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HISTORY

ANCIENT POTTERY.

ATHENIAN PRIZE VASE (FROM NEAR BENGAZI).

FVol. II., p. 174.

HISTORY

ANCIENT POTTERY

BY SAMUEL BIRCH, F.S.A.

IN TWO VOLS.— VOL. II.

GREEK, ETRUSCAN, AND ROMAN.

ILLUSTRATED WITH COLOURED PLATES AND NUMEROUS ENGRAVINGS.

LONDON :
JOHN MURRAY, ALBEMARLE STREET.

1858.

LONDON :
BRADBURY AND EVANS, PRINTERS, WHITEFRIARS.

CONTENTS OF VOLUME II,

PART II.
GREEK POTTERY.

(Continued.)

CHAPTER VII.

PAGE

Glazed vases continued — Ornaments — Their nature and use — The Mseander
— Chequered bands — The fret or herring-bone — Annulets — Egg and
tongue ornament — Scales or feathers— The Helix— Antefixal ornament
— Wreaths — Petals —Vine branches — Acanthus, leaves — Flowers —
Arrangement— Sources from which the vase-painters copied — Inscrip-
tions— Form of the letters — Position— Dialects — Orthography — Differ-
ent kinds of inscriptions — Names of figures and objects — Addresses —
Artists' names — Potters' names— Laudatory inscriptions — Unintelligible
inscriptions — Memoranda ..)..!

CHAPTER VIII.

Ancient Potters — Athenian Potteries — Names of Potters : Alides — Amasis
— Andocides — Archicles — Bryllos — Calliphon — Chachrylios — Chse-
restratos — Charinos — Charitseus — Cephalos — Chelis — Cholchos — Cleo-
phradas — Deiniades — Doris — Epitimos — Epigenes — Erginos — Ergo-
timos — Euergetides — Eucheros — Echecrates — Execias — Euphronios
— Euxitheos — Glaucythes — Hermseos — Hermogenes — Hechthor —
Hieron — Hilinos — Hischylos— Meidias — Naucydes — Neandros — Nicos-
thenes — Pamaphius — Phanphaios — Pamphseos — Philinos — Pistoxenos
— Priapus — Python — Simon of Elea — Smicylion — Socles — Sosias —
Statius — Taleides — Theoxetos — Thypheitheides — Timagoras — Tlenpo-
lemos — Tleson — Tychios — Xenocles — Xenophantos — Names of Vase

VOL. II. b

vi CONTENTS.

PAGE

Painters : JEniades — Alsimps — Amasis — Aristophanes — Asteas —
Bryllos, or Bryaxis— Clitias— Cholchos— Doris— Euonymos— Epictetus

Euphronios — Euthymides— Execias — Hegias — Hermbnax— Hypsis —

Onesimos— Pheidippos — Philtias— Phrynos— Pothinos— Praxias — Poly-
gnotus— Priapos— Psiax— Sosias — Taconides— Zeuxiades . . . 42

CHAPTER IX.

Uses of Vases — Domestic use— Vases for liquids— For the Table— for the
Toilet — Toys— Decorative Vases— Prizes— Marriage Gifts — Millingen's
division of Sepulchral Vases — Grecian usage — Names and shapes of
Vases — The Pithos — Pithacne — Stamnos — Hyrche — Lagynos — Ascos —
Amphoreus — Pelice — Cados — Hydria — Calpis — Crossos — Cothon —
Rhyton — Bessa — Bombylios — Lecythus— Olpe— Alabastron — Crater—
Oxybaphon — Hypocraterion — Celebe — Psycter — Dinos — Chytra — Ther-
manter — Thermopotis — Tripous — Holmos — Chy tropous — Lasanon —
Chous — 03nochoe — Prochoos — Epichysis — Arutaina — Aryballos — Arys-
tichos, aryter, arytis, &c. — Oenerysis— Etnerysis — Zomerysis-^-Hemico-
tylion— Cotyliskos— Cyathos — Louterion — Asaminthos — Puelos— Scaphe
— Scapheion — Exaleiptron — Lecane — Lecanis — Lecaniskos — Podanipter
— Cheironiptron — Holcion — Peirrhanterion — Ardanion, or Ardalion —
Excellence of the Greek cups — The Depas — Aleison — Cissy bion —
Cypellon — Cymbion — Scyphos onychionos — Ooscyphion — Bromias —
Cantharos— Carchesion — Cylix — Thericleios — Hedypotis— Rhodiake —
Antigonis — Seleucis — Phiale — Phiale Lepaste — Acatos — Trieres —
Canoun — Pinax — Phthois — Petachnon — Labronia — Gyalas — Keras —
Vases for Food — Canoun — Pinax — Discos — Lecanis — Paropsis — Oxis —
Embaphion — Ereus — Cypselie — Cyminodokos — Tryblion— Oxybaphon . 66

CHAPTER X.

Sites of Ancient Potteries, and where Pottery has been discovered in Asia
Minor — Grecian Islands — Continent of Greece — Athens — Solygia —
Sicyon — Argolis — Delphi — Corinth — Patrse — Megara — Laconia — Corfu
— Italy— Classification of Lenormant and De Witte — Hadria — Modena
— Pollenza— Gavolda — Mantua— Etruria — Vulci — Ponte dell' Abbadia
— Castel d'Asso— Corneto — Toscanella — Chiusi — Orbetello — Perugia
— Sarteano — Volterra — Bomarzo — Orvieto — Veii — Cervetri — Civita
Vecchia — Theories respecting these vases — Arezzo— Selva la Rocca—
Sommavilla— Monterone— Poggio — Central and Lower Italy — Periods
— Naples — Cuma — Terra di Lavoro — Nola — Acerra — St. Agata dei Goti
— Caj azzo— Telese — Principato Citeriore — Pesto — Eboli — Battipaglia
—St. Lucia— Sorrento— Principato Ulteriore — Capitanata — Basilicata
— Anzi — Armento — Potenza — Grumento — Puglia — Polignano, Putig-
uano— Bari — Canosa— Ruvo— Ceglie — Calabria — Locri — Brindisi—
Taranto — Castellaneta— Ischia — Sicily — Girgenti — Malta — Africa —

CONTENTS. vii

PAGE

Bengazi — Naucratis — Alexandria — Kertch, dr Panticapseum — Sites of
supposed Egyptian ware — Imitations and forgeries of Greek vases —
Prices - 113

PAET III.

ETRUSCAN POTTERY.

CHAPTER I.

Etruscan terra-cottas — Statues— Busts— Bas-reliefs— Sarcophagi — Vases —
Brown ware — Black ware — Red ware — Yellow ware — Painted vases —
Imitations of Greek vases — :Subjects and mode of execution — Age —
Vases of Orbetello and Volaterra — Vases with Etruscan inscriptions —
Latin inscriptions— Enamelled ware — Other Italian sites . . . 187

PART IV.

ROMAN POTTERY.

CHAPTER I.

Bricks — Lydia — Tetradora — Pentadora — Size — Paste — Use — Houses —
Tombs — Graves — Tiles — Tegulae— Imbrices — Antefixal ornamentation
— Tile-makers — Flue tiles — Wall tiles — Ornamentations — Drain tiles —
Tesserae or tessellaj — Inscriptions on tiles — Stamps — Farms — Manufac-
tories — Legionary tiles — Devices — Columns — Corbels — Spouts —
Friezes , . 22

CHAPTER II.

Statues — Signa Tuscanica — Numa— Gorgasus — Cato— Possis and Arcesilaus
— Size— Models — Sigillaria — Festival of Sigillaria — Fabric — Potters —

viii CONTENTS.

PAGE

Miscellaneous uses of pottery — Coiners' moulds— Crucibles— Toys —
Lamps— Names — Parts — Shape — Age — Subjects — Great Gods — Marine
deities — Hercules— Fortune —Victory — Foreign deities — Emblems-
Poetical subjects — Fables — Historical subjects — Real life — Games of
Circus— Gladiators — Animals— Miscellaneous subjects — Christian lamps
— Inscriptions — Names of Makers — Of places — Of pottery — Of propri-
etors— Date of manufactures— Dedications to deities — Acclamations —
Illuminations — Superstitions 258

CHAPTER III.

Vases— Roman pottery — Paste — Colours — Drying — Wheel or lathe — Model-
ling— Moulding — Stamps — Inscriptions — Furnaces — Construction for
glazed ware — Heat — Smoke kilns — Northampton kilns — Chichester
kilns — For gray ware — Dimensions — Prices — Uses of vases — Transport
of eatables — Feet of tables — Sham viands — Dolia, or casks — Hooped with
lead — Repaired — Inscribed — Doliarii — Amphorae — Inscriptions — Me-
moranda— Use of amphorae — Size — Makers — Sarcophagi — Obrendaria
— Colander— Early use of terra-cotta vases — Names of sacred vessels —
Cadus— Diota— Parropsis —Patina — Patera — Patella — Trulla— Catinus
Lanx — Scutula — Gabata — Lagena — Crater — OEnophorum — Urceolus —
Poculum — Calix — Cotyle — Scaphium — Cantharus — Carchesion — Scy-
phus — Rhyton — Acetabulum — Ampulla — Guttus — Matella — Olla —
Sinus — Obba — Places where made — Architectural use .

CHAPTER IV.

Division of Roman pottery — Black— Gray — Red — Brown — Yellow ware —
Red ware— Shapes— Paste— Shapes— False Samian— Paste and shapes
— Lamps of the Christian period— Ollse— Gray ware— Paste — Mortaria
—Pelves— Trullse— Names of makers— Black ware— Paste— Colour-
Mode of ornamentation — Brown ware — Paste — Shapes — Ornamen-
tation . ... , 322

CHAPTER V.

Glazed Roman pottery — Proto-Samian — Samian — CrustEe— Emblemata

Glaze— Aretine vasea— Polish- Paste — Slip — Lead — Salt— Moulds-
Composed— Separate figures— Master-moulds— Stamps of potters-
Furnaces and Apparatus— Ornamentation— Use— Repairs— Makers-
False Samian- Black ware-Glaze—Varieties—Inscriptions-Sites . 335

CONTENTS.

PAKT V.
CELTIC, TEUTONIC, AND SCANDINAVIAN POTTERY.

CHAPTER I.

PAGE

Celtic pottery — Paste— Fabric —Ornamentation — Size— Shapes — Sepulchral
use — British — Bascauda— Ornamentation — Triangular pattern— Bosses
— Distribution— Scottish — Colour — Peculiarities — Irish— Type of urns
— Ornamentation — Distribution — Teutonic — Paste — Shape — Hut-vases
— Ornamentation and distribution — Scandinavian Pottery — Type —
Analogy with Celtic 377

APPENDIX 397

INDEX , 417

LIST OF ILLUSTRATIONS TO YOL, II.

COLOURED PLATES.

ATHENIAN PRIZE VASE. (FROM NEAR BENGAZI) .... Frontispiece.

ORNAMENTS OP VASES Page 8

ATHENIAN LECYTHUS. ELECT RA AT THE TOMB op AGAMEMNON . . ,, 124
CANTHARUS. BACCHANTE. (FROM MELOS) . . . . . . ,, 126

ULYSSES AND POLYPHEMUS. (FROM A CYLIX, VULOI) . . . . ,, 144

* PARTING OF ADMETUS AND ALCESTIS. (VASE PROM VULCI) . . ,,218

No.

138 Incised inscriptions on vases

139 Stamnos

140 Ascos ....

141 Bacchic amphora .

142 Hydria

143 Calpis . . .

144 Scyphos, or Cothon .

145 Rhyton

146 Bombylios .

147 Lecythus . . - .

148 Olpe ....

149 Alabastron .

150 Alabastron ...

151 Holmos ....

152 Celebe ....

153 Crater .

154 Crater ....

155 Crater with Volute handles
*156 CEnochoe .

157 CEnochoe ....

158 Aryballos .

159 Aryballos

160 Epichysis

161 Late Aryballos or Lecythos

162 Cotyliscos

163 Cyathos ....

164 Cyathos

165 Cantharos

PAGE

75
76
78
80
81
82
82
83
84
85
86
86
87
87

, 88
88

95
95
95
95
97
99
99
104

No. PAGE

166 Carchesion . . . ; 105

167 Early cylix . . . . 106

168 Later cylix . . . .106

169 Late cylix . . ' . . 106

170 Early cylix with black figures . 107

171 Jar of enamelled ware, Vulci .179

172 Lecythus, Triumph of Indian

Bacchus . . . .185

173 Etruscan female bust. Vulci . 192

174 Tugurium vase from Albano . 196

175 Group of vases, one in shape of

a hut, from Albano . .197

176 Cone. Vulci . . . .199

177 Vase with moulded figures and

cover. Vulci. . . . 201

178 CEnochoe of black ware . . 202

179 Tray, or table of vases of black

ware 203

180 CEnochoe of black ware, Perseus

and the Gorgons . . .206

181 Painted ostrich egg. Vulci . 209

182 Etruscan Canopus of terra-cotta 213

183 Flange tile, London . . 229

184 Flue-tile ornamented . . . 236

185 Stamp on tile. British Museum 242

186 Lamp, crescent-shaped handle . 274

187 Lamp, with bust of Serapis . 274

188 Group of lamps . . . 275

xii

LIST OF ILLUSTRATIONS.

No. PAGE

189 Mould of a lamp . . . 277

190 Lamp, Mercury, Fortune, and

Hercules . . . .282

191 Lamp, Games of the Circus . 288

192 Lamp. Monogram of Christ . 290

193 Lamp with golden candle-

stick 290

194 Foot of Lamp, with name of

Ssecular Games . ... 296

195 Terra-cotta amphora . . 310

196 Proto - Samian vase, encircled

with an Amazonomachia, in
relief. From Athens . . 337

197 Patina of Aretine ware. British

Museum .... 347

198 Ciborium of red Samian ware,

with the name of Divix . 348

No. PAGE

199 Master mould, with the name

of the potter Liber . . 352

200 Fragment of a mould found near

Mayence .... 353

201 Vase of red Samian ware, orna-

mented with arabesques . 356

202 Cups of black ware . . . 364

203 Group of vases of inscribed

black ware . . . 367

204 Cup of black glazed Castor

ware . . . .369

205 Group of British vases. The

one in the centre is that of
Bronwen . . . 381

206 Anglo-Saxon Urn from Norfolk 389

207 Group of German hut-shaped

. 391

* From Mr. Dennis's well-known work "The Cities and Cemeteries of Etruria,"
from which are also taken No. 155, and No. Ill of Vol. I. A few cuts of Vol. I. are
also from Sir G. Wilkinson's "Manners and Customs of the Ancient Egyptians,"
and Mr. Layard's "Nineveh and its Babylon."

EBKATA IN VOL. II.

Page 20, line 8, for "Erectheus," read "Erechtheus."
„ 21, line 8, for "Callirhoe," read ' ' Callirrhoe."

,, 27, note 4, for "and," read " und."

,, 28, last line but one, before "artist," insert "the."

,, 40, line 20, for "Siuo," read "8uoi."

„ 41, for "No. 126," read "No. 138."

,, 46, line 1, for "Gycnus," read " Cycnus." Line 4, for " Archecles," read

"Archicles."

,, 50, line 6, for "is," read "are."

,, 5J, note 7, line 3, for "and," read "und."

,, 60, note 3, for "introni," read "intorno i."

,, 67, note 2, for "Fittilii, read " Fittili."

,, 94, note 5, for " cup.(f>nro\ost" read " d/i^iTroAos."

,, 96, note 6, for "Nab," read " Nub."

,, 101, note 1, for "Isodorus," read " Isidorus."

,, 122, note 2, for "Gerherd," read " Gerhard."

, , 123, note 1, for ' < for, " read ' ' fur."

,, 132, for "Kuntsblatt," read " Kunstblatt."

,, 136, line 7, for "citharsedi," read " citharcedi."

,, 154, line 9, for "gynacceum," read " gynseceum."

, , 174, note 2, for < ' Leyde, ' ' read ' ' Leyden. "

,, 177, note 3, for "Ashit," read " Ashik."

,, 218, line 23, for "scaraboei," read "scarabsei."

,, 246, line 22, read " freedmen or of slaves."

„ 297, line 15, for "sacilla," read "sacella."

„ 303, line 11, for " rabbit," read " rabbet."

,, 312, note 5, for "Psen," read "Poen."

,, 330, line 5, before "burnt," insert "be."

,, 382, note 4, for " T," read " R."

PART II.
GREEK POTTERY.

CHAPTER VII.

Glazed vases continued — Ornaments — Their nature 'and use — The Mseander —
Chequered bands — The fret or herring-bone — Annulets — Egg and tongue
ornament — Scales or feathers — The helix — Antefixal ornament — Wreaths-
Petals — Vine branches — Acanthus leaves — Flowers — Arrangement —
Sources from which the vase-painters copied — Inscriptions — Form of the
letters — Position— Dialects — Orthography — Different kinds of inscriptions :
painted inscriptions ; names of figures • and objects. — Addresses —
Artists' names — Potters' names — Laudatory inscriptions — Unintelligible
inscriptions — Memoran da.

SUBORDINATE to the subjects in point of archaeological
interest, but intimately interwoven with them, are the
ornaments which helped to relieve and embellish the
representations on pictures, and, so to speak, to frame
them. Numerous vases, indeed, are decorated with orna-
ments only, whilst many smaller ones are entirely black,
from which circumstance they were nicknamed " Libyes "
or "Moors." The ware of Nola is richest in vases of
this class ; and amphorae, hydrise, stamnoi, cylices, phialae,
pyxides, and lamps, of this unornamented description, are

VOL. II.

2 - GREEK POTTERY.

found in the Campanian sepulchres. Others have only
the simplest kind of ornaments, consisting of plain bands
or zones passing round their body and feet. A very
common decoration is- two bands or zones concentric to
the axis of the foot of the vase. This is, however, found
only on the black vases of the best period. Other vases,
both of the earliest and later classes, are painted with
ornaments, consisting of wreaths of laurel, myrtle, or
ivy, helices, egg and tongue borders, meanders, waves or
the cymation moulding, chequers, guilloche, spirals, den-
tals, and petals. These are artistically disposed upon
them according to certain rules of great symmetry and
taste ; and that the artist prided himself upon his talent
in this way is certain, from some vase-painters having
attached their names to vases only decorated with orna-
ments. On the whole, there is a poverty in the variety
of ornaments employed, very different from the fruitful
caprices of the Teutonic races, amongst whom, from
religious motives, ornaments were often employed in pre-
ference to representations of the human form. It is on
the earliest vases that ornament is most employed : as the
art developes itself, it is gradually lessened, till at the best
period it almost disappears. But on the later efforts of
the potters it again rises like a noxious weed diminishing
the intent of, and ultimately superseding the subjects. It
must be borne in mind that originally the ornament was
either the normal mode of representing certain things
extraneous to the subject, or a symbol introduced into
it. Hence in the arrangement of ornaments different
principles were called into play. The wreaths and bands
of artificial ornaments or helices, appear for instance to be

MEANDER ORNAMENT. . • 4- 3

imitations of the crowns and fillets which it was the 'custom
of the Greeks to tie round the vase at festive entertain-
ments, whilst the helix? at the handles seems to have
represented the flowers attached to' that part of the vase.
Meanders, ovqlos, and astragals, on the other hand, were
either architectural adaptations to the vase or accompani-
ments of subjects originally selected from the different
members of buildings, such as the pediments, metopes,
and friezes. Other ornaments were conventional, or.
symbols to denote particular conditions or places, which
originally they denned, and were subsequently retained
from habit. Thus the cymation or wave moulding, repre-
sented the sea or marine compositions, the meander a river
on the land, and a fleurette (fig. 30) the carpet of nature
on which the figures walked. The ornaments, indeed, ex-
hibit great monotony, and are repetitions of a type not
diversified like the arabesque ; but they are distinguished
by an airy lightness and an extreme simplicity which
harmonise exquisitely with the human forms with which
they are associated. They are well adapted to the shape
and colour of the vases, and afford great relief to the
subject depicted. We will now proceed to consider them
in detail.

The mseander ornament differs very considerably on
the various vases on which it is found. On the early fawn-
coloured ones it predominates generally in the simplest
forms like those depicted in figures 1, 2.

The pattern (fig. 3), indeed, a more complex variety,
sometimes occurs. It occupies the most prominent places
of the vases, as the neck, body, handles, and other parts.

On those with yellow grounds, in the rare instances in

B 2

GREEK POTTERY.

which it appears, it is employed for bands round the neck
(fig. 4) ; whilst on vases of a more advanced style of
art it reappears in a more complete and connected form,
intermingled with flowers, and represents the ground upon
which the animals walk (fig 5).

At the foot of the amphorse with black figures, the
ornament appears in the form represented in fig. 5.
This type is finally superseded by one resembling that
represented by fig. 3. On the early vases with yellow
grounds, it consists of three, four, or five mseanders, with
a flower at the end, treated in a very conventional style,
generally as a square with diagonals, sometimes with
pellets in the sections (fig. 7), while at other times it re-
sembles a quadrangular fort (fig. 6). On some of the late
Apulian vases, on which this style of ornament first
appears, the flower is treated as a cross on a black back-
ground, bearing some resemblance to a Maltese cross
(fig. 8). In the last style of all it appears as a square
divided at right angles, with pellets, and is probably
intended for a flower with four spots (fig 7).

Chequered panels, disposed either horizontally or verti-
cally, are extensively used on the fawn-coloured vases, and
on those with yellow grounds (fig. 10, 11). They also
appear on the vase of Capua, already cited, on vases with
black figures, and on the shoulders of lecythi1 (fig. 12).

The fret or herring-bone (fig. 13) is of common occur-
rence on vases of the oldest style, disposed in horizontal or
vertical bands, either in a single or triple line. It occurs
rarely on vases of the style called Phoenician, and still more
so on vases with black figures. A remarkable employment

1 See V. L. ii. xlix. 1. 61.

ANTEFIXAL OR HELIX ORNAMENT. 5

of this ornament occurs on the early hydrice with black
figures, on which it is used as a boundary to the picture,
and being knotted at the points of union, forms a reticu-
lated pattern (fig.29).

On the earlier vases bands of annulets (fig. 14) occur,
as on the foot of a vase in the British Museum.1 This
ornament does not appear on vases of the later styles.

Egg and tongue (fig. 15) ornaments are employed on
vases of all periods. On the earlier ones they are much
elongated, and principally appear on the shoulder of the
vase. They are never placed below the handles, but are
sometimes found at the place of insertion. On the hydria,
or water vase, this ornament occurs between the frieze
and body, its position on vases of a later style, where it
sometimes divides the subjects. It is introduced with
graceful effect at the lip. This ornament is of the Ionic
order.

Another ornament imitated overlapping scales or
feathers like the opus pavonaceum in tile work. It occurs
only on vases of the early Doric style. Many examples
occur on vases found at Nola.2

The development of the helix or ornament of the
antefixse is very remarkable ; on early vases of the inter-
mediate style between the Phrenician and early Greek, it
assumes the shape of a mere bud (fig. 16). On the cups
with small figures it developes itself (fig. 1 7) from the handle
on a single stem either with the petals closed or detached,
a,nd curling upon a spiral stem, like the leaf of a creeping
plant. On the oldest vases, when it is employed in a
bud, it sometimes assumes an abnormal appearance.

