely
into the field on either side. Between these is a vertical band of bosses
arranged in circles, and above, at the top of the field, a band of rosettes
and two plain mouldings. The rim is plain, the lip flares slightly outwards.

130. Fragment of a bowl of medium size, including part of foot; restored
in plaster so as to give some idea of the original shape. The foot is com-
paratively tall, with a broad convex moulding, bordered above and below
by a much smaller moulding, at the centre of the stem. H. (as restored)
8.3 cm. D. (as restored) 14.6 cm. Reg. 88.588. Robinson, Cat. no. 580.

[ 106 ]

A CATALOGUE OF ARRETINE POTTERY

At the bottom of the field three simple mouldings. Above them is a
band of alternating large and small conventionalized leaves (apparently
acanthus and ivy). From every other ivy leaf rose a pattern made up
(from bottom to top) of a seed-pod on a short stem, a small flower, and a
large, bell-shaped flower, on the edge of which was perched a bird. One
of these patterns is preserved completely. The spaces between these pat-
terns were filled with scrolls which rose from the acanthus leaves. These
patterns were arranged symmetrically in pairs, and consist of large curving
stems, to which were attached small flowers on curving stems, ears of
wheat, and possibly other objects. Between each pair of large stems, near
the bottom of the field, is a rosette, so placed that it touches the tip of one
of the small ivy leaves.

131. Fragment of a large bowl. H. 6.1 cm. L. 7.5 cm.

The main field was divided into two parts by a band of rosettes which
passed about the centre of the vase. The space below was occupied by
alternating rosettes and palmettes placed on their sides, the palmettes
pointing alternately to right and to left. Of the decoration in the space
above the central band, only part of a four-petalled rose, naturalistically
treated, is preserved.

132. Fragment of a large bowl, including part of foot. H. 14.5 cm.
L. 14.3 cm. Reg. 88.593. Robinson, Cat. no. 605. Plate XXX.

At the bottom of the field, a row of bosses, carelessly spaced; at the
top, a similar row, partly destroyed by the attachment of the rim, which
has a broad convex moulding, slightly ribbed, at the bottom.

The field is filled by a repeated pattern made up of conventionalized
leaves and pointed staffs with spirals. At the bottom is a band of alter-
nating leaves and pointed staffs. Above these is a second band in which
the relations are reversed, each pointed staff being attached to a leaf of the
lower band, and each leaf to a pointed staff; and above these, in a third
band, a leaf is attached to each pointed staff of the second band, and to
each leaf of the second band a group of three-pointed staffs.

Cf. B. M. Cat. R. P., L 156 ( = fig. 31, p. 41).

[ 107]

A CATALOGUE OF ARRETINE POTTERY

133. Fragment of a large bowl. H. 9.8 cm. L. 12.5 cm. Reg. 88.591.
Robinson, Cat. no. 602.

At bottom of field, plain moulding; at top, egg and dart and a row of
bosses on a plain moulding. Part of the rim with a moulding at the
base is preserved.

The field is filled with large ornaments shaped like interrogation points;
each of these has at its base a small rosette and a pointed staff with spirals,
which rises into the field. Near the top of the field, between the "interro-
gation points," in one case, the letters EREN of the signature of M. Peren-
nius; in the next, Bargat(es), inside a notched border; in the next, two
small rings, one inside the other.

Cf. B. J., xcvi, 1895, pi. VI, 75.

The form of the inscription Bargat(es) is the same as that of C. I. L.,
xv, 5422, d, except for the decorative border. The exact form of the sig-
nature of Perennius cannot be determined.

134. Fragment of a cup, including part of handle. Restored in plaster,
so as to suggest the shape of the original. H. 7 cm. D. (as restored) 9.5 cm.
Reg. 88.589. Robinson, Cat. no. 581.

Of the handle, the crescent by which it was attached to the plain upper
portion of the cup is preserved, as well as a rosette which covered the
point of attachment to the body. The handle has been restored (probably
correctly) as a simple loop.