1 No. 2559. 2 B. M. 397.

6 GREEK POTTERY.

The helix is also extensively employed as a frieze or
scroll on many hydrise and vases both of the earlier and
later styles. When it appears alone it resembles the leaf
of an aquatic plant, with seven petals ; but in combination,
it follows the scroll (fig. 18), like the leaf of a creeping plant,
the points of which are either in one direction, or half of
them one way and half the other (fig. 19), or alternately
upright and pendent. This ornament is often intermingled
with spurs and other portions of plants. On the earlier
vases with red figures it forms a rich ornament when inter-
mingled with other emblems — being then often disposed
in red bands, on which it is coloured black. Sometimes
it is seen as a frieze, with a kind of flower like the
hyacinth interposed, in which it represents as it were the
foliage to the flower (fig. 20), often treated in this way.
On the neck of the later Nolan amphorae, and on vases of
the fine style with red figures, this ornament (fig 21) be-
comes more floral and picturesque, and fills up the whole
space of the neck. The accompanying form of the leaf
(fig. 22), which is seen in a wreath or collar of a vase of
Etruscan style, bears so much resemblance to the antefixal
ornament that it may be an early development of it. On
the neck of some of the late crater es with red figures it is
elegantly disposed in an oblique manner (fig. 23). It con-
tinued in ase till the latest period of the fictile art — but
on the vases of the style of the Basilicata and St. Agata
dei Goti, it has more petals, becomes more splay, and the
spiral tendrils are often altogether omitted (fig. 31). It
is profusely employed, and generally in combination with
the flower.

One of the earliest ornaments on the vases is a com-

DEVELOPMENT OF THE HELIX. 7

posite form of the antefixal ornament1 called helices,
intermingled with flowers. A very old arrangement is to
place the flower and leaf alternately (fig. 24), by making
an ornament, each part of which has a leaf at one end and
flower at the other, so as to convey the idea of a double
row of leaves and alternate flowers united by a broad band.

On the early Bacchic amphora with black figures this is
the prevalent and most important ornament ; arranged
generally, however, as a double wreath, the antefixal
ornaments inversely to each other, and also the flowers,
which are connected by a twisted cord or chain. On a
vase made by Nicosthenes, this ornament assumes with its
flowers a remarkable shape.

This helix or antefixal ornament is the same as that
which appears in the Doric entablatures, but the ovolo, or
egg and tongue, belongs to the Ionic order. Both are
found united upon early vases with red figures. The
combinations of helices and flowers at the handles of the
Bacchic amphorae will give an idea of the elegant appear-
ance of this ornament.

A light and elegant arrangement of the helix is dis-
played on the necks of certain lecythi.2

The flower intermingled with these ornaments has been
supposed by some writers to be that of the clematis
cirrosa,3 to which plant some varieties of the form of the
antefixal ornament have also been referred.

On some of the Bacchic amphora of the later style
the flowers are more elegantly turned, and their shape

1 Various ideas have been put forth helicss, see V. L. ii. 41.

with regard to this ornament. See 3 Hogg, Trans. Roy. Soc. Lit., New
Annali, 1843, pp. 380, 384. Series, ii. p. 179, and foil.

2 For a vase entirely ornamented with

8 GREEK POTTERY.

approaches to its appearance on the red vases, the
antefixal ornament having a trefoil.

A very common ornament of the necks of amphora?
and other vases is a wreath of interlaced flowers and
buds- (fig. 28). Such wreaths often occur on vases of the
old style or that called Egyptian.

On vases of the transition style the flower gradually
becomes more like a bud and less enclosed. The manner
in which it appears mixed up with the antefixal ornament
has been shown in .the preceding examples. This orna-
ment is seen on the shoulders of the amphorse called
Tyrrhenian, and on the feet of the Bacchic ones with the
points turned up. On the later vases it entirely disappears.
It is uncertain what flower it is intended to represent.
Some persons take it to be the hyacinth.

Ivy wreaths (fig. 25) appear on some of the pale vases
of the Etruscan style, and on some of the fine vases from
Athens ; and on the necks of some of the lecythi with
black figures. Sometimes the leaves only are seen, inter-
mixed with the helix ornament.

On the hydrice, or water vases, the boundary lines of
the pictures are sometimes formed by upright festoons of
ivy wreaths (fig. 26), which are also seen arranged ver-
tically round the lips, and undulating with the contours of
the handles of the so-called Tyrrhenian amphorae ; re-
lieving by their light and graceful contrast the sombre
monotony of the body of the vase.

On the necks of the calpides, and later vases of the
fine red ware, this ornament becomes more graceful and
the stems of the foliage more entwined (fig. 27), while
flowers or berries are introduced.

51515

15151515]

AAAMAAA OQOO

OIINAMENTS OF VASES.

| Vol. II., v. 8.

WREATHS AND FESTOONS. 9

On the late celebee, or craters with columnar handles
of the style of the Basilicata, the whole neck of the
vases is often occupied by an ivy wreath in black upon a
red ground, having as many flowers or berries as leaves.

The feet of the early vases, and of most of the Jiydrice
and amphorce, are ornamented with the representation of
petals of flowers in black upon a red ground. In some
instances this ornament is doubled.

Vine branches appear only on the later vases. Such
an ornament will be seen on an ascos of pale yellow
clay with brown figures, in the British Museum.

In the same class of vases acanthus leaves are found
grouped in a floral style, with antefixal ornaments at their
sides. In the centre generally appears a full-faced head
either of Aphrodite or Victory.

On these vases the floral ornaments become more
elegant and architectural. The accompanying example
(fig. 28), will show how the convolvulus was represented
at this period. Sometimes there appears a small low
flower rising from the earth — probably the asphodel. On
some vases the floral ornaments assume the form of the
architectural scroll, and are imitated from friezes or other
members.

10 GREEK POTTERY.

GEOTJPING OF ORNAMENTS.

Nor is the manner in which these ornaments are grouped
on the early vases less instructive. The hydrice con-
stantly has its frieze, or upper picture, surmounted by the
egg and tongue ornament.1 The picture on the body is
separated by a band,2 meander,3 single or double 4 chequer,5
or net ; 6 the sides are banded by ivy wreaths,7 or bands
of the helix ; s while the lower zone has interlaced buds,9
the helix,10 or a frieze of animals,11 about If in. broad ;
all which, however, are wanting in some examples.12 The
bases are always decorated with petals,13 and the rest of
the body is generally black ; yet some hydrice have red
lips,14 and others the feet either half or entirely red.15
The inner half of the handle, and sometimes the whole,
is generally red, while at the place of insertion of the
long handle is a modelled head.

The old craters, with columnar handles, have the floral
ornament round the lip, the ovolo ornament round the
edges, and the ivy leaves at the sides, which in the later
vases of the style of St. Agata dei Goti occupy almost the
whole of the neck.

On the craters, or the so called oxybapha, the lips are

1 B. M., 454. 9 B. M., 464.

2 B. M., 485. 10 B. M., 468.

3 B. M., 468. 11 B. M., 485.
« B. M., 476. 12 B. M., 458.

5 B. M., 486. is B. M., 468.

6 B. M., 467. " B. Mt> 480.

7 B. M., 486. is B. M., 470.

8 B. M., 487.

DISPOSITION OF ORNAMENTS. 11

usually ornamented with a wreath of myrtle or olive, or
else with the band of oblique antefixal ornaments. On
those of the best style and finish, the lips and places of
insertion of the handles have the ovolo.

The cenochoce, or jugs, with black figures of the earliest
style, have an ovolo round the neck, or sometimes an ante-
fixal ornament. The pictures are generally banded with
ivy wreaths.

On the Bacchic hy dries, the monotony of the pre-
dominant mass of red colour is broken up by the pro-
fusion of ornaments. The frieze, for example, for the
most part consists of the floral ornament, with the points
generally upwards, but sometimes downwards ; or else of
the ovolo fringe or border. The same ornament and the
mseander is generally repeated below, -and sometimes with
a band of animals. On the neck are usually disposed the
double antefixal and floral ornaments. At the feet are
the petals.1

On the lecythus, the upper and lower parts of the
picture are commonly ornamented with a inlander border,
while the neck is either decorated with a series of rays
or petals, or else with antefixal or helix ornaments, dis-
posed in an inverted frieze. The band round the foot is
usually left of the colour of the clay.

The rare hydrice, with red figures, have their friezes
enriched at the sides with bands of the helix or antefixal
ornament, and their pictures are bounded by a helix wreath
or by a reticulated ornament. The calpides, or later
hydrice, which have no frieze, have their lips and the
lower part of their subject bordered with an egg and

i Brit. Mus. Vases, No. 546,-70,-71,-65,-97.

12 GREEK POTTERY.

tongue ornament, and sometimes with antefixal ornaments
and mseanders. Wreaths of ivy, myrtle, or laurel, are
tastefully disposed round the neck.1

On Panathenaic and Bacchic amphorse the arrangement
is as follows : —

PANATHENAIC AMPHORA.

1. Double antefixal

2. Ovolo U.M.,571.

3. Subject

4. Petals

BACCHIC AMPHORA.

1. Double antefixal

2. Ovolo

3. Frieze

4. Maeanders

5. Lotus flowers

6. Subject

7. Mseanders

8. Petals

B. M., 549, 555.2

SOURCES OF SUBJECTS.

We will now proceed to consider the different works of
art from which the vase painter may have derived some of
his ideas. These works were ever present to his eye in
great number and variety, and he reproduced them in
accordance with the spirit of his age, without making
servile imitations ; for vase-paintings cannot be considered
as mere mechanical copies, scarcely any two of them being
alike. The treatment of the subjects generally resembles
that observed in the mural paintings of the oldest sepulchres.

1 See the vases, B. M., 716-20.

2 For the details of a late amphora, cf. T. V. (I.), 4041.

LESCELE AND PAINTINGS. 13

The fresco paintings of the stote, or porticos, and of the
lescJite, or ancient picture galleries, must have been most
instructive to artists, as well as the votive pictures of the
principal shrines. On the oldest vases, however, may be
decidedly traced an architectural manner, derived from
the contemplation of metopes, friezes, and pediments.
Some of the very oldest vases having numerous bands, or
zones, of subjects, suggest the idea of their being copies
from celebrated pieces of sculpture, such as the chest of
Cypselus, or the throne of Bathycles at Amyclse. The
subjects on the later vases of the fine style recall to mind
the descriptions of the pictures of Polygnotus ; whilst in
those of the decadence the treatment resembles that
adopted by Zeuxis, Apelles, and other artists of the
Rhodian school, such as Nicias, from whose works they
may have been copied. Yet it is almost impossible to
identify vase-paintings with any particular works of anti-
quity, although it is evident from Pausanias that their
subjects were to be found in all the principal shrines of
Greece. Few, however, present such entire compositions
as occupied the time of the greatest painters. The greater
part contain only portions of subjects, although some
striking examples show that the whole argument of an
Epos was sometimes painted. Hence their importance
both to the study of ancient painting and to the recon-
struction of the lost arguments of the Cyclic and other
writers ; for, as in the so-called Raifaele ware, may be
traced the arguments of the Scriptures and of Ovid ; so
in the Greek vases may be found the subjects of the
Cyprm, and the Nostoi, and of the lost tragedies of the
Athenian dramatists, together with traces of Comedies of

14 GREEK POTTERY.

all styles, and even Allegories derived from the philosophical
schools, all of which had successively engaged the pencils of
the most celebrated artists. That these vases were copies
from pictures or sculptures, is maintained by one of the
most acute connoisseurs, who cites the celebrated vase at
Naples of the last night of Troy, as an evident copy of
a frieze or picture, and the procession on a Yulcian cup
as taken from a sculpture. But it is impossible, at the
same time, not to admit that, in so vast a number, there
are some, if not many, subjects which were invented by
the vase painters. These are detected by the corrections
of the master's hand, and by the composition, with its
accompanying ornaments being adjusted to the character of
the vase. Such works are supposed to be the production
of the vase painters, Archicles, Xenocles, Panthseus, Sosias,
and Epictetus.1

INSCRIPTIONS— DATE.

The inscriptions which occur on vases are limited to
those produced at the middle period of the art. On the
earliest vases they are not found at all ; on those with
pale straw-coloured grounds they are of rare occurrence ;
on vases with black figures and red ground, they are often
seen ; and on these with red figures they are constant
accompaniments, and continue to be so till the decadence
of the art, as seen in the ware of the Basilicata and
Southern Italy, when inscriptions again become compa-
ratively scarce. Some of the last inscriptions are in the
Oscan and Latin language, showing the influence and

1 Annali, 1830, p. 244.

DATE OF INSCRIPTIONS. 15

domination of the Romans in Campania. The inscriptions
follow the laws of palaeography of the period in which
they occur. The oldest inscriptions are those of the fol-
lowing vases : the Corinthian vase of Dodwell, with the
hunt of the boar of Calydon ; a cup of the maker Tleson,
with the same subject, and the nuptial dance of Ariadne ;
the vase of the Hamilton collection, found at Capua ; a vase
with the subject of the Geryon ; the so-called Fran£ois
vase at Florence ; another with the combat over the body
of Achilles ; and a cup, on which is seen Arcesilaus, King
of Cyrene. Of these, the Dodwell vase has been supposed
by some archaeologists to be of the seventh century B. c.
None, however, date earlier than Olympiad xxx. = B. c.
660, when writing is known to have been used in Greece.
The date of the Arcesilaus vase cannot be prior to
Olympiad XLVII-LL, when the first of the Battiads ruled at
Cyrene, nor much later than the LXXX. Olympiad = B. c.
458, when the fourth of the line was in power.1

The inscriptions are disposed in the boustrophedon
manner, B is used for E, M for 2, X for A, C for r, B f°r
the aspirate, ® for 0 in a case where the T is not used,
9 for K, J for I, E for p. At a later period the letters
which are more cursive are not distinguishable, except by
the context. Thus A O O > are confounded, and the O
often resembles them ; A and V are alike, so are r and
IT, M and S ; v is much like L, A itself is written L,
2 like £,TasV. The aspirated letters 0 and +, the
invention of which was attributed to Palamedes, are
found on vases of the second class. The form which
subsequently became H is used for [•. The four letters

1 Thiersch., 1. c., s. 77.

16 GREEK POTTERY.

Z * H a said to be invented by Simonides, are only
found on later vases, * being represented by n S, H by
E, and a by O. H erroneously attributed to Palamedes,
is represented by KS, or X ; but all these double letters
are found on the later vases.1 As compared with coins,
® appears on the earlier coins of Athens, struck before
the Persian war, B on the helmet of Hiero I., 01. LXXV.-VIII.
B.C. 474-467, and on the ancient Boeotian coins, erroneously
assigned to Thebes. The M for 2 occurs on coins of Posi-
donia and Sybaris, struck about the seventh century B.C. ;
f for I on those of the first-mentioned city ; X f°r the
E, resembling the Etruscan B on uncertain coins of Cam-
pania ; H for the aspirate is seen on the coins of Himera,
and in the names of the Bceotarchs about the fifth cen-
tury B.C., and the £ on the currency of the Thespiae.2
No numismatic examples are known of T for 0, or of n for
4>, KS for H, or n2 for ^ ; but Q is the usual initial of
the name of Corinth 3 on its oldest coins, and E for r on
the later one of Phaestus in Crete ; all which proves the
high antiquity of the potter's art, and that it was far
older than the currency. Considerable light is thrown
upon the relative age and the local fabrics of the vases by
the forms of the letters seen on the vases of different
styles. The letters on the vases of the Archaic Greek
style resemble those of the oldest inscriptions found at
Corcyra, and show their Doric character by the use of the
koph* This agrees with their probable Corinthian origin,
their art, and oriental types of certain figures. The words,

1 Gerhard, Rapp. Vole., p. 68. 4 Jahn, Beschreibung der Vasensam-

2 Kramer, ueber den Styl und die lung zu Munchen, 8vo. Munch. 1854.
Herkunft, s. 64. Einleit, s. cxlvii.

3 Annali, 1837.

VARIETY OF ALPHABETS. 17

however, with which they are inscribed are sometimes:
^Eolic,1 and the antiquity of the alphabet undetermined.
The alphabet obtained from examining the letters on the
style transitional from this to that with black figures,
which is for the most part Doric, as evinced by the presence
of the digamma and the kopk, is found in words not of the
Doric dialect. Its age is also not certain.2 The letters on
the vases with black figures of the old style are those of
the oldest Attic alphabet, which was in use about Olym-
piad LXXX., and the words on these vases, although some-
times abnormal, are generally Attic. On the vases of
black figures of the later style the letters are those of the
Attic alphabet current about six Olympiads later.3 The
letters on vases with red figures of the strong style are
nearly identical in form and epoch; while on the vases
of the fine style are found the letters of the Attic
alphabet which was admitted into official employment in
the second year of the xciv. Olympiad, in the memorable
archonship of Eucleides,4 after which the alphabet under-
went no change. The use of the digamma, however, is
continued on Doric vases,, both of this and even of a
later age.

AEEANGEMENT.

There is no rule for the position or the presence of the
inscriptions on vases.5 In some instances the field or
ground of the figures is completely covered, in others they
do not appear at all. The general position is governed

1 As 2AEV2 for ZEV2, on a vase in 3 Jahn, L c., clxix.
the Campana Collection. 4 Jahn. 1. c., cxvii.

2 Jahn, 1. c., cxlix. 5 Gerhard, 1. c, 69.

VOL. II. C

18 GREEK POTTERY.

by the figures to which they refer ; but they are also
found on the figures themselves, and often upon objects,
such as fountains, shields, discs, and even the legs of
figures,1 or on the handles, borders, and feet of the
vases. Sometimes they are written from left to right, at
other times from right to left, and often, especially upon
the old vases, perpendicularly to the vase, but not, except
on the Panathenaic amphora? from the Cyrenaica, in that
order called by the Greeks uovfiov, or vertically as to
themselves. Boustrophedon inscriptions are not uncom-
mon, and sentences are often divided into two ; as,
HO IIAI2, " the boy" on one side of a vase, KAAO2, " is
handsome" on the other. Even names are sometimes thus
divided, as, ANAPO on one side, and MAXE on the other
side of a celebrated vase, for the name Andromache.
This chiefly occurs on the older vases, as when the art
reached its culmination more care was taken.

DIALECTS.

Inscriptions occur in all the three dialects, principally,
however, in Ionic Greek, as ANTIOIIEIA for Antiope,
A0ENAIA for Pallas Athene, HEPAKAEE2 for Hercules ;
and sometimes the contractions, as, KAMOI for KAI EMOI,
MENEAEO2 2 and IOAEOS,3 XATEPO2 for KAI ETEPO2.
Vases with Doric inscriptions, which are comparatively rare,
principally come from south Italy and Sicily. Such forms
as HAPA, for Hera or Juno, AI22 KAAE,4 for Aurora,

1 Cf., the one 011 the thigh of a youth ; 2 G. A. V., ccxxvii.

and the name of the artist on the diadem 3 G. A. V., cxlviii.

or beard of a figure ; A. Z., 1844, s. 317. 4 M. A. U.' M., vi.

DIALECTIC AND OTHER FORMS. 19

TAAEIA for 0AAEIA, the name of the Muse,1 and A2DEP1A2
for the Hesperidse.2 XPH2AN MOI TAN 23>AIPAN, " give
me the Ball." The ^Eolic digamma is prefixed to such
names as EEPAKAE2 and FV*IITVAH ;3 and is found in
the middle of others, such as, AIFA2 and 2I2IFO2,4 and
^Eolic forms are found, as 2AT2 for ZET2. The
old form of the aorist, with the final N, generally occurs,
as, EFPA2EN and EIIOIE2EN, although its use is not
constant. The derivation of # and H from 4>2 and KS
is shown by such words as, EFPA2EN 5 and EK2EKIAS.
The old diphthong OE for OI, as KPOE2O2 for KPOI2O2,
and the Archaic O for OT, as NEAPXO instead of NEAPXOT,
are found on vases of the earliest period ; or, El for I, as
EIOAEOS for IOAEO2 (lolaus).6 The aspirate is also
applied to words in which at present it does not appear,
as, HIAKXOS 7 for IAKX02, and HA^POAITE for A$PO-
AITE. The N instead of the r before K, as, ANXIIIO2 8
for ArKinnOS, or for M, as OATNniOAflPOS 9 for OATM-
IIIOA&PO2. Double letters are represented at all epochs
by single ones, as, HinOAAMEIA for HimiOAAMEIA,
HinOKPATES for HIimOKPATES, nEPO<l>ATA for IIEPO-
4>ATTA ;10 but the 2 is often reduplicated, on vases of
late style, as, OPE22TE2 for OPE2TE2,11 KASSTQP for
KA2TOP,12 PIE220E for DIE20E.13 Letters are often
omitted, as, AAIIO2 for AAMHO2, in the name of one of

1 A. Z., 1848, s. 247. 7 Gerhard,!. c.,p. 690, Braun. Annali.

2 Millin., Dub. Maison. I. iii. ; s Cat. Dur., p. 98, No. 296 ; Birch,
D'Hancarville, i. 27 ; iii. 194 ; Passeri, Class. Mus. 1848, p. 298.

i. 4. 9 Gerhard, 1. c., p. 169, n. 641.

3 Kramer, ibid. ; M. A. U. M., xii. 10 Birch, Class. Mus., 1. c.

4 G. A. V., civ. " B. A. B., 1007.

5 Gerhard, Rapp. Vole., p. 67, 68. 12 Gerhard, Vase de Meidias.

6 M. L, Ixxxix. 13 Gerhard, Rapp. Vole., p. 69.

c 2

20 GREEK POTTERY.

the horses of Aurora ; TTTAPEO2 for TTNAAPET2, the
father of Helen; 0EPTTAI1 for 0EPTETAI, "is taken;"
0E2T2 for 0E2ET2;2 KAAIPE KPENE for KAAAIPOH
KPHNH, the fountain of Callirhoe ; 2AHO for SAMO,3 the
poetess ; XAN0O2 for EAN0O2,4 the name of a horse.
The A on the old vases is always single, as, AIIOAON026
for AIIOAA11NO2. So also, BOPAS for BOPEA2; OPEI0TA,
for Oreithyia ; EPEX2E2, for Erectheus ; KEKPO2, for
Cecrops ; 6 HEME2, for Hermes.7

PAINTED INSCBIPTIONS.

Inscriptions are divisible into two classes, — those painted
and those incised.

I. Painted inscriptions, which are the most conspicuous,
are generally small in size, the letters being -| inch high.
They are in black varnish on vases with black or maroon
figures ; on vases of the earliest style, with red figures,
they are in crimson upon the black back-ground, or else in
black varnish upon some of the red portions ; on the later
vases with red figures they are in white. In the last
style they are engraved with a pointed tool through the
glaze into the paste itself. They are divisible into the
following subordinate classes : —

NAMES OF EIGUEES.

No particular law seems to have guided the artist as to
the insertion of the names of the figures represented on

1 Gerhard, A. V., ccxxxviii. 5 G. A. V., xx.

2 Cf., Gerhard, A. V., clviii. clxiii. 6 C. C., p. 57, n. 105.

3 Mill. Anc. Uned. Mou.,pl. xxxiii. ? B. A. B., 84'9.

4 G. A. V., cxci.

NAMES OF PERSONS AND THINGS. 21

his vase. The greater number of vases are without
them ; yet it would appear that vases of the very finest
class were thus inscribed at all periods. The design of
them was to acquaint the public with the story repre-
sented. Sometimes not only every figure is accompanied
with its name, but even the dogs, horses, and inanimate
objects, such as BOM02,1 or altar, where Priam is killed ;
KAAIPE KPENE,2 or fountain of Callirhoe ; HEAPA,3 or " the
throne " of Priam ; ATKO2,4 the altar of Apollo Lycius ;
and the HT APIA*5 or water-pitcher, which Polyxena let fall
in her flight from Achilles ; ATPA, " the lyre/' over that held
by Ariadne in her hands, at the death of the Minotaur ;
HT2, "the sow," over "the Calydonian boar;"6 and
AHMO2IA, the " public" baths, on a laver.7 These names
are generally in the nominative, as, ZET2,8 Jupiter ;
HEPME2,9 Hermes : but occasionally in the oblique case,
as, AHOAONOS,10 of Apollo ; IIO2EIAONO2, of Neptune ;
A^POAITES,11 of Aphrodite; the word EIAI2AON,
"figure," or AFAAMA, "image," being understood. In
a few instances from dramatic subjects expressions such as,
EIA&AON AHTOT2, " the shade of Leto," show the origin
of the genitive.12 nrPPOS, Pyrrhus; ArAME[MN&N],13
"Agamemnon;" IAA2, "Idas;"14 occur over the sepulchres
of these heroes. These names are sometimes accompanied
with epithets, such as, HEKTOP KAAO2,15 " Hector the

1 Gerhard. An. 1831, 183, 741. 9 B. M., 567.

2 Brondsted,Descr.of32Vases,p.56. 10 G. A. V., xxi. ; Gerhard, A. V.

3 Francis Vase. ccxxxvii.

4 G. A. V., ccxxv. u L. D., iii. xv.

5 Fran9ois Vase. 12 A. Z., 1852, s. 164.

6 Gerhard, A. V., ccxxxvi. 13 M. V. G., xiv.

7 T., i. 58. 14 T., iv. 59.

s G. A. V., iv. 15 G. A. V., clxxxix.

22 GREEK POTTERY.

handsome;" HPIAMO2 HO ITOAIOS, "the hoary Priam ;" l
2IAANOS TEPII&N, " Silenus rejoicing :"2 or with a de-
monstrative pronoun, as, 2^1X2 HEAE, "this is the
Sphinx;"3 MENE20ET2 HOAE, "this is Menestheus.'4
In some instances the name is replaced by a periphrase
or by a synonym : as HAAIO2 TEPON,5 " the old man of
the sea," instead of Nereus ; TATP02 3>OPBA2 and
AAIAAH2,6 "the feeding" and "sea-going bull" over Jupiter
metamorphosed into a bull, and carrying Europa; nANO*,
" all eyes," instead of " Argos ;" XPT2H 4>IAOMHAH, or
"golden smiler," for "Venus;"7 AIOS IIAI2, "the son
of Zeus," for "Hercules;"8 AA2TAS HMI,9 "I am a
pirate " on a dolphin ; AIAO2, " Modesty," instead of
Leto ; AAKI2, instead of Cupid;10 AIO2 4>H2, "the light
of Zeus," for Diana or Dionysos;11 AEE AMENDS, "the
receiver," instead of Nessus.12 Some of the later vases
have the titles of the subjects, especially the dra-
matic ones, whence the pictures were derived ; as the
HATPOKAIA, or funeral poem about Patroclus ; 13 KPEON-
TEIA, " the affairs of Creon ; "14 TP&HN IEPEA, "the sacred
places of Troy,"15 on a subject representing the ill-usage
of Cassandra ; NAEI&N, " the Naxians," on a vase repre-
senting Ariadne and Dionysos at Naxos ; 16 and the sup-
posed XEIPONEIA.17 Even on the older vases are found

1 G. A. V., 1. c. clxxviii. M. A. I., xii.

2 G. A. V., 1. c. ; cc. 135. w C. M, 58 ; M. V. G., xiv.

3 G. A. V., ccxxxv. » M. A. I., i.

4 G. E. V., xiii. 12 Mus> Borb>> v. x>

5 G. A. V., cxxii. cxxiii. 13 G. A. V., ccxxvii.

6 G. A. V., xc. M A. Z., 1847, taf. iii. ; M. L, clii.

7 V. F., cclvi. ; B. A. N., iii. 51 ; Ann., 15 V. L., ii. xxiv.

v- 149- 16 M. A. U. M., xxvi.

8 M. A. U. M., xxxviii., 92. V Micali, Storia, ciii. i., pp. 101, 163 ;

9 A. Z., 1852. 165, for AH2TH2 HMI ; C. C., 24.

SUBJECTS AND SPEECHES. 23

the inscriptions 2TAAION ANAPON NIKE, " the victory of
men in the stadium," over a foot-race of men ; HENTA0AON,
for the Pentathlon ; x HO AOI A0E [NAIAI], Athenian roads.2

SPEECHES.

Besides the names of figures and objects, there are
several inscriptions containing the addresses or speeches
of the figures represented, like the labels affixed to the
figures of saints in the Middle Ages. These vary in length
and purport, but in most cases they are extracts from
poems, or expressions well-known at the period, but which
are now obscure, or have perished in the wreck of
Hellenic literature. They are distributed over the early
vases of the black or hard style, and often appear on
vases of the Archaic style, with red figures ; but they are
very rare on vases of the earliest and of the latest styles.
They are often colloquies. Thus, on a vase on which the
contest of Heracles and Cycnus is depicted, the hero and
his opponent exclaim, KA0IE, " lay down," KEOMAI, " I
am ready." In a boxing-match, is ITAT2AI,3 " cease."
Ulysses says to his dog, MH AITAIH2,4 " do not ask ; "
Silenus, gloating over the wine, exclaims, HATS OINO2,5
" the wine is sweet," or, KAAE OH02 IIIE20E, " it is so
good, that you may drink it." 6 On a vase representing
a man standing and singing to an auletris, the song is OAE
AQ.TQ, 2TTPI20I, " Let him play to the flute."7 Silenus,
who swings a Bacchante, says, EN AAEIA ANH, " rise at

1 C. C., p. 93, n. 146. 6 Gerhard, Rapp. Vole., p. 187, no.

2 C. C., p. 100, 159. 780.

3 Gerhard, Rapp. Vole., p. 79, 778. ? B., 1829, p. 143; A. Z., 1852,

4 MEAITAIE OPOI, B., 1851, p. 58. s. 414.

5 G. A. V.

24 GREEK POTTERY.

pleasure." ] In the scene of the capture of Silenus, one of
.the attendants exclaims, 0EPTTAI 2IAEN02 OPEI02, " the
mountain-haunting Silenus is captured ! " 2 The Greek
who lights the pyre of Croesus exclaims, ET0TMO,
"farewell!"3 The old Tyndareus exclaims, XAIPE
0E2ET, " hail, oh Theseus ! " 4 and the females, EIA02-
0EMEN, " it is known." XAIPE, " hail ! " often occurs in
such a manner as to show that it emanates from the
mouth of figures, although it is frequently an address from
the potter. ELA ELA,5 " drive, drive I " is placed in the
mouth of a charioteer ; and nOATMENE NIRA2,6 " thou
conquerest, oh Polymenos!" in that of another. A paido-
tribes says to one of his pupils, ATIOAOS TO AIAMEPON,
"pay me my day's salary."7 On another vase, if correctly
transcribed, may possibly be read a gnomic sentence,
20AON OXAOKNOIAON KAA02 I20AA02.8 A cock
crows, nPOSAFOPEYO, " how d'ye do." 9 A herald or
brabeus announces, HIII02 ATNEIKETT NIKA, "the
horse of Dysneiketes conquers."10 OEdipus, interpreting
the enigma of the Sphinx, says, KAI TPI n[OVN], "which
has three feet."11 On a vase having a representation of
olive-gathering, the proprietor of the grounds — perhaps
the merchant and sage, Thales, — says, in the Doric
dialect, and in Iambic trimeter catalectic verse, o
ZEY IIATEP AI0E ITAOTSIOS rENO[IMAN], " Oh, father
Jove, may I be rich ! " a prayer responded to on the

1 B., 1851, p. 185. 7 Stackelberg, Die Graeber,tav. xii. 3.

2 G. A. V., ccxxxviii. » Stackelberg. Ibid. xxiv.

3 Mon. i. PI., liv.-lv. ; Tr. R. Soc., Lib. 9 G. T. C.,,xxiy.

4to, ii., 1834, p. 28. 10 Class. Mus., 1849, p. 296 ; B. M.

4 G. A. V., clviii. " M. G., ii. ii. Ixxx. 1 b.j Arg. Phcen.

5 St. ; Rap. Vole-, p. 78. Eurip., &c, ; Aristid. Pan., p. 193-245 •

6 Ibid, Brunck. Anal., ii. 321.

COLLOQUIES AND EXCLAMATIONS. 25

reverse by the representation of a liberal harvest, and the
reply, HEAE MAN HEAE IIAEON HAPABEEHKEN,1 "See, it
is already more than enough." On another vase, on which
are depicted youths and old men beholding the return of
the swallow in Spring, the following colloquy occurs2—
IAO XEAIAON, "behold the swallow ;" NE TON HEPAKAEA,
" by Hercules/' ATTEI, " it twitters ; " EAP HEAE, " it is
already Spring," — which is spoken, apparently in a metrical
manner, by a company of men. On a terminal figure, or
stele, at which a winged youth plays at ball with Danaids,
is the speech, XPH2AN MOI TAN S$[A]IPAN —
"Send me the ball."3

On another vase, ME AITAIE, "do not ask," is the supposed
reply to a beggar, who says, IOPOPOT, an unintelligible
word, reading the same both backwards and forwards.4

POTTEES' ADDRESSES.

In order to enhance their ware in the estimation of the
public, the potters painted on their vases, at an early period
of the art, certain expressions addressed to the purchaser
or spectator. One of the most usual is XATPE "hail!"5 to
which is sometimes added XAIPE KAI niEI, "hail, and
quaff," 6 XAIPE KAI IIIEI ET, " hail, and drink well ; " 7
or XAIPE KAI niEI TENAE, " hail and drink this [cup]." 8
NAIXI, "just so." 9 On one remarkable vase was supposed

1 M., 1837, tav., xliv. B.; Bitschl. Neapels Antik. Bild. Z.. vii. Schr. 2,
Annali., ix., 1837, p. 183. Hermann 1-174 ; Mus. Borb., iii. xii.

Zeitschr, Alterthumw., 1837, no. 103, 4 An., 1852, PL T.

p. 854, 855 ; Bull., 1840, p. 48. 5 G. A. V., iii. p. 150.

2 M., ii. xxiv. 6 M. G. II., Ixvi. 3 b.

3 Millingen, Anc. Unedit. Mon., PI. 1 De Beugnot. Cat., p. 68, n. 75.
xii., p. 30 ; Birch, Classic Mus., 1849, 8 B. A. B., 1594.

p. 302 ; Kramer, ueber den Styl., s. 183 \ 9 C. C., 147.

26 GREEK POTTERY.

to be found OT IIANTOS E2TI KOPIN002, "every one
cannot go to Corinth," l a familiar erotic proverb. The
Athenian prize vases are inscribed TON A0ENE0EN
A0AON [" I am] a prize from Athens," 2 to which is some-
times added EMI, "I am." This inscription is also found in
the abridged form, A0ENE0EN.3 Sometimes the address
was to some particular individual, as AEM02TPATE XAIPE,
" Hail, oh Demostratus." 4

INSCEIBED OBJECTS.

Inscriptions upon representations of objects are much
rarer than any of the kinds just mentioned, and, in cases
where they appear, seem to have existed on the object
represented. Some few are those found on steles, or
funeral tablets, as TPI2IAO2,5 on the stele of the youthful
Troilos, lamented by his sisters ; AFAMEMNON,6 on that of
the King of Men; OPE2TA2 7 on that of his "fury-
haunted son ; " IAA2, on that of Idas.8 The most
remarkable of these is an elegiac distich, inscribed upon
the stele of (Edipus, a copy of that recorded by
Eustathius, from the poem called the Peplos, or " Shawl/'
written by Aristotle —

NUTO MEN MAAAXHN KAI HOATPIZON A2OAHAON
KOAim OIAinOAAN AAIOY YION EXI2.9

" On my back is grass and spreading-rooted asphodel :
In my bosom I contain (Edipus the son of Laius."

On the base of a statue of Pallas Athene is the unintel-

1 On the cup of Aurora and Tithonos, 5 Millingen, V. G., PI. xvii.
Braun in Bull., 1848, p. 41, reads, 6 M. V G., xiv.
IIANTOEENA KAAA KOPIN0OI ; both 7 Vase, B. M. 1559.
readings are doubtful. 8 j, g. y. T., xxxi. xxxvi.

2 Millingen, Anc. Uned. Mon., PI. L; » Millingen, Anc. Un. Mon. Vases,

3 Thierscb, 1. c., s. 68. PI. xxxvi. Mus. Borb., ix. xxix.

4 G. A. V., xxii. i. s. 82, 83.

INSCRIBED OBJECTS. 27

ligible inscription KCXfcTST,1 while AHM02IA,1 "Public"2
[baths] appear on a laver. Certain bucklers used for the
armed race, the hoplites dromos, bear the inscription
A0E,3 either to show that they belonged to Pallas Athene,
or that they were Athenian. The often-repeated expres-
sion KAA02, " beautiful," appears on layers, discs, a wine-
skin held by Silenus, and other objects ; and on a column is
inscribed HO IIAI2 KAAO2 NAIXT,4 " the boy is handsome
forsooth ;" while the inscription AAXE2 KAAO2,5 " Laches
is handsome!" inscribed down the thigh of a statue, recalls
to mind the expression, " Pantarces is beautiful," which
Phidias slily incised on the finger of his Olympian Zeus
at Elis, and the numerous apostrophes which covered the
walls of the Ceramicus, and other edifices of Greece.

Other inscriptions are such as were taken from pedes-
tals, and one remarkable example, reading AKAMANT12
ENIKA 4>TAE, " the tribe of Akamantis has conquered,"
is on the base of a tripod dedicated by that tribe for a
victory in some choragic festival.6 AIO2, "the altar of
Jove," occurs on that of the Olympian god at Elis, at
which Pelops and (Enomaus are depicted taking the oath.
On the supposed tessera, or ticket of hospitality, in the
hands of a figure representing Jason, is 2I2IO2.7

NAMES OF AETISTS.

The artists who designed and painted the subjects of
the vases often placed their names upon their finest

1 Millingen, Anc. Un. Mon., i.Pl. 29. Mus. xiii. 6.

2 T., i. 58. 5 Ibid.

3 Cat. Dur., 674. ° Panofka, Mus. Blac., i.

4 Gerhard, Vasen. and Trinksch. Kgl- 7 Ann., 1848, p. 162.

28 GREEK POTTERY.

productions, accompanied with the words EFPA2EN,
EFPAS^EN, EFPAH'EN, or EFFACE; which words, from
their preceding the formula, KAOOE2EME, "and made
me," show that the painter ranked higher and was more
esteemed than the potter ; unless, indeed, they were placed
in this order with the view of forming a kind of Iambic
trimeter. Sometimes the artist's name alone is placed on a
vase ; at other times it occurs with those of the potter and of
the figures represented ; and is accompanied with speeches,
and addresses to youths. None of the older artists used
the imperfect, EFFACE, " was painting," which was that
adopted by the followers of the later Athenian school, in
order modestly to affect that their most elaborate labours
were yet unfinished, but always the more decided aorist,
indicating completeness. These inscriptions do not occur on
the early vases, attributed to the Doric and Ionic potteries,
but commence with the vases with black figures, and ter-
minate with those of the style of the decadence. Some
of the earliest artists appear to have used a kind of Iambic
verse, as : —

EKSEXIA2 EFFACE KAFIOE2EME

In the next chapter, describing the principal artists
and their works, a further account will be given of the
artists.

An attempt has been made to connect the choice of
subjects on vases bearing artist's name, with allusions to the
name of the artist ; 1 but the connection, if it exists, is too

1 Panofka, Abh. d. k. Akad. d. Wissenschaften, 4to, Berl., 1848, s. 153, 241.

NAMES OF ARTISTS AND POTTERS. 29

vague to assist the interpretation of them. It is possible
that such secret allusions may have been occasionally
intended, but the subjects of vases inscribed with the
names of artists are comparatively unimportant, and some-
times merely ornamental.

NAMES OF POTTEES.

A few vases have the potter's name inscribed upon them,
accompanied by the expression EITOIE2EN, " made," or
MEIIOIESEN, " made me," which is rarely, if ever,
replaced by the EnOEI, " was making/' of the later
school of artists. A rarer form of inscription is the word
EPFON, " work," instead of EUOIE2EN. The potter always
wrote his name in the nominative, generally simply as
NIKO20ENE2 EHOIE2EN, " Nicosthenes made," me or
it. To this he sometimes added the name of his father,
either to distinguish himself from rivals of the same name,
or because his father was in repute. Thus Tleson, a cele-
brated maker of cylices, or cups, uses the phrase TAE2ON
HO NEAPXO EIIOIE2EN, " Tleson, son of Nearchus,"
made it ; while Eucheros, another potter, employed the
form HOPFOTIMO HTIT2 ETXEPO2 EIIOIE2EN " the son
of Ergotimus, Eucheros, made it." EPFON, of course, has
the genitive ; as 2TATIO(Y) EPFON, "the work of Statras."
These inscriptions are generally placed in prominent
positions, where they could readily be seen by purchasers.
In this respect the potters only imitated the painters,
sculptors, and architects, who inscribed their names
on some part of their works, and even clandestinely intro-
duced them inside their statues. The potter, who was

30 GREEK POTTERY.

evidently exposed to an active competition, prided himself
upon the fineness of his ware, and the elegance of the
shapes which he produced. The vases with straw-coloured
grounds have no potters' names, which first appear on
vases of the old style, with pale red grounds, and are most
common upon cups. They continued to be placed upon
vases till the latest period, but with decreasing frequency.
The art, in its decay, ceased to be either honourable or
profitable.

Like the artist, the potter arranged his inscriptions
often in a kind of Iambic trimeter, and the final N, which
is a poetic form, shows that he had an eye to a little
doggerel, as in the inscription —

HOPFOTIMO HTIT2 ETXEPO2 EITOIE2EN

Epyo \T ijuo v | uto s | Ev^tpo s \ CTTO L \rj (rev
Eucheros, son of Ergotimus, [this vessel] made

in which, in frolicsome or sarcastic Iambi, some potter
addresses his purchasers. In another, the following forms
the end of a choriambic asclepiad.

HO2 OTAE HOT ETPONIO2

oJo-|oiJ 6e '7ror|EiK/>/)oi>i|os'
Such never made Euphronios.

NAMES OF YOUTHS.

An account of the potters and their labours, derived
from the inscriptions, will be found in the next chapter.
Besides the names of the principal figures, and of the
artists and potters, a third name, either male or female,
accompanied with the adjective KAAO2,1 or KAAH,2 "the

1 G. A. V., cxcv. cxcvi. ; M. G., ii. 2 G. A. V., Ixxix. Ixxxi.
Ixxxv. 2, a ; V. C. xxx. x.

NAMES OF YOUTHS. 31

noble, beautiful or lovely, is found on several vases ; which
epithet is also sometimes found without any name. The
archaeologists who first studied the subject, imagined that
these were laudatory inscriptions of the works of the pot-
ters. On many vases is HO HAI2 KAA02, " the boy is
handsome ;" l sometimes with a repetition of KALO2,2 with
certain anomalies, as HO HAI2 KAAE,3 or HE HAI2 KAAE,4
sometimes abridged to HO HAI2, " the boy ;" 5 or HAI2,6 qr
even with KAA02 NAIXI KAAO2, " handsome — handsome
forsooth." 7 The name, however, of some youth is generally
understood, and in some instances expressed, as AOPO0EO2
HO HAI2 KAA02 HO HAIS KAA02, " Dorotheos— the
boy is handsome — the boy is handsome." 8 One remarkable
cup has, interlaced with the foliage painted upon it,
KAAO2 NIKOAAO2 AOPO0E02 KAAO2 KAMOI AOKEI NAI
XATEP02 HAI2-KAAO2 MEMNON KAMOI KAAO2 4>IAO2.
"Nicolaus is handsome, Dorotheos is handsome, seems to
me that the one and the other is handsome. Memnon
to me is handsome and dear/'9 A lecythus has OHI20E
ME KAI EVHOAE2 El KAA02, "behind (after) me even
thou Eupoles art noble." 10 Once is found OIO2 HAI2,
" what a boy." n

The most usual form, however, is a proper name,
accompanied with KAAO2, as ONETOPIAE2 KAAO2,
" Onetorides is beautiful ; " 2TPOIB02 KAA02, " Stroibos

1 M. G., ii. Ixx. 1, a, b; G. A. V., ccxix.-cxxx.
ccxxxix. Ivii. Ixxvi. la; M. G. ii. Ixix. 6 M. G., ii. Ixxi. 4 a.
la; G. A. V., ccxxix. ; V. D. C. xxii. ; 7 B., 1851, 68.

M. G. ii. clxii. 1 b ; G. A. V., cxciii. « Q. A. y., cii.

2 V. D. C., xxxi. 1 ; M. G. ii. Ixxxii. 2 a. » An. 1833, 236-237 ; Mon. i. xxxix.

3 M. G., ii. Ixxxii. 2 b ; V. G. xxii. 10 Campana Collection.

4 M. G., ii. Ixxxv. 2 b. "Vase at Naples; M. A. U. M.

5 M. G., ii. Ixx. Ixxi. 4 b. ; G. A. V., xxxviii. 92.

32 GREEK POTTERY.

is beautiful ; " for which, on later vases, is substituted the
form O KAAO2, "the beautiful," as NIKOAHMO2 O
KAAO2, " the noble Nicodemos." 1 One youth, indeed,
Hippocritos, is called HIDOKPITOS KAAT2TO2, " Hip-
pocritos is the most handsome." 2

NAMES OF FEMALES.

Besides the names of youths, those of females, either
brides, beauties, or hetairse, are found, accompanied with
the expression KAAE, as OINAN0E KAAE " GEnanthe
is lovely !"3 Often, however, the names of females are
accompanied with those of men. The most elliptical form
is KAA02, " he is handsome ; " KAAE, " she is fair ! " 4
One vase of the Canino collection had ATSiniAES KALO2
POAON KAAE, " Lysippides is beautiful, Rodon is fair,"
apparently a kind of epithalamium. Before a lyrist
is written on one vase, KAAE AOKE2,5 "thou seemest
fair." This, however, might be part of the song. Of
the nature of an Agonistic inscription is that cited by
M. Bockh, reading KEAHTI AAMOKAEIAA2.6 " Damocleidas
(was victor) in the horse race," which throws much light
on the use of KAA02 in the others already cited.