There is only one decorated field. This is bordered at the top by an egg
and dart pattern and a row of small bosses. The lower part of the field is
occupied by a band of alternating "seed" ornaments and pointed staffs
with spirals, the upper part by a band made up of pairs of concentric
rings. The latter is broken at one point by the signature P. Cornel(i).

Cf. Loeb Coll., no. 423, pi. xxiii; and for the signature, C. I. L., xi,
6700, 204, i.

CLASS III

PLAIN VASES

135. Funnel-shaped cup, with vertical rim. Put together from four
fragments; three small sections supplied in plaster. H. 6.6 cm. D. 12.2
cm. Reg. 88.583. Robinson, Cat. no. 582.

The only decoration consists of two imitation handles placed on the rim
at nearly opposite points. Each has the form of a pair of connected
spirals, resembling a pair of Ionic volutes, placed bottom up. On the
bottom, inside, is the signature (impressed with a stamp in the shape of the
sole of a foot) C. Vib(i).

For the inscription, cf. C. I. L., xi, 6700, 773, e. The reading C. Vib(i)
is more probable than C. Vib(ieni), although the latter is possible; see
Introduction, pp. 21 /.

136. Small funnel-shaped cup with vertical rim. Considerably restored
in plaster. H. 3.8 cm. D. 6.8 cm. Reg. 88.585. Robinson, Cat. no. 583.

About the rim, two plain mouldings. Inside, on the bottom, the in-
scription: (j^\/|-

Cf. Introduction, p. 22.

[ 109]

MISCELLANEOUS

HANDLES AND SEPARATELY MODELLED RELIEFS

Moulds

137. Mould for a large handle of the usual "tongue and crescent"
form. Slightly chipped, but unbroken. L. 11.4 cm. W. 8.5 cm. Reg.
98.834. Ann. Rep., 1898, p. 91, no. 69. Plate XXVIII.

The tongue is decorated with a large club, worked out in considerable
detail. To the back of the crescent are attached three pairs of volutes,
diminishing in size from the tongue to the points of the crescent.

Cf. Loeb Coll., no. 473, pi. xiv; and for similar handles from silver vases,
Mon. Piot, v, pi. xxiii, 3 (from Bosco Reale) ; Pernice- Winter, Der Hildes-
heimer Silberfund, p. 32, fig. 11, and pis. xxi, xliii, xliv, xlv; Schreiber,
Alexandrinische Toreutik, pp. 312 jf. The moulds which Schreiber pub-
lishes, pis. i-iii, all show similar forms.

138. Mould for a large figure of Dionysus in high relief. Put together from
two pieces, one small piece missing. L. 12 cm. W. 5 cm. H. of figure,
10.5 cm. Reg. 98.832; Ann. Rep., 1898, p. 91, no. 67. Plate XXVIII.

The god is seated to left, with left foot advanced and right foot drawn
back; he turns toward the right, so that the body is in three quarters view
and the head almost in front view. He wears a long robe, which covers
his legs, passes over his right shoulder and is wound about his left fore-
arm, and sandals, with straps carefully indicated. His right arm is thrown
over his head. In his hair is a wreath of ivy leaves. The nature of his seat
is uncertain, but it seems to be a rock with a robe thrown over it, rather
than a throne. In front of the seat is a panther, seated to right, but turn-
ing his head and gazing up at the god. All details are rendered with great
care, especially the anatomy of the nude torso, the hair, and the large
folds of the robe.

The relief of this figure is much higher than that of the ordinary Arre-
tine vases. The purpose for which the mould was intended is difficult

[ no]

A CATALOGUE OF ARRETINE POTTERY

to determine, unless it was used for forming figures for the central medal-
lions of paterae, such as have been preserved in silver (cf. Mon. Piot, v,
pis. I and ii ; Pernice-Winter, Der Hildesheimer Silberfund, pis. i-v; Per-
nice, " Hellenistische Silbergefasse," 58tes Winckelmannsprogram, Berlin,
1898), a form of which no examples have yet been found among the pro-
ducts of the Arretine potteries. As the mould is said to have been found
at Arezzo, and the clay is the same as that of other Arretine moulds, it is
included here.