The import of these inscriptions has excited much con-
troversy, for while some have taken them to be the names
of the possessors of the vases,7 others have considered that
they were those of the persons for whom the vase was

1 G. A. V. civ. Cf. ; Panofka, 1. c. 6 M. Bockh. in the Bull., 1832, p. 95 ;

2 G. A. V., Ixi.-lxii. Walpole, Memoirs, p. 332 ; Bockh.

3 G. A. V., cli. Corp. Inscr. Grsec.. no. 33.

4 G. A. V., Ixxxi. 7 Panofka, Eigennamen mit /coAos,

5 Mus. Borb., iii. xii. s. 1 ; Gerhard, Annali. 1831, p. 81.

MEANING OF KALOS". 33

made, or to whom it was sent as a present,1 or those of
youths and maidens beloved or admired by the potter.2
This last hypothesis is supported by the fact of lovers
writing the name of the beloved object upon the walls
of the Ceramicus.3 In allusion to this, the same epithet
of "handsome, or beautiful," is applied sarcastically by
Aristophanes to the Demos, Pyrilampous,4 and the same
poet, speaking of the Thracian, Sitalcas, as a devoted
admirer of Athens, describes him as writing upon the wall
" the beautiful/' or " handsome Athenians."5 " He is an
exceedingly good friend to Athens," says the poet, " and
loves it so exceedingly, that often he scrawls upon the
walls, ' The Athenians are beautiful ! ' ' Females were
repeatedly called "the fair,"6 and their names inscribed on
walls. Even dogs found their devoted masters, who
called them KO.XOS on their sepulchral monuments.7 The
case, however, most in point for the artists of antiquity, is
that of Phidias inscribing the name of Pantarces, in the
case already mentioned.8 According to this hypothesis,
where the word KaXos is found alone, the name was in-
tended to be supplied, as in a blank formula,9 which,
however, appears doubtful. It is generally supposed, in-
deed, that the word is intended to express the personal
beauty of the individual named,10 although it is by no

1 Millingen, Peint. d. Vases Grec., 7 Theophrast., Toup on Suid., Oxon.,
fol. Romse, 1813, p. iii., p. xi. 1790, t. ii. p. 129.

2 Mazocchi, Tab. Heracl., 138; Bot- 8 Clemens, Alex., p. 33 ; Arnob. adv.
tiger, Vasengem., iii. 20. Gent., vi., p. 199 ; Greg. Nazien., xviii. ;

3 Suidas, voce, 6 5e«/o /caAos ; Schol. Pausan., v. 11.

Aristoph. Acharn'., 143 ; Eustath. ii. 9 Visconti, Mus. Pio. Clem. V. ; tav.

p. 633. xiii., p. 25, n. f.

4 Aristoph. Vesp., 97, 98. 10 MUller, Getting, gelehrte An-

5 Acharn., 143. zeigen, 134, 135; St., d. 25, Aug., 1831

6 Aristaenet. i. 10 ; Lucian, Amor., s. 1331-1334.
c. 16 ; Xenoph. Eph., i. 2.

VOL. II. D

34 GREEK POTTERY.

means improbable that it was applied to those who
excelled in the games of the youths in the Stadium. These
names, which no doubt were the popular ones of the day,
were adopted by the potter, in order to induce the
admiring public to purchase objects which recalled their
idols to mind ; and the prominent manner in which the
names are placed upon the vases, shows that they were
not less essential than the subjects to their sale. The
influence which the beauty of boys, and the charms of
beautiful and accomplished women, exercised over the
Greek mind l is quite sufficient to account for the use of
the epithet, without supposing that it resulted from the
admiration of the potter. Above seventy names of men,
and about ten names of women, have been found with this
epithet, besides those of several deities. These names are
all Greek, many of them traceable to Athenian families ;
and as the vases bearing them were found amidst the
Etruscan sepulchres of Vulci and of Northern Italy, the
Campanian tombs of Nola, and in Southern Italy and
Sicily, it is plain that they could not have been those of
the possessors or donors.2 A most ingenious attempt has
been made by M. Panofka to trace a connection between
the subjects of vases and the names which appear
upon them. Bearing in mind the apparent remoteness
of the allusions in the odes of Pindar to the victors
celebrated, and in the Greek choruses to the plot of the
drama, it is possible that such allusions may be intended,
although, whether the connection can be always satis-

1 Bergk. Allgemeiue Literatur Zei- 2 Th. Bergk., loc. cit.; Panofka,
tung, n. 132, Juni, 1846, s. 1049- Eigennamen, s. 84-85.
52.

UNINTELLIGIBLE INSCRIPTIONS. 35

factorily traced, is open to doubt.1 A list of the names
of persons mentioned, taken from M. Panofka's dissertation,
is appended. (Appendix, No. I.)

UNINTELLIGIBLE INSCRIPTIONS.

A considerable number of vases are covered with in-
scriptions,2 the meaning of which is quite unintelligible,
although the letters can be distinctly read. This is not
peculiar to vases found in Italy, but is of common occur-
rence on those of Greece itself. Nor can it be charged to
the ignorance or barbarism of the potter, as such inscrip-
tions are often found intermingled with others in good
Greek. In some few cases these inscriptions can be
traced to forgeries, as for instance of the names of potters ;
while in others a certain resemblance is observable
between the illegible inscriptions, and the more correctly
written names of the figures represented. Some few
also may be intended for the sounds of animals, especially
where there is a repetition of the same syllable placed
near them, such as,

XEXETAKTEXEXEXQFXEXQFFXEXE
KTEXETAKKqFTFXEAAXFXEXXKXEAA

like the twittering and gibbering of the birds in the
"Birds'' of Aristophanes. Some few, perhaps, are
vulgarisms, or owing to the abnormal state of the language

1 This subject has been discussed at 1849, p. 89-191 ; Thiersch. ueber
considerable length by M. Panofka, die hellenischen bemalten Vasen, 4to,
Die Griechischen Eigennamen mit Munich, 44.

KAA02, 4to, Berlin, 1850; Abhand. 2 Gerhard, Rapp. Vole. p. 173, n. 668.
d. K. Akademie der Wissenschaften,

D 2

36 GREEK POTTERY.

at that time.1 But many, especially those which are a
series of words commencing with the same letters, and
which often consist of agglomerations of consonants with
few vowels, are the mere images of words, written down
only to show that an inscription is intended.2 Others
may be meant for the imperfect words uttered by excited
persons, such as drunkards3 and revellers. Several of these
unintelligible inscriptions occur on the early cups, such as,
ENXIXNOIXITOIXNE4, or ENIXIXOXIXINEIT, XIIZEAIN-.
KN2.5 Some of them have lately been conjectured to be
a kind of cipher.6 These inscriptions are found on vases of
the earlier style with black figures, and occasionally on
those with red ; and they continue till the time of the later
vases of Nola,7 and of Apulia,8 when names were incised
by possessors ; the names of the potters Andocides and
Hieron occur in this manner on two vases.

II.— INCISED INSCRIPTIONS.

The second class of inscriptions is those which are
engraved on the vases. Sometimes they have been
incised before the vase was sent to the furnace, at other
times after it was baked. On the vases of the later style
the names of figures and objects are executed in this
manner, t}ie letters being incised through the black glaze
on the red clay of the vase. On the older ones they

1 Gerhard, Rapp. Vole., p. 71., who Gerhard, A. V., clxxxviii.
supposes the artists wished to give anap- 4 B. M., 678 ; C. D., 335.
pearance of great antiquity to their vases. * C. D. 335; B. M., 667-8.

2 Ibid., p. 173, n. 670; G. A. V., e B A> R> 1599

cxxiv. clxv. 7 De Witte, Penelope, Annali, 1841,

Cf., the expression, EAEOH, EAE- p. 264, pi. i.
AEM, with the word, KOMAPXO2, 8 De Witte, Annali, 1841, 268.

INCISED INSCRIPTIONS. 37

have generally been incised before the vases were con-
signed to the furnace. They are found distributed in
different places, as the handles, border, feet, and especially
at the bottom of the vase under the foot ; having been
written when the vase stood upon its mouth, or on the
detached foot before it was united. Those on the body
of the vase relate either to the figures represented, or else
have the name of the possessor of the vase, or of the
person for whose ashes it was used. Some few, however,
relate to the potters.1 A vase in the Museum at Naples 2
has incised upon its neck the name of Charminos, son
of Theophamides — XAPMINOC 0EO<J>AMIAA KmOC — a
native of Cos, and came from Carthage. A Jiydria, or
pitcher, from Berenice, has in like manner the name of
Aristarchos son of Ariston.3 Such formulae are not
uncommon, as AIONT2IOT A AAKT0O2 TOT MATAAOT
" (I am) the key thus of Dionysius, the son of Matalus ;"4
— TPEMIO EMI, " I belong to Tromios ;" KAPONOS EMI,
"I belong to Charon;"5 2O2TPATO EMI, "I belong
to Sostratos :"6 TATAIHS EIMI AHKT02 O2 A AN ME
KAE*[H] 0r<M02 E2TO, " I am the lecythus of Tataies,
and may whoever steals me be struck blind/'7 On a vase
in the Museum of Naples is NIKA HEPAKAH2, "Heracles
conquers," but it is doubtful whether it is antique.8 In one
instance a scratched inscription, reading HEMIKOTTAION,
indicated the capacity of a vase with two small handles,

1 As that of Hieron. Bull., 1832, 4 B., 1830, p. 153; A., 1831, D.

p. 114. 5 Raoul Rochette, Journ. des Sav.,

2 M. B., iv. 5. 1; Neapels. Ant. 1830. p. 118.
Bild., s. 548. 6 Ibid.

3 Formerly in Mr. Bidwell's Collec- 1 B. Arch. Nap., torn. ii. tav. L, fig. i.
tion, Arch. Zeit., 1846, p. 216. 8 Inghirami, S. V. T., xlii.

38 GREEK POTTERY.

found at Corfu ; another of these inscriptions,1 ATAIA
MEZI2 KE AEHA2TIAES KZ, supposed to refer to
the capacity of some vase, holding 25 lydians
and 27 lepastides ; under another2 IX0TA, "dishes for
fish/' 3

On the foot of a crater from Girgenti is the word
XAPITHN, Chariton, probably a proper name.4

The most interesting inscriptions, however, are those on
the feet of the vases of the earlier style, of which a
considerable number have been discovered. They are
very difficult to decipher, being chiefly contracted forms
of words, and often monograms, or agglomerations of
letters and ciphers. The greater portion are con-
sequently unintelligible, and probably were understood
only by the potter or his workman. Many of them,
however, are evidently memorandums made by the work-
man, about the number of vases in the batch ; and others
those of the merchant, respecting the price to be paid.
Such are the abridgments as TE5 HVA, HVAPI Hvfyua,6 or
in a fuller form HVAPIA2 AHK or AHKV Ar?Kv0os,7 GET for
OETBAA,8 oxylapha, another kind of vase, XTTP1, for
" pots." The examination of these inscriptions under the
feet of vases leads to some curious results as to prices. On
one in the Louvre is :

1 Arch. Zeit., 1846, s. 371. 5 M. E., 212.

2 A. Z. 1848, s. 248. 6 M. E., xxxvii., 1650.

3 Collections of these will be found 7 Panofka, Recherches, p. 8.

inPr. de Caiiino, Mus. Etr.; Gerhard, 8 Panofka, 1. c.; Letronne, Journ.

Neuerworb. Ant. Denk. 8vo., Berlin, des Sav. 1837, p. 750; Nouvelles An-

1836, Taf. ii. ; Cat. Greek and Etr. nales,i., p. 497; Journal des Sav., 1849,

Vases in Brit. Mus., pi. A. and B. p. 427; Bockh. Staatsh. i., p. 451;

4 Millingen, Vases de Coghill, pi. xi. Jahn. Bericht., d. k. Sachs. Gesellsch.,
The word also means "of the Graces." 8vo., Feb. 1854, p. 37.

i.e. " the crater of the Graces."

INCISED VALUES.

KPATEPE2 : HI

TIME ; H-H-OEIAE2 :

BA$EA : A Ah I.

That is,1

Six crateres

value 4 drachmae : 8 oxides.

20 baphea. 1 drachmas . 1 obolos.

On another vase was inscribed2 —

KPATEPE2 n OHIAE2 AAAATI0
OHVBA4>A AIII

5 craters, 40 oxides, value 8 drachmas
13 oxybapha . . .

A . KVA0EA
10 Cyathea (for Cyathoi).3

APT2IAH

30 arysides, or " ladles,"

VPIA2 IIII (for Hu8/>ias)

make " 4 hydrias."

It is supposed that these inscriptions were placed on
the feet of vases while being turned for the potter, and
before they were united with the vase.4

Present value
of money about

1 Cylix cost 1 drachma = 3 shillings.

1 Crater cost 4 obolos = 2 shillings.

1 Lecythus cost 1 obolos = 6 pence.

1 Small pot cost J obolos = 3 pence.

1 Saucer (/3a$ioi/) cost J obolos = 2 pence.

1 Letronne, sur les noms trace's a 2 Ibid., 502.
la pointe; Nouvelles Annales, 1836, 3 Ibid., 502, 503.
p. 492. 4 Ibid., 506.

40 GREEK POTTERY.

The following were the prices of kcythi, or oil-flasks :

AHKT T AA : AH 20 lecythi are worth 27 drachmae \
AHKT : IF : IA 13 „ „ H „ f or

AHKT : K0 : AH 29 „ „ 27 „

This was probably reckoned by obols, for according
to Aristophanes,2 an obolos would purchase a very fine
lecyihus, while an earthenware cask, or cadus (/cades), cost
3 drachmae.3 In an inscription published by Bockh,4 one
Cephisophon values his cylix, or cup, at one drachma.

On another small vase at Berlin is —

AAAII : TIMH • H I- IIIIC.

32 vases value 2 dr. 4| obeli.

n.EAnoi • AAA.

5 elpi, value 30 drachme, or 1 elpos = 6 dr.5

H • KAAIA.

5 cadi = 12 dr. or 1 cados = 2f dr.

The two annexed engravings will illustrate the nature
of these inscriptions completely. The first, which is at
the base of a small two-handled vase, called pelihe, found

at Nola, reads Apaxfuu SLVO rijutr; o/3oAot reo'trapes KCU r/juicn;, —
"two drachmae, value four oboli and a half," — which is
supposed to refer to the value of this by no means fine vase.
The second is evidently a memorandum, beginning, XVTPIA
Kr,6 "Twenty -three pots," — Spaxjuais rpia^ovra eTj-ra, "thirty-

1 Jahn. 1. c. p. 37, 38. ein Topferei vorstellt in the Bericht

2 Ranse, 1267. d. Saclisisch. Gesellsch. 1854, p. 37.

3 Pax. 1291. 6 Gerhard, Neuerw. Denkm., s. 30,

4 Corp. Art. Inscr. Grac, No. 545. No. 1605.
* Jahn, Ueber ein Vasenbild welches

ANCIENT MENTION OF INCISIONS. 41

seven drachmae," — GET (fia^a) E,1 " Five oxybapha," or
" vinegar vases." In a similar manner are ' written

No. 126. — Incised inscriptions on vases.

memoranda of the prices of cylices? or cups, and other
products of the kiln,3 as A KVA0EA, " four cyathi." 4

Inscriptions on vases are mentioned by the ancients.
The scyphos of Hercules, on which was seen the fall of
Troy, had on it certain illegible characters.5 A cup at
Capua was said to have an inscription declaring that it
belonged to Nestor. Athenseus6 also mentions the
inscribed cup of a youth who had thrown himself into
the sea after a girl beloved by him, declaring that he had
carried with him a cup of Zeus Soter.

1 Mus. Etr. xl., No. 1821 ; Cat. of
Gr. and Etr. Vas. in B. M., pi. A.
459.

2 B. A. N. N. S., iv. p. 132, BAN. ii.
tav. i. 6, p. 23.

3 B. A. B., 1666.

4 C. B. L., p. 21, No. 22.

5 Athenams, p. 493, C.

6 xi. 466, C.

GREEK POTTERY.

CHAPTER VIII.

Ancient Potters— Athenian Potteries— Names of Potters : Alides— Amasis— An-
docides— Archicles — Bryllos — Calliphon — Chachrylios— Charitseus— Cleo-
phradas— Cholchos — Chelis — Charinos— Chserestratos — Cephalos — Deini-
ades— Doris — Epitimos — Epigenes — Erginos — Ergotimos— Euergetides —
Eucheros— Echecrates— Execias — Euphronios — Euxitheos— Glaucythes —
Hermseus— Hermogenes— Hechthor— Hieron— Hilinos— Hischylos— Meidias
— Naucy des — Neandros — Nicosthenes— Oinieus — Pamaphius — Phanphaios
— Pamphseos— Philinos — Pistoxenos — Priapus — Python — Simon of Elea —
Smicylion — Socles — Sosias — Statius — Taleides — Theoxetos — Thyphei-
theides — Timagoras — Tlenpolemos — Tleson — Xenocles — Tychios —
Xenophantos — Names of Vase Painters: ^Eniades — Alsimos — Amasis —
Aristophanes— Asteas— Bryllus, or Bryaxis — Clitias— Cholchos — Doris—
Euonymos — Epictetus — Euphronios — Euthymides — Execias — Hegias —
Hermonax — Hypsis — Onesimos — Pheidippos — Philtias — Phrynos — Pothi-
nos — Praxias — Polygnotus — Priapos — Psiax — Sosias — Taconides — Zeuxi-

HAVING thus described the chief peculiarities of the
painted vases, and of the circumstances connected with
them, it now remains to say something respecting their
makers — the potters of antiquity. Unfortunately, how-
ever, little is known of their condition, except that they
formed a guild, or fraternity, and that they amassed vast
fortunes by exporting their products to the principal
emporia of the ancient world. The oldest establishments
appear to have been at Samos, Corinth, and JSgina, and
it was not till a later period that the Athenian pottery
attained any great eminence, or became universally
sought after. The existence of two JcerameiJcoi, or pottery

POTTERS AND POTTERIES. 43

districts, at Athens, and the fact that some of the prin-
cipal men were connected with the potteries, show the
great commercial importance of the manufacture.

By the Athenians, potters were called Prometheans,1
from the Titan Prometheus, who made man out of clay,

—which, according to one mythos, was the blood of the
Titans, or Giants, — and who was thus the founder of the
fictile art. It was not, however, much esteemed, although
without doubt the pursuit of it was a lucrative one, and
many of the trade realised large fortunes;2 in proof of
which may be cited the well-known anecdote of Aga-
thocles,3 who, at a time when the rich used plate, was in
the habit of mixing earthenware with it at his table,
telling his officers that he formerly made such ware, but
that now, owing to his prudence and valour, he was
served in gold, — an anecdote which also proves that the
profession was not highly esteemed. However, the com-
petition in the trade was so warm as to pass into a
proverb, and the animosity of some of the rival potters
is recorded upon certain vases.4 To this spirit is also
probably to be referred many of the tricks of trade, such
as forgeries of the names of makers, and the numerous
illegible inscriptions. When the potter's establishment,

—called tpyaarripiov — was large, he employed under him
a number of persons, some of whom were probably free

1 Kal avroi Se 'A07ji/cuoi TOI/S x^P*™ Arch. Zeit. 1853.

Kal ITTVOTTOIOVS Kal trdi/ras curoi Trrj\ovpyol, 3 Plutarch, Apophthegm., vol. vi., p.

npo[j.-r)0(as airfKaXow €Tn<rK(t>TTTovTes e's 673. Leipz. ed. 1777.

rbj/ Trr)\bv Kal r^v *v Trvpl o!/j.ai TUV 4 Hesiod, Oper. et Dier., v. '25 ; Aris-

(TKcvuv oTrrt}ffiv. Lucian. Prometh. in totle, Rep., v. 10; Rhet., ii. 4; Ethic.,

Verbis, Dindorf. 8vo., Paris, 1840, p. 6, viii. 2; Plato, Lys., p. 215; Plutarch,

s. 2., 1. 11 and foil. de capiend. ex hoste util., p. 342,

/ Evav\Ki5ov e/c KepafMeuv. Leipz. ed. 1777.

44 GREEK POTTERY.

but poor citizens, whilst others were slaves belonging to
him. How the labour was subdivided there are no means
of accurately determining, but the following hands were
probably employed : — 1. A potter, to make the vase on
the wheel ; 2. An artist, to trace with a point in outline
the subject of the vase ; 3. A painter, who executed the
whole subject in outline, and who probably returned it to
No. 2, when incised lines were required ; 4. A modeller,
who added such parts of the vase as were moulded ; 5.
A fireman, who took the vase to the furnace and brought
it back ; 6. A fireman for the furnace ; 7. Packers, to
pack up the vases for exportation. Hence it may readily
be conceived that a large establishment employed a great
number of hands, and exhibited an animated scene of
industrial activity.

Some slight insight into the nature of the trade is
gained from the inscriptions which the potters placed on
their vases. The fullest form l of inscription is when
both the potter and the artist placed their names on the
vase ; and there is some doubt whether, when the name
of a potter is found alone, he did not paint as well as
make the vase. Nearly fifty names of potters have been
found, but they only occur on choice specimens of art,
perhaps on samples or batches, and the far greater pro-
portion of vases have no name at all. It is so difficult to

1 For the lists of these names see blatt, 1830, No. 83, 84; Welcker, in the

Panofka, Von den Namen der Vaseu- Rheinisch. Mus. Bd. vi. 1847, s. 389-97;

bildner, 4to. Berlin, 1849. s. 153, 241; De Witte, sur les noms des Dessiua-

R. Rochette, Lettre a M. Schorn., 8vo, teurs et Fabricants des Vases Peintes,

Paris, 1832 ; 2nd edit. 8vo. Paris, 1845 ; Revue de Philologie, 8vo, Paris, Tom. ii.

Clarac, Cat. d. Artist. d'Antiq., 12mo, p. 387473 ; Gerhard, Rap. Vole., p. 74,

Paris, 1849; Welcker, in the Kunstblatt, 75.
1827, No. 81-4 ; Osann, in the Kunst-

ALIDES AND AMASIS. 45

assign to each potter his relative position in the history of
the art, that it is as well to take the names in alphabetical
order.

The name of the potter Alides has been found upon a
vase with red figures, of the strong style, found at St. Maria
di Capua, having the subject of Pelops, surnamed Plexippus,
with two horses.1

Amasis, a potter, whose name is apparently of Egyptian
origin, may have had a factory at Corinth, as his works
are of the early rigid school. His vases have been found
only in Italy. He exercised the art of painter as well as
potter, and on certain vases he states that he painted
the subject.2 He painted for the potter Cleophradas.3
Whether he subsequently set up for himself does not
appear, but he is known in connection with several vases
with black figures ; as, an amphora, on which is seen the
dispute of Poseidon and Athene for the soil of Attica,4 and
Dionysos and his cohort ; a small jug, olpe, with the
subject of Perseus killing Medusa ; 5 and an amphora,
with that of Achilles and Penthesilea, and the arrival of
Memnon at Troy.6 Generally he writes on his produc-
tions MEnoiESEN, " made me," but on this last-mentioned
vase appears the blundered form noiHSN. Anacles
is known from a cup on which is a hind.7 Andocides,
another maker of the same kind of vases, is known from
an amphora, on which is represented the contest of

1 Bull. Arch. Nap. xcv.; Panofka 4 Gerhard Annali, 1831, 178, No.
Vasenbildner, s. 43. This is the same 702.

name read Euergetides. 5 Cat. Dub. No. 32 ; Cat. Vas. B. M.,

2 Raoul Kochette, p. 31; Clarac, p. p. 172, 641*.

248. 6 G.A . V., ccvii. ; Campanari, p. 87.

3 Gerhard, 1. c., No. 703 ; K. Rochette, 7 Panofka, s. 32; Bull. 1835, 127;
Bull. Fer, 1831, p. 101. De Witte, Rev. 392.

GREEK POTTERY.

Hercules and Gycnus, and Bacchus and satyrs,1 and
another with black figures on a white ground, having
for its subject Nereids and Amazons,2 the style of
which is fine. He employed no artist. Ar checks? who
also inscribes upon his vases " made me," or " made," is
known from a phide, a cup of a very old style, with tall
foot, and small handles of figures, with the subjects of the
hunt of the Calydonian boar, and the death of the
Minotaur.4 Another of his cups has a goat and satyr.5
He employed the artist Grlaucythes,6 by whose aid he pro-
duced the celebrated vase found at Caere, one of the most
remarkable for size and decoration, and which belongs
to the oldest period of the fictile art. Bryllos is known
as the maker of a cylix found at Vulci, painted with red
figures, and having for its subject the last night of Troy ; 7
and of another, with Triptolemus, the family of Celeus, and
the rape of Proserpine, also in red figures.8 The name of
the potter Cdliphon was invented to deceive the celebrated
archaeologist Millin, in which it was entirely successful.9
diadirylios, was a maker of a cup with red figures, of the
fine style,10 representing Amazons and the Bacchanalian

1 ANAOKIAE2 EDOIE2E, EHOE2EN.
Can. leCent., 1846; Ann., 1837, 178, No.
700; Clarac, Cat., p. 37, 237-249;
Mus. Etr. 1381 ; C. Dub., 79 ; C. D., 22;
Campanari, p. 88; B. 1845, p. 25;
Panofka, Taf. iii. 2, s. 28.

2 His name is inscribed on the foot,
which renders it suspicious. Campana
Coll.

3 C. D., No. 999 ; R. V., p. 178, n.
694.

4 G. A. V., ccxxxv.; Panofka, s.
32, 33.

5 Panofka, s. 31, reads this artist's
name, APKITE2 EHOIE2EN.

6 Panofka, M. Bl., xvi. 47 ; Gerhard,
A. 1831, 178, No. 694 ; Clarac, Cat. p.
251.

7 Panofka, s. 13, B. 1843, p. 71,
BPTLO2 EHO1E2EN.

8 A. 1850, pi. G. p. 109.

9 Coll. Can. 51 ; Journ. des Savans.,
1830, p. 121; Raoul Rochette, Bull.
Ferus, 1831, p. 149 ; Clarac. p. 70.

10 Coll. Can. 51 ; Cat. Can. 81 ; Ger-
hard, Ann., 1831, 179, No. 705; Cam-
panari, p. 88 ; XAXPTLIO2 EIIOIE2EN ;
Cat. Vas. Brit. Mus., p. 262, No.
815.*

CHACHRYLIOS— CH.ERESTRATOS. 47

cortege ; and of another, with Theseus bearing off Antiope.1
A vase found at Caere, with black figures, had the name of
the potter Charitaus, representing the subject of Hercules
and the Nemsean lion.2 Of Cleophradas, the employer of
Amasis, mention has been already made.3 Cholchos,
another maker of vases with red figures, of the strong
style, appears to have worked for Euxitheos.4 An cenochoe
of this maker has been found, with the subject of the
contest of Hercules and Cycnus.5 Chelis manufactured
cylices with black figures, sometimes intermixed with red,
representing Bacchanalian and athletic subjects ; and one
with Apollo and Hermes contending for the lyre. He
belongs to the transition period.6

A jug of fine shape, having a wreath of a vine laden
with grapes depicted in black on a white ground, bears the
name of the potter Ckarinos, with which is combined that
of Xenodoros, but whether that of an artist or of a youth
is Uncertain.7 Chcerestratos is only known from some
verses of Phrynichus. " Then, forsooth/' says he, " Chse-
restratos, soberly pottering at home, burnt about a
hundred canthari of wine every day." 8 A person of the
name of Cephalos, if it be not a fictitious one, is

1 Cat. Vas. Brit. Mus., p. 278, No. 4 Rochette, Lettre a M. Schorn, p.
827; Cat. Can., 115. 44; Clarac. Cat. p. 273; Campanarl p.

2 XAPITAIO2 EHOIE2EN EME, XAPI- 88, XOAXO5 MEDOIE2EN.

TAIO2 EIIOIE2EN : EME : EY, Visconti, 5 G. A. V., cxxii. cxxiii. ; Panofka,

Intorno gli Monument! sepolchrali sco- s. 14, Taf. i. 6.

pertinel ducato di Cere, in the Dis- 6 XEAI5 EIIOIE2EN, Gerhard, A., 1831,

sertazioni della Pontificia Accademia p. 179; No. 706; Clarac., p. 74; Cat. Dur.

Romana di Archeologia, 4to, Roma, 180; Cat. Can. 224; Panofka, s. 5, 37.

1836, Taf. ix. 7 Brit. Mus. No. 90.

3 Gerhard, Annali, 1831, p. 178, No. 8 Meineke, Frag. Com. Grsec., ii. 386 ;
703; Panofka, s. 37; Due de Luynes, Athenseus, xi., p. 474, B. There is a
Choix de Vases, pi. xliv. play on the wo

48 GREEK POTTERY.

sarcastically alluded to by Aristophanes,1 as making
wretched dishes, but tinkering the state well and truly.

The name of Deiniades* another potter, is recorded on
a cylix, with red figures, having for its subject Hercules
killing Alcyoneus. Doris, better known as a painter, ap-
pears as the maker of a dish, on which is a seated figure
of Athene.3 Epigenes, another potter, is only known from
a cantharus, or two-handled cup, of peculiar shape and
mediocre style with red figures, on which is painted
Achilles at the ships, receiving a draught of wine from the
Nereid, Cymothoe, and attended by Ucalegon, while
Patroclus, attended by Nestor and Antilochos, has the
same honour accorded him by Thetis. Both Achilles and
Patroclus are armed, and departing from the ships.4
Epitimos made vases with red figures ; as, for example, a
cup of ancient style, on which is a warrior mounting his
horse.5

Erginos, a potter, employed the painter Aristophanes,
and fabricated vases with black figures.6

Ergotimos, another potter, is known from the Francois
vase, and a cylix with black figures, representing the capture
of Silenus in the gardens of Midas, found at ^Egina,7 of which
island Ergo times was probably a native. He was perhaps
the father of the next potter, Eucheros, or Eucheir, in whom

1 Eccl. v. 252. Panofka, s. 40, 1.

2 AEINIAAE5 EHOIE2EN, Coll. Can., 5 EHITIMOS EITOIE2EN, Clarac, Cat.
le Cent., No. 74 ; Gerhard, Ann. 1831, 240, m; Dub. Not. descr., 56, No. 203;
p. 179, No. 709 ; p. 180, No. 728 ; Campanari, p. 88.

Campanari, p. 88. 6 Clarac, Cat., p. 204, c, EPFINOS

3 Gerhard, Fernerer Zuwachs der K. EHOIE2E ; Gerhard, Trinkschalen, Taf.
Mus., No. 1853 ; Gerhard, Trinkscha- ii. iii.; Panofka, s. 8, Taf. i. 3.

len, Taf. xiii. 7 EPFOTIMO2 EIIOIE2E; G. A. V.,

4 Ann., 1850, p. 143, pi. H. i.; B. 1846, ccxxxviii; Bull. Fe"r., 1831, p. 153.
p. 69 EniFENES EIIOE2E

EUCHEROS— GLAUCYTHES.

some recognise the celebrated Eucheir, brought by Dema-
ratus from Corinth to Tarquinii, who made a cylix, with
black figures, of the oldest style, with a representation of
the Chimaera, and on which he inscribes himself the son of
Ergotimos.1 He is a maker of the oldest school.

Euergetides made a cup with red figures, found at
Capua,2 representing Pel ops, Plexippos, a dancer, and a
Palsestric subject.

The potter Euphronios, was probably the most cele-
brated of his day. He belonged to the epoch of the
" fine," or to the latter days of the " strong " style, cha-
racterised by red figures, or by polychrome figures on a
white ground,3 and produced vases, mostly cylices, of the
finest style of art. The only vase-painter whose name
appears on his works, is the artist Onesimus,4 who painted
for him a cylix with the subject of a race. Only a few of
his works remain, as a cylix 5 with the subject of Hercules
and the Erymanthian boar, a quadriga ; Alcaeus and
a Sappho ; 6 another with the fate of Troilus,7 a horse-
man,8 Phrygians,9 and heroes arming ; 10 one with Death
and Sleep bearing off Sarpedon,11 and Dolon seized by
Ulysses and Diomedes ;12 and another with a triclinium of

1 ETXEPO2 EHOIE2EN HOPrOTI-
MOT HTIHY2, Clarac, Cat. Art. 191 ;
Bull. 1846, p. 78 ; Cat. Vas. B. M., p.
196, No. 701; De Witte, Cat. Can.,
No. 121, p. 70, M. M. I., xlii.

2 Ann., 1849, p. 145, pi. B., ETEPrE-
TIAE2 EHOI.

3 G. T. C., xiv.

4 Annali, 1831, 180, No. 723 ; Bull.
Ferusac., 1831, p. 153 ; Clarac. Cat., p.
109; Dubois, Cat. d. Pr. de Canino, 87,
ter; Panofka, die Vasenmaler Euthy-
midgs und Euphronios, p. 13.

VOL. II.

5 Vas. Cat. Brit. Mus., p. 270, No.
822 ; Panofka, p. 9.

6 Cat. Dur., 61.

7 Mus. Etr., 588 ; Cat. Can., 87, No.
568 ; Ann., 1831, 408, 824 ; Clarac, 272 ;
G. A. V., ccxxv.

8 Cat. Dub., p. 200.

9 Cat. Can., 81 ; Mus. Etr., 1091 ;
1831, Ann., No. 723.

10 G. A. V., ccxxv.

11 Panofka, p. 9.

12 Ibid.

50 GREEK POTTERY.

hetairse.1 He also painted vases on which occur the name
of Pansetios, an amphora with Hercules and the Eryman-
thian boar, and Acamas and Demophon with their horses,2
and a jar with recumbent undraped females.3

He has also left a cylix with figures in black outline, like
the later Athenian school, on which is Diomedes and a
female, or Achilles and Pontomeda ;4 and a crater, with Her-
cules and Antaeus of remarkably fine and grandiose style.5
This potter placed on his vases the names of several
celebrated youths of the day. His vases are, perhaps, the
very finest known of the strong style.

Euxitheos, who belongs to the period of vases with red
figures, was a painter as well as a potter. He is known
from an amphora representing Achilles and Briseis,6 and
from a cylix with the subject of Patroclus. For the last
he employed the vase-painter Cholchos.7

Execias was both a maker and painter of vases,8 with
black figures, of the early style. He is known from
amphorae on which are represented Hercules killing
Geryon, the chariot of Anchippus,9 Achilles and Pen-
thesilea,10 Bacchus,11 and (Enopion, and a deep cylix with
small figures of a winged female and stag.12 On cups,

1 Ibid. s. 10. 729; Campanari, p. 88; Brit. Mus.,

2 Ibid. s. 16. Vas. Cat., p. 246, No. 80 3; Inghirami,

3 Campan. Coll. Gall. Om., ii. 254.

4 Gerhard, Trinksc. und Gefasse, taf. 8 EX2EKIA2 EIIOIE2E, Panofka, s.
xiv. 5, 6, 7 ; Panofka die vasenbildner, s. 19, Taf. ii. 1, 2.

taf. iv. 7. s. 11 ; Welcker, Rhein. Mus., 9 Cat. Dur., 296 ; G. A. V., cvii.

vi. Bd. 1847, s. 394. 10 Cat. Dur., 389 ; G. A. V., ccvi. ;

5 Mon. v. pi. 38, 1855. Cat. Vas. Brit. Mus. p. Ill, No. 554.

6 EVK2I0E02 EIIOIE2EN, Cat. Dur. i> G. A. V., ccvi. ; Panofka, s. 19,
386 ; G. A. V., clxxxvii. ; Panofka, Taf. ii. 5, 6.

8- 17. 12 EK2EKIA2 MEIIOIE2EN. Cam-

7 Vases d. Pr. d. Canino, pi. 5 ; pana. Coll.
Gerhard, Ann., 1831, p. 180, 729, No.

EUPHRONIOS— HIERON. 51

cylices, and amphorae he painted the subjects of Acamas
and Demophon bringing back JEthra,1 Achilles and Ajax
playing at dice,2 the contest for the body of Achilles, and
Dionysos and the Tyrrhenian pirates.3

Echecrates is known by a single cylix, the subject of
which is a Gorgon's head.4

Glaucythes 5 has been already mentioned. His name
appears on the cup, with small figures, representing the
death of the Minotaur, and of the Calydonian boar, now
in the Museum at Munich, and on another cup in the
Berlin Museum. He must have flourished about the same
time as Tleson and Nicosthenes, and he placed on his
wares the name of Hippocritos, a youth styled " the most
beautiful." He flourished at the early period of vases with
black figures.

Other potters were Hermceos, the maker of a cup on
which is represented Hermes making a libation ;6 Her-
mogenes? one of the early school, who only made cups
with small figures and ornaments ; and the supposed
Hecthor.8 Hieron, a remarkable name, perhaps of a
contemporary with the old Sicilian tyrant, is chiefly known
from the cylices he made, and which are found at Vulci,
and in the Sabine territory, with the name scratched upon
the handle. He appears to have been a partner with

1 Ann. iii. p. 179, No. 709; Cat. Dur., 6 HEPMAIO2 EIIOIE2EN, Clarac,
L c. ; G. A. V. ccvi. Cat., p. 240 ; Bull, 1842, p. 167.

2 Panofka, s. 10, taf. ii. 10-12 ; M. G., 7 HEPMOFENE2 EIIOIE2EN, Gerhard
ii. liii., 1 a. ; Etr. Vas., taf. xii. Ann. 1831, 178, No. 690; Cat. Dur.

3 G. A. V., xlix. 1000; Berlins and Bildw., No. 683;

4 Ann., 1849,s. 120. EXEKPATE2 K Cat. Can., 159; B. M., p. 189, 685;
. . TEAE2EN. Rochette, p. 46; Campanari, p. 88; Cat.

5 ALAVKVTE2 EIIOIE2EN,once AAAV- Vas. B. M., 685.

KVE2 EIIOIE2VEN, Gerhard, Berlins 8 HEX0OP ErPA*2EN, Mus. Etr., p.

Neuerw. Vasen., No. 1598 ; Bull, 1847, 121 ; Bull, 1830, p. 134 ; Bull. Fe>,
p. 125. 1831, p. 155; Monumens, xxvii. 46.

E 2

52 GREEK POTTERY.

Andocides. The subjects of his cylices are Bacchanalian,1
Peleus and Thetis,2 the Judgment of Paris,3 Achilles
hearing the death of Patroclus,4 and festive scenes.5 His
orthography is not always correct,6 and his inscriptions
are scratched under the handle.

The name of Hilinos has been found as one of the
lecythopoioi, or makers of lecytlii, on a vase with red
figures, of that shape, discovered at Athens. He employed
an artist named Psiax.7 A potter named Lysias has re-
corded his name on a plain vase.8

Hiscliylos, another potter, belonged to the period of
the transition from black to red figures ; his vases have
been found only at Vulci.9 His wares were chiefly cups.
He employed one Pheidippus to paint his vases ;10 besides
Epictetus, who surpassed all the other artists of the strong
style n of red figures,12 and Saconides, whose name appears
on a cup with the subject of Hercules and the lion.

The potter Meidias is known by the celebrated Hamilton
vase, of the style of Ruvo, a perfect chef d'oeuvre, of
the florid style, with red figures, and gilding in the
accessories ; the subject being the rape of the Leucippides,
and the Argonauts.13

1 Can. 1 e. Cent., No. 23 ; Mus. Etr. 8 AV2IA2 MEHOIEEEN HEMIXONEI,
565, 1183. on a vase in the Campana collection at

2 Depolletti Coll. Clarac, Cat., p. 128 ; Rome.

Annali, 1831, p. 179, No. 710. 9 HI2KVAO2 EIIOIE2EN, Canino, 1 e.,

3 Campan. Coll. Cent., No. 6.

4 Cat. Dur., 758. » Clarac, Cat., 130.
6 Gerhard, Trinkschalen, taf. xi.-xii. n Panofka, s. 30.

Panof ka, taf. i. 9. 12 Annal., 1831, p. 179, 725 ; Cam-

6 HIEPON EIIOIE2EN— EIIOE2N. Bull, panari, p. 88.

1837, p. 71; Bull, 1832, p. 114; Cam- 13 D'Hancarville, i. p. 130; Millin,

panari, p. 88; Panofka, i. 7, 8, s. 22, Gall. Myth., No. 385; MEIAIA2

23 ; Hon., ii. xxxviii. EIIOIE2EN ; Gerhard, Abh. d. K.

7 HIAIN02 EHOIE2EN. Creuzer, Akad., Berlin, 4to, 1840, die Meidias
Alt. Athen, Gefass, s. 53. vase ; Notice sur le vase de Meidias.

NAUCYDES— NICOSTHENES. 53

There is a supposed Naucyde*,1 who flourished during
the age of the vases with black figures. Neandros is
known from a cup with black figures, having for its
subject Hercules strangling the Nemean lion.2

An important and extensive manufacturer was Nico-
sthenes? probably one of the earliest makers of vases with
black figures. He is known from a phiale with ornaments,4
and cylices with the subjects of Dionysus, Hermes, and
Hercules.5 JSneas,6 Theseus, and the Minotaur,7 Acamas,
and Demophon,8 athletic subjects.9 A Gorgonium;10 a
scene of ploughing;11 a man running, having on one
greave ; 12 and a satyr and youth, painted for him by
Epictetus ; 13 also from a cylix of black and white figures,
having on it Ulysses and the Sirens.14 A cantharus of this
potter with a dance of figures of fine style exists,15 and
an cenochoe or jug, with Marsyas playing on the flute.16
He made amphorsB of peculiar shape with broad flat
handles, which have for their subjects, combats, a boxing
match,17 and another is ornamented with a Bacchanalian
thiasos.18 Others have satyrs and msenads, sphinxes,
Achilles and Penthesilea, the adieu of the Dioscuri, youths

1 Clarac, Cat., 284-286 ; Cat. Can. 71 ; ? Ann., 1. c. ; Mus. Etr. 1516.
Campana Collection. 8 Cat. Can., 217.

2 NEANAP02 EIIOIE2EN, Clarac, 9 Mus. Etr., 273; Berl. ant Bildw.,
p. 286 ; Coll. Can., 1845 ; Clarac., p. 287. 1595.

a NIK020ENE2EnO!E2EN,Panofka, 10 Coll. d. Pr. Can., 236; Panofka, s.

s. 23 ; Ann., 1831, 180, No. 727. 28.

4 Ann., 1831, p. 178, No. 691; M. " Gerhard, Coupes, et Vases du
G. ii. 17 ; xxvii. ; Visconti, Monum. Muse'e de Berlin, pi. i.

Sepolchr. di Cere., taf. ix. ; Marquis of 12 Cat. Dub., 59.

Northampton, Observations on a Greek 13 An. 1831, 180, 727.

vase discovered in Etruria, Archseol. 14 Cat. Dur., 418.

xxxiii., pi. 16, pp. 225-262. 15 Cat. Dur. 662.

5 Panofka, s. 28, 29. 16 Cat. Dur., 147.

6 Mus. Etr. 567; Ann., 1831, 179, 17 M. G., xxvii.

No. 711. 18 Vas. Cat, B. M., 118, 563.

54 GREEK POTTERY.

riding on Hippalectryons, warriors, old men, and youths,
the supposed Eris, Zeus, and Heos, with friezes of animals.1
The most remarkable vase of this potter is one entirely-
black, with a female figure and a dog in opaque white,
having lines cut through to the black background. He
also made a crater, differing from the usual shape, and
ornamented with a frieze representing a gigantomachia.2

The supposed name of Panthseos appears to be more
correctly read Pamaphius, or Panphseus.

Pamaphios, a potter, who flourished during the strong
style of red figures, employed the artist Epictetus.3 He
was a cup maker. His name has either been confounded
with, or mistaken for that of Phanphaios, which is itself
supposed by some to be a dialectical variation of Pam-
phaios. It occurs on a stamnos with red figures,
representing Hercules and the Achelous, and Marsyas
and Oreithyia.4

The maker Panphceos has left his name on no fewer
than seventeen cylices, and is by far the most common of
all the makers. He belongs to the period of vases with
red figures. The subjects on his productions are, a
horse ; 5 Bacchanal scenes ; 6 warriors and Pegasi ;7 Sarpe-
don borne off by Hypnos and Thanatos ;8 the arming of
Memnon ; Hermes, Nomios, and Maenads ; 9 a crowned

1 Gerhard, Neuerw. Denk., s. 18, 5 Panofka, s. 2, der Vasenbildner
159, 6; Campanari, p. 88; Gerhard, Pamphaos; Gerhard, Berl. Ant. Bild.
Trinsch., i. 1, 2, 3 ; Panofka, iii. 11, s. 27, No. 1625.

s. 24. 6 Panofka, taf. ii. ; taf. iii. ; Cat.

2 B. M., 560 ; Bull., 1843, p. 59. Dur. 17.

3 riAMASIOS EIIOIE2EN. ^ Panofka, s. 4.

4 Trans. R. Soc. Lit., N. Ser., vol. L, 8 Archseol., xxxix., p. 139.

1843, p. 100 ; G. A. V., cxv. ; Panofka, 9 De Witte, Desc. de Vases Peints.

Namen, p. 153-241, taf. v. No. 17.