Vases

139. Fragment of the rim of a bowl with handle attached. L. 4.3 cm.
W. 7 cm. Reg. 98.835. Ann. Rep., 1898, p. 91, no. 70. Plate XXX.

The handle is of the "tongue and crescent" shape, but the tongue
broadens out at the end into two horn-like projections. The crescent car-
ries two pairs of volutes on each side (the outer ones smaller than the inner
ones), the tongue is ornamented with a club in relief. Around the outer
edge of the whole handle runs a simple moulding.

Cf. Loeb Coll., no. 475, pi. xix; and the note on no. 137.

140. Fragment of the lower part of a bowl with nearly straight sides.
H. 6 cm. L. 6.2 cm. Reg. 88.601. Plate XXX.

The only part of the decoration which is preserved consists of a group
representing a lion pulling down a horse. The horse is in profile to right,
with head thrown up and knees bent under the weight of the lion, which
has leaped on his back. The lion is in profile to right except the head,
which is in front view.

141. Fragment of the upper part of a vase. H. 7 cm. L. 6.4 cm. Reg.
98.827. Ann. Rep., 1898, p. 89, no. 62. Plate XXX.

Of the body of the vase, only a small portion of the upper part is pre-
served, decorated with an egg and dart and a row of bosses (the latter
largely destroyed by the attachment of the rim). At the base of the rim
is a notched moulding. Above this is a triangular ornament made up of
five converging ribs, flanked on either side by the fore part of a prancing
horse, and surmounted by a large rosette.

[HI]

A CATALOGUE OF ARRETINE POTTERY

Cf. Loeb Coll., no. 243, pi. xm; no. 274, pi. xxi; and no. 275. Nos. 274
and 275 are signed by P. Cornelius.

14a. Small fragment of the rim of a large bowl. H. 4 cm. L. 4.3 cm.
Reg. 98.811. Ann. Rep., 1898, p. 87, no. 46. Plate XXX.

The only part of the decoration which is preserved is a carefully modelled
comic mask with a wreath of ivy berries and leaves across the forehead.
The top of the rim has the form of a concave moulding between two con-
vex, slightly notched mouldings.

Cf. Loeb Coll., no. 501, pi. xix.

STAMP OR PUNCHEON

143. Stamp for making a decorative pattern in the form of a hoop end-
ing in volutes. H. 4.1 cm. L. 7 cm. W. 5.2 cm. Reg. 98.836. Ann. Rep.,
1898, p. 91, no. 71. Figure 1, p. 11.

A pattern very similar to this appears on a mould in the Loeb Collection
{Loeb Coll., no. 160, pi. xv).

PLATES

Plate I

24.
128

Plate II

33

Plate III

Plate IV

Plate V

Plate VI

22

Plate VII

Plate VIII

Plate IX

21

Plate X

26
29

Plate XI

31

32

Plate XII

34

Plate XIII

34

Plate XIV

Plate XV

66

Plate XVI

67

lis

Plate XVII

69

70

Plate XVIII

88
89

Plate XIX

91

Plate XX

99

10J,

Plate XXI

102

Plate XXII

111

115

Plate XXIII

4
11
13

7
U
IS

Plate XXIV

16

28
20

1?
37

27

Plate XXV

38

44

47
60

41

45

Plate XXVI

77
79

Gl

78
80

Plate XXVII

SI

83
108

S-2

93
113

117
10G

Plate XXVIII

184

11!)
137

123

122
138

126

Plate XXLX

19

04

18

80

o

50

.51

63

6S

5

62

Plate XXX

98

90
133

HI

97
189

110

Ui

94
132

Date Due

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