PAMPH.EOS-PYTHON. 55

youth ;l a scene of a comos ;2 a stamnos, with the contest
of Hercules and the Achelous ;3 Hercules destroying
Hippolyte, painted with black figures ;4 a cylix, with a man
crowned seated on a rock, and holding a pedum ;5 Pelops,
or Achilles, boiled in the cauldron ;6 goats and great eyes ; 7
athletic scenes ;8 a liydria, with black figures, with Dionysus
and his crew ; 9 and Hercules and the other gods of
Olympus ; 10 and a cyHx> with the head of Medusa.11 There
are also amphorw, with flat side handles like those of
Nicosthenes, of this potter, one with the subjects of satyrs
and maenads ; and another with that of Chiron and
Achilles, Menelaos and Helen, found at Cervetri.12 His
style is more developed, and rather later than that of the
rigid school. There is some doubt whether his name
should not read Panthseus.13

The name which some read as Hilinus others consider
to be more correctly Philinos.1* Pistoxenos occurs as the
name of a maker on a vase found at Caere.15

Priapos is mentioned on a cup with black figures,
representing a lion running.16

The name of Python is found on two vases, so different

1 Inghirami, Mus. Chius., torn, ii., 10 De Witte, Cab. Beugnot, 37.

tav. cxxxiii. n Micali, Storia, 102.1 ; Braun. Bull.,

2 Mus. Etr. du Pr. de Canino, 1116. 1844, p. 101.

3 Trans. Eoy. Soc. Lit., vol. i., p. 12 Collection of M. Campana at
100; G. A. V., cxv. Rome.

4 Mus. Greg., ii. Ixvi. l3 Clarac, Cat., 164-5 ; Panofka, 1. c.

5 Mus. Etr., 1513. 14 Creuzer, Ein alt. Athenische Gefass,

6 Dubois, Notice des Vases reserve's, II1LINO2 EIIOIE2EN, Leipzig, 1832, s.
p< 104. 53, 56 ; Deutsch. Schrift. Bd. iii. n. 1,

7 Braun. Bull. 1842, p. 167 ; Welcker. s. 6, u. ff.

Rhein. Mus., 1847, s. 396. 15 III2TOX2ENO2 EnOIE2EN. Cam-

8 Mus. Greg. ii. Ixix. 4. panari, Intorno i vasi, p. 92.

9 De Witte, Cat. Dur., No. 91 ; Brit. 16 IIPIAnO2 EHOIESEN. Panofka,
Mus. Cat., p. 43, No. 447*. s- 31. Cat. Dur. 882.

-56 GREEK POTTERY.

in -style and effort, that there were probably two masters
of that name. One employed the artist Epictetus l who
painted for him in the strong style, a hydria of red figures,
representing the death of Busiris, and an entertainment ;
the other made a vase of red figures, of the shape called
fekanion, at the time of the decadence.2

Simon, of Elea, the supposed maker of a hydria,
with black figures, having for its subject the chariot of
Athene and the gigantomachia,3 rests on very uncertain
grounds.

The name of Smicylion* a potter, and probably a vase-
maker, occurs on an Athenian stele, and that of Socles on
a plate found at Chiusi.5 Sosias was the maker of a cup
with red figures, representing Hermes bringing the ram
to heaven, and the healing of Patroclus.6 The name of
Statins appears on a cantharus or carchesion, of plain
black ware of late style, inscribed, " the work of Statius,
a gift to Cleostratus." 7

Probably one of the earliest makers was Taleides,
known from an amphora with a scene of weighing ; 8
a hydria, with Hercules and the lion ;9 a cylix, with a swan
in the same style of art ;10 and an cenochoe, with Dionysos

1 HV00N EHOIE2EN. Ann. 1831, 7 Gerhard, Arch. Zeit., 1847, s. 190 ;
180, n. 726; Panofka, s. 36; Micali, 2TATIEPrONKA[E]O2TPATniAnPON;
Mon. Antich., xc. 1. B. A. N., iv. p. 104. An incised in-

2 Clarac, Cat., p. 296; Millingen, scription of doubtful authenticity.
Nouv. Ann. i., p. 495. s TAAEIAE2 EHOIE2EN, Millin. V.

3 2IMON HAEITA HENO HW2 MHO- Peints, ii. pi. 61 ; Gal. Myth., cxxi.
NOV. Cat. Can., 103. 490 ; Panofka, s. 7 ; G. A. V., ii. s. 113.

4 Arch. Zeit., 1850, 226. 2MIKVAION The subject perhaps referring to Tan-
EVAAKIAOV EK KEPAMEriN. talus.

Bull., 1851, p. 171. 9 Campana Collection.

6 Mon., i. ; pi. xxiii.— xxiv. ; Panofka, 10 Gerhard, B. A. B., No. 685.
p. 38, taf.,iii. 6.

CLITARCHUS AND TYCHON. 57

and a flute-player.1 The name of the youths, Clitarchus
and Callias, are found on his vases,2 and he employed the
artist Takonides, or Sakonides.3

Theoxetos is known only from a cylix with black figures,
representing a goatherd.4 Tliypheiiheides, from a cup
with red figures, on which are represented a deer
running, and large eyes.5

Timagoras is known by a hydria, painted with black
figures, representing Theseus killing the Minotaur, and
Hercules contending with Nereus. It is of the usual hard
but not recherche style of Execias.6

Tlenpolemos, another potter, manufactured vases with
black figures. Only two of his work 7 are known. He
employed as his artist, Takonides.8 His productions
have been chiefly found at Yulci. A maker, whose works
are more often found is Tleson, son of Nearchus,
probably a Corinthian potter, as a cylix of his fabric has
been discovered in that city.9 He was a maker of cylices,
or cups, and many of his works are indecent.10 His
figures, which are black, are generally finely drawn, clear
in colour, and .of general excellence, but of small size.
The most remarkable of his subjects is Orion carrying a

1 Bull., 1845, p. 52. p. 172; p. 178; No. 661, No. 693,

2 The silver vase of Taleides, with p. 172; TAENIIOAEMO2 MEITOIE2EN.
the name Clitarchus is incredible. Bull. 8 Gerhard, Neuerworb Vasen, No.
1843, p. 13. 1597; Mus. Etr., 149, [6612]; TAEN-

3 Gerhard, Rapp. Vole. 180, 729., DOAEMOV EIMI KVHEAAON. The end

4 0EOHETO2 MEIIOIE2E, Cat. Dur., of a hexameter line.

884; Panofka, s. 34. 9 Bull., 1849, p. 74; TAE5ON HO

5 EHOIE2EN 0V«t>EI0EIAE2, Cat. NEAPXO EIIOIE5EN ; Panofka, s. 34.
Dur., 893; Vas. Cat. Brit. Mus., p. 309. I0 B. M. Cat., p. 189, No. 682; Clarac,
No. 854; Panofka, s. 35. p. 303; Dub. Cat. Can., 262; M. De

6 TIMAFOPAS EIIOIE2EN. Campana Witte, Coll. d. V. Ant. de terre prov. d.
Coll. fouilles faites en fitrurie, 8vo., Paris,

7 Cat. Can., 149; Gerhard, Ann. 1831, 1843, p. 72, No. 262; Mus. Etr., 11 46, bis.

58 GREEK POTTERY.

fox and hare.1 Others are a centaur,2 an ape,3 and two
cocks.4 The supposed name of Tychon on the cylix found
at Hadria, is probably due to a learned blunder.5 Tychios
made a cylix found at Corneto,6 also one now at Berlin,7
and a plain cup, and Apollo playing on the lyre.8 His
name is also found on a plain cylix. Xenocles, another
maker of the oldest school, is known from a cylix of the
most archaic treatment, with the subject of the Judg-
ment of Paris,9 and other cylices, with the departure
of Poseidon ; 10 the search for Poseidon, and a swan with
sirens.11 The name ot^Xenophantos, of Athens, which is not
found amongst those of the makers of the cups at Yulci or in
Greece, has been discovered at Kertch, or Panticapseum,
one of the utmost limits where vases have been discovered,
on one of coarse work with red figures.12

An attempt has been made to connect the choice of
subjects upon vases with the names of the potters or artists,
but the connection, if it exists at all, is too vague to
assist the interpretation of the subjects. It is possible, that
such secret allusions may have been occasionally intended ;
but there has arisen no slight difficulty to decide the real
names of many of the artists which occur on the vases.13

1 Cat. Dur., 260. p. 2, 47 ; Mus. Blac. xix. K2ENOKAE2

2 Annali, 1831, p. 178, 694. EIIOIESEN.

3 Cat. Dub., 262; Cat. Vas., B. M., p. 10 Gerhard, Aus. Vas. i. x.

189, no. 682. " Gerhard, Zuwachs., s. 26, 1662 ; Brit.

4 Mus. Etr., 15, bis. ; Cat. Dub. 71. Mus. ; Panofka,s. 40.

6 TVXON ANEOM TVX0N ANEOIKE 12 HENO*ANTO2 EnOIH5EN A0HN;

TOAIIAA;R.Rochette,A-n.,1834,p.l94. Bull., 1841, p. 109-113; Ouvaroff, Ant.

6 Gerhard, Ann., 1831, 178, n. 701 ; d. Bosph. Cim. iii., pi. xlvi.
Neuerworb. Vas., 1664. TVXIO5 EIIOI- 18 See Raoul Rochette, Lettre a
E2EN. M Schorn., 1. c. ; and Questions de

7 Gerhard, Neuerb. Vas. 1664. 1'histoire de Tart, 8vo, Paris, 1846 ;

8 A. Z., 1 853, 402 ; TVXIO2 EITOIESEN. Clarac. Manuel, 1. c.. ; Panofka, Vasen-

9 Lenormant and DeWitte, £lite, xxiv. bildner, &c.

VASE PAINTERS. 59

AETISTS.

From the potters, it is now necessary to turn to the
consideration of the vase painters, many of whose names
have been discovered on vases, although none are known
from the writings of the ancients. The passage of Aris-
tophanes,1 about these persons, the interpretation of which
is doubtful, in which " the fellow who paints lecyihi for
the dead/' is spoken of in terms of contempt, does not
throw much light upon the condition of the painters. Nor
is much more afforded by the vases themselves. The
names of some, indeed, such as Polygnotus, Nicosthenes,
and Hegias, correspond with those of artists of known
fame ; but it is impossible that such persons should have
practised an art held in such inferior estimation,2 and if
the celebrated Zeuxis painted terra-cottas, it must be
understood, that he first modelled and then drew his
designs, not that he was engaged as a colourist of plastic
works.

On many vases the name of the artist appears along
with that of the potter, of course to enhance the value
of the production, as celebrated artists were sought after,
both in the home and foreign market. On others, the
name of the artist alone occurs, probably because the
pottery was newly founded, and the proprietor, to esta-
blish a reputation, employed the services of known artists.
Some potters, such as Amasis and Euphronios, painted
as well as made vases, which is natural enough, as the
two arts were so nearly blended. It cannot be supposed

1 Eccles., 994 ; Kramer Ueber die it to the decoration of graves.
Herkunft, s. 20. The scholiast refers 2 Pliny, xxxv. 40, 42 ; Kramer, 1. c.

60 GREEK POTTERY.

that the great artists of antiquity occupied themselves
even in furnishing designs for works of this nature ; if it
could, a sketch with the name of Polygnotus might be
recognised as a production of that celebrated master.
The names of artists follow the law which governs the
other inscriptions. There are none on the oldest vases,
and few on those of archaic style. They commence about
the most flourishing period of the strong style, and
continue till the florid style — gradually becoming rarer.
One of the oldest painters is dEniades, whose name is
inscribed on a cylix found at Vulci,1 and now in the
Berlin Museum. Like all the vase painters, he uses the
aoristic form EFPA^EN, " painted," the affected imperfect
not having been used by more than five painters. The
name of Alsimos is now read on the celebrated vase found
at Canosa in the Louvre, made during the decadence of the
art, but excellent in its style, on which is represented the
death of Astyanax.2 Amasis, a maker of vases with black
figures of the most early and rigid style, much resembling
that of the ^Eginetan school, painted an olpe with the
subject of Perseus killing Medusa,3 and one of rather
freer treatment.4

The name of Aristophanes, better known as that of the
comic poet than as the appellation of an artist, occurs on
a cup with black figures representing a gigantomachia.

1 AINIAAE2 ErPA(*2EN), Cat. Dur., 1849, 30, 248 ; Panofka, s. 37.

1002 ; Gerhard, Neuerw. Denkm., 1663. 3 AMA2I2 EFPA*2E KAI EIIOIE2EN

2 AA2IM02 EFFACE, Millin., Vases Cat Dub., 62 ; Campanari intron i vasi,
Ant., i., p. 60 ; il, p. 37 ; Visconti, p. 87 — 89.

Opera. Var., iv. p. 258 ; Winckelman, 4 AMA2I2 EFPA^EN KAI EHOIE2EN

Mon. In., 143. This name has been EME, Campanari, p. 88 ; Brit. Mus. no.

read Lasimos or uEsimos. Clarac, 641*.
Catalogue des Artistes, 16mo, Paris

ARISTOPHANES— EPICTETUS. 61

He worked for the potter Erginos.1 The name of Asteas
occurs on a vase of the style of the decadence, as a painter
of a subject representing the Garden of the Hesperides.2
An artist, whose name some read as Bryllus, and others
erroneously as Bryaxis, painted cups with red figures of
the strong style,3 on which are the Judgment of Paris,
Peleus and Thetis, scenes in a palace. The artist Clitias
painted the celebrated Francois vase now at Florence,
ornamented with black figures, and containing a complete
Epos of subjects4 connected with the history of Achilles.

It is possible that Cholchos painted for the potter
Euxitheos the cylix with the subject of Patroclus, in
red figures of the strong style. He was, perhaps, a
Corinthian.5 The name of the artist Doris is only found
upon cups with red figures in a fine grandiose style of the
best period of the art, representing Dionysos and his
crew ;6 or the exploits of Theseus,7 Peleus and Thetis,
the Palsestra and amatory scenes.8

Of the painters of the early vases with red figures, Epic-
tetos is the most distinguished. His productions are more
elegant than those of Doris, and the esteem in which he

1 API2TO*ANE5 EFFACE, Gerhard, 1848,299; Mon. iv., liv.-lix.
Trinkschale und Gefasse, ii. ; Clarac, 6 [XjOAXOS E[PA*]2EN, Mus. Etr.,
Cat., p. 240 c. ; Letronne, Explic., p. 1120 ; Vases du Pr. de Canino, PI. 5 ;
29; Bull., 1839, p. 52, 53. Gerhard, ^Ann. 1831., p. 180, n. 729;

2 A22TEA2 EFFACE, Millingen, Anc. Campanari, p. 88 ; he uses on some
Uned. Mon. i., p. 67, pi. 27 ; Peint vases as a potter, the Q for the X.

d. Vases Grec., pi. 46; Gal., Myth. 6 Cat. Can., Gerhard, Ann. III., p.

cxiv., 444 ; Panofka, s. 37 ; EFFACE 179, n. 713 ; AOPI2 EFPAWEN.

Boeckh, Corp. Inscr. Grec. i., p. 42 ; 7 Campana Collection.

Clarac, Cat., 58 ; Panofka, s. 36. 8 Clarac, Cat. Art., p. 99 ; Gerhard,

3 BPTLO2 ErPA*5EN. Gerhard, An- Aus. Vas., ccxxxiv. ; Campanari, p. 67 ;
nali, 1831, p. 179, No. 704* ; Campanari, Mus. Etr., p. 106, no. 1184 ; R. Rochette,
p. 88; Clarac, p. 86; Campana Coll. Lettre a M. Schorn., p. 3 ; Cat. Vas.,

4 KAITIA2 ErPA*2EN. Braun, An. Brit. Mus., p. 272, no. 824.

62 GREEK POTTERY.

was held is shown by the number of potters for whom he
worked. He principally painted cylices, with the subjects
of Athene,1 Silenus, and a wine-skin,2 the Bacchic thiasos,3
Theseus and the Minotaur,4 and erotic figures.

He also painted pinaces, or plates, with the subjects of
Marsyas,5 an Amazon,6 athletes,7 Ganymedes,8 indecencies,9
Dionysos holding a cantharos,10 and a warrior.11 For the
potter Hischylus he painted a cup, the subject of which is
Hercules and the Centaurs;12 another with a Satyr;13
one with the subject of Busiris for the potter Python ; w for
the potter Nicosthenes, a cup with a Satyr.15 Other cups
have women ;16 and a youth holding vases.17 He also
worked18 for Euxitheos. One of his cups has red figures
on the outside, and black within.19 He also painted a
pelike with the subject of a marriage.20 The name of the
painter, Euonymos, has been found on a vase with red
figures, and of late style, discovered at Hadria.21 The potter

1 Gerhard, Trinksclialen(und Gefasse, " Cat. Can., 189.
xiii. ; EIIIKTET02 EFPAS-I-EN ; Ger- 12 Cat. Can., 178.

hard, Rapp. Vole. Ann. III., p. 179. 13 Cat. Vas., B. M., p. 260, no. 814.

From his writing fypaffQev instead of 14 Gerhard, Ann. 1831, 162, n. 546 ;

cypa<pfffv, it is probable that Epictetos Cat. Can., 12 Cent., no. 8 ; Vas. Cat.,

was an Aeolian potter. ^7retS)j <hrA<u^- B. M., p. 271, no. 823 ; Micali, Storia,

0T70-CW ol Ato\e?s Kara r^v irpo<popbv rb Tav., xc. 1; Panofka, Taf. iii. 4.

Ciry&s o-Sirybs ypdfovres K&I rb £tyos 15 Gerhard, Ann. 1831, p. 180, 727;

fficiQos Tb\l/e\iov<nrc\iov. Cramer. Anecd. Clarac, Cat., 103, 240 m.; Cat. Dub.,

Grec. iv. p. 326. 174.

2 Cat. Dur, 133. w Cat. Can. 124.

3 Vas Cat., Brit. Mus., p. 279, no. w Panofka, Cab. Pom-tales, PI. 41.
828- is Gerhard, Ann., 1831, p. 180, 729.

4 Cat. Can., 53; Vase, Cat., Brit. w Gerhard, Neuerworb. Vasen., 1606;
Mus., p. 279, no. 828. Coll. Feoli, p. 113, No. 58.

5 Cat. Can., 53. 20 Gerhard, Neuerw. Denk., s. 31, no.

6 Cat. Can., 117. 1606.

7 Cat. Can. 175, 178. 21 Lanzi, Qiornali d. Lett. Ital. xx. p.

8 Cat. Can., 177. 180; R. Rochette, Lettre p. 3; Welcker

9 Cat. Can. 16. Kunstblatt, 1827, o. k. d.
10 Bull., 1846, p. 77.

EUPHRONIOS— HEGIOS. 63

Euphronios also painted vases, as appears from the cup
of Troilos, and females reposing.1 Eutliymides, another
painter, whose name is found upon amphorae, with figures
having for their subjects Hector arming,2 and Paris,3
was the contemporary of Euphronios, of whom he was
jealous, since, upon one vase he has written, " Euphronios
never did so well ;"4 on the liydria with the subject of
Paris is the name of the youthful Sostratus.5

The potter Execias also exercised the painter's art, and
ranks, perhaps, as the best known artist of vases with
black figures. The most celebrated of his efforts are the
amphorae found at Yulci, and now in the Vatican, repre-
presenting Achilles and Ajax playing at dice before Troy,6
and the departure of Castor ; 7 also one in the British
Museum with the subject of Dionysos teaching (Enopion
the art of making wine,8 and the death of Penthesilea.
His style, though rigid, is exceedingly elegant and finished
in details, so as to become almost florid. The name of
Onetorides, a youth, is mentioned on his vase.

The name of Hermonax is known from an amphora,
with red figures of the hard school representing a comos.9

The name of the painter Hegias is found upon a
lecyihus, with black figures, discovered in the sepulchres of

1 Cf. EV*PONIOE ErPA*2EN, Cat. M. Schorn., 8 ; Bull. F&*., 1831, p. 153.
Can., 87, n. 568 ; Gerhard, Ann. 1831, no. 5 Dubois, Notice d'une Coll. d. Vases
403, 824; Panofka, Taf. iv. 3, p. 10, 11. du Pr. de Canino, no. 41; De Witte,

2 Mus. Etr., 1836 ; Gerhard, Ann. Cat. du Pr. de Canino, 71.

1831, p. 178, no. 698; EV0VMIAE2 6 EK2EKIA2 ErPA«f>2E KAIIOE2EME,

HO nOAIO ErPA*2EN. Panofka, s. 3 ; or ErPA*2E KAHOE2E.
Welcker, A. Litt. Zeit., 1836, I. 526. 7 M. G. II., liii. 1 a.

3 Gerhard, 1. c., Rochette, Bull. Per- 8 Gerhard, Ann., 1831, p. 179, no.
rusac, 1831, 153; Cat. Can., 146. 709*; Cat. Dur., 389; G. A., V. ccvi.

4 H02 OVAETIOT EV*PONIO2, Bull., 9 HEPMONAK2 EFPA*2EN. Cam-
1830, p. 140, 143 ; G. A. V., clxxviii. ; pana Collection.

Campanari, p. 99 ; Rochette, Lettre a

64 GREEK POTTERY.

^Egina, and of the usual unfinished style of that island.1
That of the painter Hypsis occurs on some hydrice, with
red figures, representing the arming of the Amazons,
a race of boys on horseback, and a quadriga.2

A painter of the name of Onesimos3 decorated some
vases with black figures for the potter Euphronios. In
connection with the potter Hischylus, already mentioned,
Pheidippus painted a cup of red and black figures in a
style not remarkably fine, with subjects of youths and
athletes.4 Philtias, another painter of the fine style of
red figures, worked for the potter Deiniades, for whom he

painted scenes of hydriophorce, or water drawing.5

Plirynos is known from a cup with black figures, on

which is the bird of Athene, and a scene supposed to

represent her reconciliation with Poseidon.6 Pothinos

painted a cylix of black figures, the subject of which is

Peleus and Thetis.7

Praxias, another artist's name, is found on a small vase

with red figures, representing Achilles delivered by Peleus

into the charge of Chiron.8

Polygnotos9 is known as a painter of vases with red

figures, which are rather careless in their treatment, of

1 Stackelberg, Die Graeber, PL 25— 5 Can. 1st Cent., n. 18, 74 ; Gerhard,
p. 21, 22; EFIA2 EFPA. Ann. 1831, p. 178, no. 719, 728 ; [*IA]

2 HV*2I2 ErPA*2EN, Gerhard, Ann. TIA2 EFPA^EN, or rather [KPJITIA2 ;
1831, 178, no. 697 ; Bull., 1829, p. 109 ; Birch, Class. Mus., 1848, p. 99, 102.
Clarac, Cat., 133 ; G. A. V., ciii. ; Cam- 6$PTNO2 ETPA*2EN, Cat. Dur.no. 21.
panari, p. 88. 7 IIEI0INO2 EFPA*2EN, Gerhard,

3 ONE2IMO2 EFFACE, Cat. Dub., Berl. Ant. Bild., no. 1005 ; Panof ka, a.
87ter. ; Clarac, Cat., 161; Mus. Etr., 5; Taf. I., 2; Gerhard, Trinkschalen,
1611 ; Gerhard, Ann. 1831, p. 180, n. Taf. xiii— xiv. xv.

Campanari, p. 88. 8 Panof ka, s. 30; Mus. Etr., 1500, p.

4 Gerhard, Ann. 1831, p. 180, n. 718, 135 ; Raoul Rochette, p. 57; HPAXIA2-
722; Campanari, p. 88; *EIAinO2 EFFACE.

EFFACE, Cat. Vas., Brit. Mus., p. 295, 9 nOATrNflTOS EFPAYEN. Cat.

no. 841. Dur. 362 : Rochette, p. 66.

POLYGNOTUS— ZEUXIADES.

the commencement of the style and time of the Decadence.
His name appears on a vase on which is represented the
death of Cseneus,1 and an amphora, on which is the
sacrifice of a bull.2 It is written in an indistinct, blotted
manner, very different from that in which the names of
the other artists are inscribed. Priapos, who has been
recorded in the list of vase artists,3 is probably the same as
the potter.

An Athenian painter, named Psiax? who worked for
the potter Hilinus, or Philinus, has inscribed his name
upon a lecytlms, ornamented with black figures, repre-
senting a Bacchanalian subject. The artist Python is
known from a crater with red figures, on which is depicted
the apotheosis of Alcmena. His style is remarkably
careful, but somewhat rigid. 5 Taconides, or, as some
persons read his name, Saconides, painted vases, with
black figures, for the potters Tlenpolemos6 and Hischylus;7
Xenodoros and Zeuxiades close the list.8

1 Cat. Dur., 362 ; Rochette, p. 66.

2 Vas. Cat., Brit. Mus. p. 220, no.
755.

3 Campanari, p. 88.

4 *2IAX2 ErPA4>2EN.
alt athenische Gefass,

Cretizer, Bin
Leipz. und

Darmst., 1832; Deutsch. Schrift, Bd.
III., no. 1, s. 6, a. ff. Panofka, s. 16—

17 ; Taf. iii. 9, 10.

5 Millingen, Nouv. An., i. 495.

6 Ann. 1831, p. 178, no. 693, p. 180,
no. 729 ; Clarac, p. 301 ; Campanari, p.
88.

7 Panofka, s. 30.

8 Bullet. Ferussac, 1831, p. 158;
Clarac. p. 223.

VOL. II.

GREEK POTTERY.

CHAPTER IX.

TTses of Vases — Domestic use— Vases for liquids— For the Table — for the Toilet
— Toys — Decorative Vases — Prizes— Marriage Gifts — Millingen's division of
Sepulchral Vases— Grecian usage— Names and shapes of Vases — The Pithos

Pithacne — Stamnos — Hyrche — Lagynos — Ascos — Amphoreus — Pelice —

Cados — Hy dria — Calpis — Crosses — Cothon — Rhy ton — Bessa — Bombylios
— Lecythus — Olpe — Alabastron — Crater — Oxybaphon — Hypocraterion —
Celebe — Psycter — Dinos — Chytra — Thermanter — Thermopotis — Tripous
— Holmos — Chy tropous — Lasanon — Chous — CEnochoe — Prochoos — Epi-
chysis — Arutaina — Aryballos — Arystichos, aryter, arytis, &c. — Oenerysis —
Etnerysis — Zomerysis — Hemicotylion — Cotyliskos — Cyathos — Louterion —
Asaminthos — Puelos — Scaphe — Scapheion — Exaleiptron — Lecane — Leca-
nis — Lecaniskos — Pod anipter — Cheironiptron — H olcion — Peirrhanterion
— Ardanion, or Ardalion — Excellence of the Greek cups— The Depas^-Alei-
son — Cissybion — Cypellon — Cymbion— Scyphos onychionos — Ooscyphion
— Bromias — Cantharos — Carchesion — Cylix — Thericleios — Hedypotis —
Rhodiake — Antigonis — Seleucis — Phiale — Phiale Lepaste — Acatos — Trie-
res — Canoun — Pinax — Phthois — Petachnon — Labronia — Gyalas — Keras
— Vases for Food — Canoun — Pinax — Discos — Lecanis — Paropsis — Oxis —
Embaphion — Ereus — Cy pselie — Cy minod okos — Try blion-r Oxybaphon.

As all the vases hitherto known have been discovered
in sepulchres, it would, at first sight, appear that their
destination was for the dead ; but this seems to have
been a subsequent use of them, and many, if not all,
were employed for the purposes of life. The celebrated
Panathenaic vase, for example, discovered by Mr. Burgon,
at Athens, had been bestowed as a prize upon the
illustrious person to whose ashes it was afterwards appro-
priated. Many other instances might be cited.

D'Hancarville supposes that the large vases were dedi-
cated to the gods in the various shrines of Greece and

CIVIL AND DOMESTIC USE. 67

Rome, as by the Metapontines in their Naos at Olympia,
and by the Byzantians in the chapel of Hera. Vases of
large size, painted carefully with a principal figure on one
side, and having on the other figures carelessly drawn, as
if intended to be placed against a wall, he considers
peculiarly adapted for such uses, as the rooms of Roman
villas were far too small to hold them.1

As the civil and domestic use of vases is the most
important, it is necessary to consider it first. It is
indicated by their style and shape. The painted ware
was not employed for the viler purposes, nor to contain
large quantities of liquids, for which it was far too
expensive, but chiefly for entertainments and the triclinia
of the wealthy. The exceedingly porous nature of these
vases, and the difficulty of cleaning them internally, have
led some writers to assert that they were ornamental.
They are, however, seen in use in scenes painted on the
vases themselves.2 Thus, in the scene of the Harpies
plundering the table of the blind Phineus, a painted
scypJios with figures is seen in the hands of the aged king ;
a female in a farewell scene pours a libation of wine
out of an amphora with black figures, and another
ornamented with painted figures is seen upon the top of a
column.

These vases were used for liquids. The hydrics, or
water-vases, went to the well, and the various kinds of
amphorse served for carrying wine about at entertainments.
Those called craters were used to mix wine, and the
psyder, or cooler, to prepare it for drinking. In jugs
called cenochoce and olpce, also of painted ware, wine was

1 D'Hancarville, II. 68, 82. 2 Inghirami, Vasi Fittilii, Taf. xxxii.

p 2

68 GREEK POTTERY.

drawn from the craters, which was then poured into
various painted cups, as the scyplios, the cylix, the
cantharus, and the rhyta, horns or beakers, which were
the most common. A kind of cup, called the cyathis,
also of painted ware, was likewise used. The cup called
phiale was employed in religious rites.

The vases used upon the table were the pinax, or plate,
a vase supposed to be the lecane, or tureen, and certain
dishes called tryblia, generally of ruder material and ma-
nufacture than the others. One of the most remarkable
of these vases is the cirnos.

For the service of tne toilet were the pyxis, the cylichne,
the tripodiskos, the alabastron, the lecylhus, and the
arybattos.

Vases were also used as toys. This class is compara-
tively small, but its existence is proved by the discovery of
several little vases in the sepulchres of children at Athens,
on which are depicted children playing at various games ;
whilst others are so extremely small that they could not
possibly have answered any useful purpose. Among them
may be cited those in the shape of animals, as apes,
elephants, stags, and hogs ; imitations of crab's claws and
of the astragalus, or knuckle-bone ; and other vessels, con-
taining brazen balls, which produced a rattling sound when
shaken.

There can be no doubt that many of the vases, espe-
cially those of later style, were used for decorative pur-
poses, although the employment of them is not expressly
mentioned in ancient authors. It is, however, partly
evident, from the fact of one side only being executed with
care, whilst the other has been neglected, both in the

PRIZE VASES. 69

drawing and in the subject. On the later vases, too, are
depicted vases of large proportions, resting upon columnar
stands in interiors.

One of the noblest uses to which terra-cotta vases were
applied was as prizes given to the victors in the public
games. These prizes, called Athla, besides the honorary
crowns, armour, and tripods, and other valuable objects,
were occasionally fictile vases, and even coins.1 Certain
vases bearing the inscription " From Athens," or " Prizes
from Athens," seem to have been given to the victors in
the pentathla or courses of athletic exercises in the Pana-
thenaia, and are mentioned by Pindar. Some of the vases,
which are principally in the old style, are of two sizes, —
the greater given for the athletic and the lesser for
musical contests. It is also possible that some of the
uninscribed vases of similar designs and shapes may have
been distributed as rewards in local games. Some of the
vases also on which the name of a youth, accompanied
with the word KaAos, occurs, may have been given as prizes
in the training schools of athletes.

It has been supposed that certain vases were
intended for presentation as marriage gifts. But the
information to be obtained from classical authors on
this point is by no means clear ; and no satisfactory
conclusion can be drawn from the circumstance that
some of the subjects depicted on them appear to allude
to marriages.

Millingen divides the vases used for sepulchral purposes
into the following classes : —

1 Brondsted, on Pauathenaic Vases, in the Trans. R. S. Literature, 4to, London,
1834, vol. ii. p. 102.

70 GREEK POTTERY.

1. Those containing milk, oil, and perfumes, which were poured
upon the corpse.1

2. Vases placed at the door of the sepulchre, to hold the lustral
water.2

3. Vases used at the funeral feast, of which the deceased was
supposed to partake.3

4. Vases valued by the deceased,4 or prizes which he had gained.5

To these may be added,—

5. Vases employed during the ceremonies in different operations,
and subsequently broken and gathered up into the tomb.

At the earliest period of Greece, vases were not employed
to hold the ashes of the dead. Those, for example, of the
oldest style found at Athens, and at Vulci, do not contain
ashes. In the Etruscan cemeteries, the dead were not
burnt, but laid at full length, with all their personal
ornaments, their furniture, their arms, and their vases.
Although in the heroic ages bodies were burnt, the remains
are not stated to have been deposited in earthen vessels.
Those of Patroclus6 were collected into a golden dish, care-
fully covered with a garment and layer of fat which was
folded ; and those of Achilles were placed in the golden
amphora 7 given by Dionysos to Thetis.8 In the fictitious
account of the death of Orestes, introduced into the
Electra of Sophocles, the expression, " his fine form circled

1 Vases Grecs, p. II., n. 4; Homer, posita in calatho pertulit ad monu-

Iliad xxiii. 170. inentum, et in summo collocavit: et uti

3 The apSaviov. Pollux, viii. 7 ; Euri- ea permanerent diutius sub dio, tegula

pid. Alcest. v. 100 ; Aristoph. Eccl. texit. Vitruv. iv. c. i.

1025. 5 Schol. ad ^Escbyl. Choeph. 96.

3 Schol. ad Homer. Iliad xxiii. v. 6 II. xxiii. 241-258. Schol. ad eund.
29. This was the <pla\tit ayye'tov KOL\OV

4 Virgo, civis Corinthia, jam matura covered SiirXaKi STJ/U^ and cave? \ircp.
nuptiis, implicita morbo, decessit : post 7 xxiii. 1. 91.

sepulturam ejus, quibus ea viva poculis 8 Calaber. III. 727.

delectabatur, nutrix collecta et com-

SEPULCHRAL VASES. 71

by the narrow brass" l of a hydria, shows the use of the
metallic vases. The custom prevailed amongst the Romans
of employing fictile vases exclusively for religious rites,
amongst which that of interment was included. Hence
the use of the beautiful vases imported from Greece for
funeral purposes, and after the due performance of liba-
tions,2 the vases so employed were thrown away, and left
broken in the corners of sepulchres. Numerous specimens
of vases thus used have been found, especially cenocJioai
and cylices. Other vases of considerable size, and which
certainly had not been so employed, were deposited in
tombs as the most acceptable offerings to the deceased,
recalling to the mind of the shade the joy and glory of his
life, the festivals that he had shared, the hetairse with whom
he had lived, the Lydian airs that he had heard,3 and the
games that he had seen or taken part in. Those vases
were selected which were most appropriate for funeral
purposes, or to contain the milk, oil, and wine, which
were placed on the bier, with their necks inclined to the
corpse, in order that the liquid should run over it while in
the fire ; those used at the perideipnon, or last supper, in
which the food of the deceased was placed at his side ; 4
and a vase, called the ardanion, which held the lustral
water, placed at the door of a house where a death had
taken place.5 After the earliest or heroic ages, and during
the period of the old vases with black figures, the Greeks
appear to have used them for holding the ashes of the dead.
A vase of the shape of the lebes, probably a crater,
found near the Piraeus, which once held the ruby wine at

1 v. 760. Schol. ad eund. 4 Millingen, Introd. iii.

2 Millingen, Introd. iii. 5 Thiersch, s. 22-3.

3 Thiersch, 1. c., s. 25.

GREEK POTTERY.

festive triclinia, and which was decorated with drinking
scenes, also held ashes. Of vases with red figures, one
representing Theseus and the Amazonomachia, discovered
by Mr. Stoddart in Sicily, and the celebrated vase dis-
covered carefully deposited inside another at Nola, and
now in the Museo Borbonico, also held the ashes of the
dead. At Athens it was the custom to place a fictile
lecytlms on the breast of those interred entire, while the
use of fictile canopi among the Etruscans shows that Greek
vases must have been sometimes so used by them. In the
celebrated vase representing the death of Archemoros, two
persons are seen carrying two tables laden with vases to the
tomb, while an cenochoe is placed under the funeral couch.1

NAMES.

We shall now proceed to give some account of the
names of ancient vases, and their supposed identification
with the specimens which have been found. It is im-
possible, however, to enter here into any critical disser-
tation, or to attempt to reconcile the contending opinions
of those critics who have written on the subject ; and
the curious reader must be referred to the works of
Panofka,2 Letronne,3 Gerhard,4 Ussing,5 and Thiersch.6

1 Gerhard, II vaso di Archemoros,
Inghirami iv. cclxxi.

2 Panofka, Recherches sur leg veri-
tables Noms des Vases Grecs, &c. fol.
Paris, 1829.

3 Letronne, Observations sur les
Noms des Vases Grecs a 1'occasiou de
1'ouvrage de M. Theodore Panofka.
4to, Paris, 1833. Letronne, Suppl.
aux Observations, Dec. 1837, Jan. 1838.

4 Gerhard, Rapporto Volcente ; Ber-
lins antike Bildwerke, s. 138 — 342,
u. f. Ultime Ricerche sulle forme dei
Vasi Grec. Ann. torn. viii. 1836, p. 147.

5 Ussing, De Nominibus vasorum
Grsecorum disputatio, 8vo, Haunise,
1844.

6 Thiersch, ueber die hellenischen
bemalten Vasen, c. ii. s. 26.

NOMENCLATURE. 73

Great doubts obscure the subject of the names of
ancient vases, owing to the difference of time between the
authors by whom they are mentioned, the difficulty of
explaining types by words, the ambiguity of describing
the shape of one vase by the name of another, and the
difference of dialects in which the names are found.

The names of vases used by Homer and the earlier
poets cannot on any just principles of criticism be
applied to any but the oldest ones. Those of the second
and later age must be sought for in the contemporaneous
writers. The first source is the vases themselves, from
which, however, only three examples can be gathered,
namely, one from having the inscription AIONT2IOT A
AAKT002, " the lecytlms of Dionysius," on a vase of that
shape ; and from another having KH4>I20$ONT02 H KT-
AIH, " the cup of Cephisophon " * and HMIKOTTAION in-
cised on a two-handled cup. The next source is, the
names attached to vases in the paintings, among which
the word HTAPIA 2 occurs written over a broken three-
handled pitcher. Another source is an examination of the
names inscribed by potters on the feet of certain vases,
as KPATEPE2, craters ; OETBAA, oxybapha; XTTPl(A),
pots ; KTAI[KE2], cups ; AHK[T00I], cruets, &c. ; but the
relation of the inscriptions to the forms is very doubtful.3

The various scholia written at different ages, and often
embodying fragments of lost books, have occasional notices
of vases. Those upon Aristophanes are the most im-
portant in this respect. Hesychius, Photius, the Etymo-
logicum Magnum, Suidas, and others, Varro, Festus,

1 Ussing, de Nornin., p. 24. 3 Ussing, 1. c. p. 8. Cf. Chapt. on In-

2 Monumenti, iv. liv. Iv. scriptions.

74 GREEK POTTERY.

Macrobius,and Isidorus of Seville, also contain notices of the
shapes of vases. Among modern archaeologists, M. Panof ka
was the first to propose an identification of the shapes of
the fictile vases found in the sepulchres of Greece and Italy,
and the question has been discussed by the critics already
mentioned. In order not to embarrass the subject with
constant references and critical discussion we shall only
mention those vases which are the most important, and the
shape of which has been the most satisfactorily proved.

CLASSIFICATION.

With regard to their shapes, vases may be divided into—

1. Those in which liquids were preserved ;

2. Those in which liquids were mixed or cooked ;

3. Those by which liquids were poured out and .dis-
tributed.

4. Those for storing liquids and food till wanted for use.

VASES FOR PRESERVING.

1. The chief vase of the first division is the pithos, or
cask ; a very large jar with wide open mouth, and lips
inclined outwards. It held figs, or wine, and was placed
in the earth in the wine-cellar, propped up with reeds
and earth. Its shape resembles that of a modern jar,
and the few examples which remain are in the plain
unglazed ware, or in the tall Etruscan vases of red ware,
with subjects in relief.1 The pithacne, was a vase smaller
than the pithos. In such vases the Athenians are supposed
by some to have lived during the war of the Peloponnese, if

1 Ussing, p. 32 ; Panofka, Recherches, i. 1 ; ii. 2.

PITHOS AND LAGYNOS. 75

indeed the word does not refer to caverns. The pithacne
appears, from allusions in the Comic poets, to have been
used for holding wine at festivals. It was of baked earth.1
Its shape is unknown.

The stamnos was a vase used to hold wine and oil.
It was a jar with two small ear- ,

shaped handles, and decorated
with red figures upon a black
ground.2 It is often found in the
sepulchres of Northern and South-
ern Italy. A good reason for
believing that this is the shape

No. 139.— Stamnos.

of the stamnos, is, that vases of

this figure are still called stamnoi in Greece.3 Those with

smaller bellies are the cheroulia.

The bicos was a vase with handles, like the stamnos,
which held figs and wine.4

The name of Apulian stamnos has been applied to a
vase with double upright handles, chiefly of the later
style, with red figures, and having a vaulted cover, which is
sometimes surmounted by a second vase, of the shape
called the lepaste. They are among the latest efforts of
the fictile art, and are only found in Southern Italy.

The hyrclie was apparently a kind of amphora with a
narrow neck, in which many things were imported from
Athens, and which served to hold the tickets used in
drawing lots.5 It seems to have been a large kind of vase.

The lagynos was also a vase of considerable size, which

1 Ussing, p. 33 ; Panof ka, Rech. iii. 2. 3 Thiersch, 36.
2Gerhard,BerlinsAnt.Bild.s.356;Us- 4 Ussing, I.e.

sing, p. 35 ; Gerhard, Ult. Rech. no. 16. 5 Ussing, p. 35 ; Panofka, iii. 26.

76 . GREEK POTTERY.

among the Patrenses held twelve hemina?. Nicostratus
mentions one three times greater than usual ; and Lyn-
ceus of Samos introduced the custom of placing one
beside each guest. At a later period, it appears to have
had a long narrow neck.1 It is the bottle which, in the
Fables of J£sop, the stork is represented as setting before
the fox at dinner.

Many terra-cotta vases are imitations of the ascos, or
wine-skin, which was usually made of the skin of a goat,
the apertures of the legs being sewed up, and the neck,
which formed the mouth, secured with a thong. In the
terra-cotta imitations the mouth is open, and the four
feet below, while a handle passes over the body to the
neck. Certain small vases with one handle
and about a foot long, when of unglazed ware,
are supposed to represent ascoi. The first
shape is often decorated with figures of
animals or men in red colour, and occa-
sionally also the second ; while the third
is decorated at the upper part with a medallion in relief,
and has the body reeded. These are supposed to have
been lamps, or else designed for holding oil.2

Perhaps of all the ancient vases the amphoreus, am-
phiphoreus, or amphora is the best known. It consists of
an oval cr pyriform body, with a cylindrical neck, and
two handles, from which it derives its name, viz., from
djLc^i <£e/3o>, " to carry about." Those deposited in cellars
generally had their bases extremely pointed, and were

1 Ussing, p 36 ; Panofka, v. 100 ; 684 ; 1837, p. 749 ; Gerhard, Ult. Ricerch.
Athenrcus, XL 499. Ann. 1836 ; n. 40-41 ; Berl. Ant. Bild., s.

2 Ussing, p. 37, 38 ; Panofka, ii. 43; 366, 5, 40, 41.
VL 10; Letronne, Jour. d. Sav. 1833, p.

VARIOUS KINDS OF AMPHORA. 77

fixed into the earth.1 They were of great size, and
contained large quantities of wine, honey, oil, sand,2
eatables, and coin. Originally the amphora seems to
have been a liquid measure, holding eight congii. It was
always fictile, but its shape varied. The painted amphorae
were generally provided with flat circular feet. They are
divided into several kinds : 1. The amphora,3 called
Egyptian, the body of which is long and rather elegant,
the handles small, and the foot tapering. 2. The
panathenaic 4 amphora (a/x^opevs TramfleratKos), resembling
the former in shape, except that the mouth is smaller and
narrower, and the general form thinner. They much
resemble those represented on the coins of Athens.
There are some varieties of this type without the usual
representations of Pallas Athene and- athletic subjects.
The most remarkable of them is that discovered by Mr.
Burgon.5 3. The amphora called Tyrrhenian differs
only in its general proportion from the two preceding
kinds, the body being thicker and the mouth wider. The
subjects on these vases are arranged as in the panathenaic
ones, in a kind of square picture at each side. The neck
is sometimes ornamented with the double helix or chain,
and the foot has the petals. Under the handles is
sometimes an antefixal ornament. Many of these vases
are decorated with figures of the usual style in black

1 Ussing, p. 38; Gerhard, Berlins 1£31, 229; Panofka,p. 16 ; Mon. i. xxi.
Antike Bildwerke, s. 345. xxii.

2 Cicero, in Verrem, ii, 74, 183; 5 Millingen, Anc. Un. Mon., PI. i. ii.
Homer, II. xxiii. 170; Martial, xiii. 103; iii. p. 1 and foil. According to the
Homer, Odyss. ii. 290, 349, 379; ix. 164, Scholiast of Plato (Charmides, ed.
204. Bekker, 8vo, Lond. 1824, p. 17, n.

3 Gerhard, Berlins A. B. 346. 126) the contest in the Panathenaia was

4 Ibid.; Panofka, Rech. i. 6; Annali, one of boys, who received for their

78 GREEK POTTERY.

upon a red ground. They are principally found in
Etruria. Another class of these amphorae, with black
figures, has a broad, flat handle like a riband, the

edges being raised. 4. The

Bacchic amphora1 is the most
prevalent type at the best
period of the vases with black
figures. The neck of these vases
is larger and taller in proportion
to the body than the preceding,
and the handles are not cylin-
drical but ribbed, having been pro-
duced from a mould. They are

No. 141.-Bacchic Amphora. from fiye to twenty mcheS high.

5. Nolan amphorae. The character of these amphorae
differs so essentially from that of the preceding, that
they have been conventionally called Nolan amphorae.
The body is larger than that of the Etruscan or Bacchic
amphorae ; the handles are not reeded but flat ribands ;
the whole vase, except the subject painted on it, is black,
and has generally but few figures at each side. It is
often provided with a convex cover and a stud.2 Another
variety of this form, with twisted handles, is produced by
rolling up the paste. Some slight variety3 occurs in the
feet. This kind of vase, in elegance of shape, is the
finest production of the potter's art ; while the exquisite
black varnish and high finish render it the admiration of
all lovers of ancient art.

reward oil, an amphora, and an olive Annali, 1831, p. 231.

crown. They contended as in the 2 Ibid. s. 348, 5, 6.

Isthmian games. 3 jbid<j a 343^ 5> 6<
1 Gerhard, Berlins A. B., s. 347 ;

APULIAN AMPHORA— FELICE. 79

6. The amphora, called Apulian from the circumstance
of its being found only in Apulia, has a thick and over-
lapping mouth like an inverted cone. The neck is not
cylindrical, but slopes upon the shoulders, and the body
is more egg-shaped.1 Its style, varnish, and abundance of
white colour, are all peculiar to the later class of vases.

7. There is also a vase of elegant shape, called the Can-
delabrum Amphora, with cylindrical body, spiral handles,
tall neck, and narrow lip and mouth, which is always of
the latest style. Some of these vases — as, for example, one
in the British Museum — appear, from having a hole at the
bottom, to have been used as a decoration on the top of a
pilaster or column. Its complex shape seems imitated
from metal work.2 A remarkably fine vase of this shape
in the Temple collection at the British Museum has its
handles and feet ornamented with moulded floral orna-
ments. It was found at Euvo.

8. 'Similar to this, but of a still later style, are the
amphorae with sieve-shaped handles. These are tall and
angular, rising above the mouth, and curved upwards at the
bottom. On each handle are three semicircular studs.3 The
amphora, when complete, had a cover of the same material
as the vase, surmounted by a stud or button with which
to raise it. An amphora in the Berlin Museum had a
double cover, an inner one of alabaster, over which is
placed another of terra-cotta.4

The pelice was a later kind of amphora, with a swelling
base, two rather large handles, and red figures, princi-
pally of the later style, or that called Apulian. It is

1 Gerhard, Berlins A. B., s. 349, no. 7. 3 Ibid., s. 350, no. 12.
" Ibid., s. 350, .no. 11. 4 Ibid., s. 680.

80 GREEK POTTERY.

rarely found with black figures. The name, however,
is doubtful.1

VASES FOB DBAWINO LIQUIDS.

The Cados (cask), a name given, according to Calli-
machus, to all pottery, was used at banquets. It appears
also to have been employed as a situla, or bucket, and it is
possible that the deep semi-oval vase of pale varnish, and
generally with figures of a late style, either embossed or
painted, was the cadus.2 It is very similar to certain
bronze vessels which seem also to have been cadoi or
cadiskoi. In the Pax3 of Aristophanes, Trygseus persuades
a helmet-seller to clap two handles on a helmet and
convert it into a cadus.4

The Hydria, or water vase, is known from the word
HTAPIA inscribed over a vase of this shape, which
Polyxene has let fall in going out of Troy
to draw water from the fountain. It
certainly appears on the heads of females
in scenes of water-drawing. The ground
of this vase is generally black, and it
has two subjects — one on the shoulder
or neck, generally called the frieze ; the
other, the picture on the body of the

No. 142.— Hydria. , m, ,, f ,,

vase.5 These vases are mostly 01 the
class with black figures — but some rare examples

1 Gerhard, B. A. B., s. 349, no. 8. antlion.

2 Cf. Ussing. 1. c., 40; Aristoph. 5 Ussing, p. 43; Gerhard, Berlins
Eccl. 1002; Athenseus, iv. 102, d. Antike Bildwerke, s. 350; Panof ka, i.

3 1258. Cf. Panofka, Recherches, ii. 11 ; Annali, 1831, 241 ; Letronne, p. 10,
13; Thiersch, fig. 12. 54.

4 Thiersch, fig. 12, makes this the *

VASES FOR DRAWING WATER. 81

with red figures have been found at Vulci. The two
small side handles are cylindrical ; the larger ones are
riband-like or moulded, and have a small head moulded
at the point of union. The hydria was employed for
holding water, oil, the votes of judges, and the ashes of
the dead, and was often made of bronze. It is called by
the Italians vaso a tre manicJie. Many fine paintings and
interesting subjects are found on vases of this shape.

The calpis was essentially a water vase, and only a later
modification of the Jiydria ; the body being rounder, the

No. 143.— Calpis.

neck shorter, and the handles cylindrical. It was gene-
rally used for drawing water, but unguents, and the lots
of the judges, were often placed in it.1 This form of vase
is principally found in the sepulchres of Southern Italy,
while the older type, or hydria, comes chiefly from Vulci.
Callimachus alludes to vases of this shape on the top of

1 Ussing, p. 46^Panofka, p. 8, pi. vi. 4, 5 ; Annali, 1831, 241 ; Thiersch, p. 37.

VOL. II. G

82 GREEK POTTERY.

the Parthenon ; and Pindar mentions them at an earlier
period.1

Of other vases of this class are the following : — the
crosses, a two-handled vase for drawing water, the shape
of which is unknown :2 the cothon, also of unknown shape,
almost seems to have been a
Lacedaemonian name for a military
cup used for drinking water, and
adapted by its recurved mouth to
strain off the mud.3 Some have
No.i44.-scyphos,orcothon. conjectured it to be the tea-
cup-shaped vase with horizontal

handles. The rhyton is well known, and many examples
occur. The great peculiarity of this vase was that it could
not be set down without drinking the contents. It may
be divided into two shapes : first, a cylindrical cup ter-
minating in the head of an animal, and
with a flat banded handle, the lip slightly
expanding. In the second kind the body
is fluted, longer, and more horn-like, and
terminates in the head or fore part of an
Ne.i46.-Hhyton. ^^^ ^^ ^ pierced so as to let a jet

of liquid flow out. These vases sometimes have a small
circular handle at the side, to suspend them to the wall.
On the necks are subjects of little importance, and
of a satiric or comic nature, in red upon a black
ground ; and of the later style of art, the part forming
the animal's head is often left plain or is red. Many

1 Pindar, 0. vi. 68. iv. 72; Letronne, p. 732; Thiersch,

2 Ussing, p. 49. s. 33.

3 Ussing, p. 55, 56 ; Panofka, Rech.

DRINKING-CUPS. 88

are entirely of terra-cotta. It appears from a comparison
of the specimens, that they terminate in horses, goats,
Pegasi, panthers, hounds, gryphons, sows ; heads of
rams and goats, mules, dragons, deer, the horse, the ass,
the cat, and the wolf. Similar ones called gryphons or
grypes, Pegasi, and elephants, are mentioned in ancient
authors. When not in actual use, they were placed on a
peculiar stand and disposed on buffets, as appears from
the vases found at Bernay. They were introduced at a
late period into the ceramic art, and are evidently an imi-
tation of the metallic rJiyta in use among the Egyptians
and Assyrians. They are first mentioned by Demosthenes :
and it appears from Polybius that there were several
statues of Clino, the cup-bearer of Ptolemy Philadelphus,
holding a rhyton in his hand ; and one of Arsinoe Ze-
phyritis holding the same vase. Only one maker of them,
named Didymus, is known. A remarkable one found at
Vulci has an Etruscan inscription in honour of Bacchus.
An attempt has been made to identify the repre-
sentations on these vases with the animals in whose
heads they terminate.1

The bessa was an Egyptian vase used by the Alexan-
drians. It is described as broad below and narrow
above. Its Greek shape is not known. Certain
small vases are supposed to have been of the
description called bombylios? so called from the
buzzing or gurgling sound which the liquid
made in dripping out of the mouth. It was mentioned

1 UBsing, pp. 55, 62 ; Panofka, Rech. horner in the Abhandlung. d. Berlins
32-60 ; Gerhard, Berl. Ant. Bild. 366 ; K. Akadem 4to., 1850, s. 1—38.
Panofka, Die Griechische Trink- 2 Utsiug, pp. 62—63.

G 2

84 GREEK POTTERY.

by Antisthenes as narrow-necked and a kind of
lecythm.1 It is supposed to be represented by an egg-
shaped 2 body and short neck with a small handle, just
enough for a strap. Vases of this kind are principally of
the early Greek style, with brown figures on a cream-
coloured ground.

The lecythus, or cruet, was used for holding oil. It is
principally recognised by its tall cylindrical shape, long
narrow neck, deep cup-shaped depression,
and flat banded handle. It was often made
of metal, but still more frequently of terra-
cotta. It commences with the old period of
vases with black figures, and terminates with
\ i the best red style and those with white
\—/ grounds. A slight difference of shape is visible;
No.u7.-Lecythus.for, while on the older vases the shoulder is
slightly convex, on the later ones it is
flattened and the neck is taller. In the oldest style
figures are often placed on the shoulder instead of other
ornaments. They principally come from Greece —
especially Athens and Sicily, and are rarely found
in the tombs of Vulci. They seldom exceed a foot in
height.3 The earlier lecytld have subjects embracing
some of the myths of antiquity depicted in groups
of many figures, while but few occur in those of the
later sort. Lecythi were chiefly used for holding oil, and
were carried down to the gymnasium by means of a

1 Of. Ussing, pp. 63—64 j 3 Ger- Panofka, v. 93 ; Ussing, p. 67 ; Le-
hard, Berl. Ant. Bild., s. 368, No. 48. tronne, p. 616; Thiersch, s. 40, fig.

2 Panof ka, v. 99 ; Annali, 1831, 78—9 ; Aristoph. Eccles. 906 ; Batrach.
261 ; Letronne, 51. 1224.

3 Gerhard, Berl. Ant. Bild. e. 367;

JUGS.

No. 148.— Olpe.

strap held in the hand to which a strigil was attached.
The whole apparatus was called ^v(rrpo\'rjKv6Lov. A lecytkus
of marble appears to have been sculptured or painted upon
the steles of men. The peculiar sepulchral character of
the lecythi found at Athens has been already mentioned.
The olpe is supposed to be a kind ofoenochoe
or wine jug — or rather to be intermediate
between the cenocJioe and lecythus, but the
identification of it seems to be very doubtful
It is generally mentioned as a leather bottle
or metallic vase like the cenochoe.1 It was
used for holding oil and wine, and is men-
tioned by the oldest authors. Sappho 2 speaks
of " Hermes holding an olpis and ministering wine to the
gods ; " and Ion of Chios 3 of " drawing wine in olpes
from mighty craters/' Many of the lecythi of a late
period, especially those found in Magna Grsecia, are
moulded to represent comic or satirical subjects, such as a
boy devoured by a sea-monster,4 a man bitten by a great
bird,5 pigmies and cranes,6 a comic Hercules seated,7 a
personage of the New Comedy,8 a Nubian devoured by a
crocodile, and Silenus reposing and drinking out of a wine-
skin, ideas derived from the New Comedy, and consonant
with the decaying spirit of the age, no longer elevated by
the heroic epos or the tragic drama, but seeking delight
in the grotesque, the coarse, and the ridiculous.

1 Ussing, p. 69 ; Schol. Theocrit. II.
156; Gerhard, Berl. Ant. Bild. s. 365,
No. 35—36.

2 Athenseus, X. 425 d.

3 Ibid. 495 h.

4 Gargiulo, Race. II. 10.

5 Ibid. 10.

6 Arch. Anz., 1849, p. 60.

l Berlins Ant. Bildw. N. 1961.

8 Arneth, Besch. d. K. K., Mtinz-
und Ant. Cabin, pp.16- -196. See Jahn,
Berichte K. Sachs. Gesellschaft, 1852,
Feb. s. 15—16.

86 GREEK POTTERY.

The alabastron ' was used for holding unguents, oils,
cosmetics and paint, and was a kind of lecythus. Its name
was derived from the material of which it
was made, namely oriental alabaster ; and
some Egyptian vases of this shape
are known, bearing the name of
Pharaoh Necho. The terra-cotta
vase is known from its resemblance

T , T P .. No. 149.— Ala-

to those in alabaster, and from its

constant appearance in the pictures, on vases
and other ornaments. Its body2 is an elongated
cone, its neck short, its mouth small, and lips
flat and disc-shaped ; sometimes it has a foot,
and also two little projections to hold it with-
out slipping, or to hang it up to a wall with a
N°bast°r^Ala' cord. These vases are very rarely found in
sepulchres ; some, however, occur either with
red or black figures, and often upon a cream-coloured
ground, whilst others are of the Athenian white style.
Their subjects chiefly relate to the domestic life of females,
but some Bacchanalian and other subjects occur. No
maker of them is known.

The crater may be considered the wine-cooler, in which
the ancients mixed their wine with snow and water. It
is distinguished from the amphora by its larger size, its
wider mouth, its semi-oval body, and its two handles for
occasional transport, which were small, and almost ver-

1 Ussing, pp. 70— 71; Herodot. III., Non. 545; Martial, xi. 89; Pliny, N.

20; Aristoph. Ach. 1053; Callimach. H. 56—113.

Pall. 15; Ceres, 13 ; Plutarch, Timol. ? Gerhard, Berl. Ant. Bild. B. 369,

15 ; Theocrit. xv. 114 ; Cicero, apud No. 49—50.

WINE VASES.

tical. Craters are chiefly found in South Italy, and are
always decorated with red figures. Of the earlier style
of art are the so-called holmos, and the sup-
posed celebe, or crater with columnar handles.
The vase called oxybaphon, with red figures,
is a very prevalent variety of this shape.1 It
is doubtful whether the amphora with volute
or medallion handles are not craters. The No' 151-Holmos-
liypocraterion, or stand on which the vase was placed,
was a hollow cylindrical foot, decorated with an egg-
and-tongue moulding, and a reeded body, which raised the
vase almost to the height of four feet. Several kinds of
craters are mentioned by ancient authors, — as the
Lesbian, the Thericlean, the Laconian, and Corinthian.
Some held three or four gallons.

The crater with columnar handles is supposed, on no
very certain grounds, to be the celebe. The shape
depicted in the accompany-
ing cut is the oldest, having
arched handles, from which
springs a banded handle.
Sometimes four columnar
handles are substituted for
these. Vases of this sort
are found at the earliest

, , , . , , , . No. 152.— Celebe.

period, having the subjects

disposed in friezes round the body. In the few
examples known with black figures, the subject is
arranged in pictures. At a later time the subjects are

1 Gerhard, Berl. Ant. Bild. 357, 17; Ult. Rech. No. 18 ; UssiDg,.p. 84 ; Panofka,
i.17.

88 GREEK POTTERY.

red upon a black ground. Craters appear to have come

No. 153.— Crater.

No. 154.— Oxybaphon.

into use much later than the so-called oxylaplia. Although
all agree to consider the owybaphon a crater, it is contested
whether the name -of kelebe or kelebeion can be properly
applied to the latter description of vase.1

We will now pass to the Apulian craters, — the first of
which are the so-called oxylaplia, which are bell-shaped,
and have two small handles at the side, recurved towards
the body. These vases are called by the Italian antiquaries
vasi a campana. There is some difference in the propor-
tions, those of the earlier times being fuller in the body,
while the later ones are thin, and have an expanding lip.2
The correctness of the name oxyJwphon is contested by
many critics.3

Some other craters of this tall style have been improperly
called amphorce with volute handles. These are large vases
with long egg-shaped bodies, wide open mouths, and two
tall handles curling over the lip of the vase, and ter-
minating in the head of a swan at the lower extremity.
These, however, are rather the craters of the later Apulian

1 Ussing, De Norn. Vas. pp. 80— 358, No. 18.

3 Ussing, p. 81; Letronne, 1. c.

2 Gerhard, Berlins Ant. Bildw. s.

WINE VASES.

potteries. They reach to a great size, and are decorated
with numerous figures.1 Similar to them are Amphora

No. 155.— Crater, with volute handles.

with Gorgon handles. This description of amphora, which
is another of the later sort, only differs from the pre-
ceding in having medallions instead of volutes at the top
of the handles, the ends of which also terminate in swans7
necks. The medallions are stamped in moulds. These
craters are found of great size, principally in South Italy,
and are decorated with numerous figures 2 of the later
style of art.

The psycter, or as it was also called, the psygeus? or the
" wine cooler/' was used for cooling wine. In glazed ware,

1 Gerhard, B. A. B. s. 349, No. 9.

2 Ibid. B. 350, No. 10.

3 Ussing, pp. 76—82.

90 GREEK POTTERY.

this vase is of the greatest rarity. It is in the shape of a
Bacchic amphora, with a double wall and an orifice
projecting in front, through which snow was introduced,
and a small one in the foot of the vase, by which it was
withdrawn when melted. The psycter was one of the
most celebrated vases of antiquity ; one in the British
Museum has the part between the walls filled with a layer
of chalk, apparently the ancient core. The subjects of
these vases are always in black upon red grounds, like the
amphorae, to which they belong. Sometimes they have
only a frieze round the neck. They were placed on
tripods when used.

The dinos was made of terra-cotta, and was large
enough to contain wine for a family. It appears to have
been round, with a wide mouth, and to have terminated
in a pointed or rounded foot, like the most ancient shape
of the crater used for entertainments.1

Chytrce, pots, were used for drawing or warming water,
boiling flesh, and various domestic purposes. They must
have been of some size, for children were exposed in them ;
but nothing is known of their shape, except that they had
two handles. It is evident that they could not have been
of glazed ware, for to " paint pots " (xyrpav iroLKiXteiv) was a
proverb to express useless labour.2 The thermanter was a
vase used for warming wine or water ; but it is uncertain
whether it was ever made of clay, as it is only mentioned
as a brazen vessel.3 Its shape is unknown. The thermopotis
was a vase also used for warming wine. Its shape is

1 Ussing, pp. 82—83 ; Panof ka, Vesp. 279.

Rech. 1.15; Letronne, Journ. des. Sav., 3 Ussing, 1. c. Miiller, ^Eginetica, p.

614. 160 ; Boeckh, Corp. Inscr. 2139.

3 Ussing, pp. 87—91 ; Schol. ad Arist.

VASE STANDS. 91

unknown, but perhaps it resembled a chafing-dish, the
warming apparatus being placed beneath.

The stands of the craters, or large wine-coolers were
called hypocrahria or Jiypocrateridia.1 They were very
different in shape, according to the age to which they
belonged. At the time of the style called ^Egyptian,
they were tall and trumpet-shaped, and sometimes deco-
rated with rows of figures of animals. With vases of the
early style with red figures they are seldom if ever found ;
with those with red figures, they are sometimes of one
piece with the vase itself, and are ornamented with
subjects. With the later vases of the Basilicatan style,
they are of far shorter proportions, and have an egg-and-
tongue moulding and reeded body (pa/36o>ros)? the foot of
the crater fitting into a groove or rim in the upper portion.
Certain shallow circular pans among the specimens of
Etruscan red ware, appear to be intended for the same
use, as large jar-shaped craters are found standing in them.
In the black ware of the same people, certain cups, which
some have called the holkion, are supported by female
figures standing at their sides, sometimes alternating with
bands. The tripous, or tripod, was a vase with three flat
feet at the sides, and a cover, the body being hemi-
spherical. It appears sometimes to have had fire placed
under it, apparently for warming liquids. The feet and
cover are ornamented with subjects. It is found only
among vases of the ancient style with brown figures upon
a yellow ground, and black figures upon a red ground.2

1 Ussing, 1. c. p. 92, 93; Gerhard, 56; Gerhard, Rapp. Volci. No. 45;
Ult. Ric. No. 26 ; Berlins Ant. Bildw. Stackelberg, Die Graber, tab. 15 Brit.
s. 360, 26. Mus. No. 2669.

2 Ussing, i. c. Panofka, Rech. iii.

92 GREEK POTTERY.

The word holmos, which signifies mortar, and was also
applied to vases, is supposed to be the name of certain
large hemispherical vessels with a flat or pointed foot, which
was often fixed into a trumpet-shaped stand, by which it
was supported. These vases belong to the ancient hieratic
style, or that called Egyptian ; and both the kind with
black figures, and that in the strong red style, have rows
of figures round the body. The shape shows that it was
a vase from which wine was drawn like the craters. The
name of deinos, or scaphe, has also been considered applica-
ble to vases of this shape.1 They resemble the lebes, or
caldron.

The chytropous, pot-foot, or trivet, was an instrument by
which the pot was kept upon the fire. Possibly, some of
the old Athenian vase-stands are this useful instrument.2

The lasanon, was apparently a kind of pot,3 its shape
and size are not known. It was possibly made of metal.

The cJwus appears to have been always made of clay.4
It was a measure of liquid capacity, sometimes holding
as much as the Latin congius,5 and may be considered as
the " bottle " of Athens. It was chiefly used for holding
wine,6 but its shape is unknown, some supposing that it
had two, and others, that it had only one handle.7 The
cenochoe corresponded with the modern decanter, or claret
bottle. There are several varieties of this shape, but

1 Gerhard, B. A. B. 360, No. 26; 5 Eubulus . apud Athenaeum, xi.
Ussing, p. 96. 473, c.

2 Ussing, 1. c. Pollux, x. 99 ; Schol. 6 Cratinus apud Athen. xi. 494, c. ;
Arist. Pac. 893; Av. 436; Plut. 815; Aristoph. Pac. 537; Equit. 95; Ach.
Ran. 506. 1086; Schol. ad v. 961; Anaxandrides

3 Ussing, 1. c. 98 ; Aristopb. in Pac. ap. Athen. xi. 482 d.

891; Hor. Sat. I. 6, 109. 7 Ussing, p. 101; Panofka, Rech.

4 Pollux, x. 122. iv. 27

WINE JUGS.

their general1 type is that of a jug, the mouth being either
round, or with a trefoil in imitation of an ivy leaf. This
first type, which appears to have been contemporaneous
with the amphora? with banded handles, has a short neck
and banded handle rising over the lip. The subject is

No. 156.— (EnochoS.

No. 157.— (Enochoe.

generally arranged in a square picture in front ; but
sometimes the ground, especially in the cream-coloured
vases, runs all round the body. At a later period, and in
the Nolan ware, the body becomes more egg-shaped and
slender, and the handle taller, so that this series presents
some of the most beautiful examples of shape. Another
variety of figure, which is also of the best period of the
art, has a truncated base, with a mere moulding or bead,
instead of a- foot. The shape of these vases is well known
from the frieze of the Parthenon and other representations
of libations and sacrifices, in which they were always
used with the phialce, or patera?, and the thymititeria, or
tall censers ; they were dipped into the craters,2 and the
wine was carried round to the guests by a youth called the

1 Gerhard, B. A. B. s. 365, No. 33—
36 ; Panofka, v. 101 ; Annali, 1831,
248; Letronne, p. 70.

2 Panofka, Rech.
Pourtales, 34.

Cab.

94 GREEK POTTERY.

cenochoos. It was a law of the banquet never to place the
cenochoe upon the crater, as it was considered a bad omen,
and a sign that the feast was ended.1 GEnochose were
also employed in religious rites ; whence Thucydides,2
speaking of the anathemata which the Egesteans showed
to the Athenian ambassadors in the temple of Aphrodite
at Eryx, says that they displayed phialce, cenochoce, and
thymiateria, all made of silver ; and in Athenseus,3
mention is made of the naos of the people of Metapontum,
in which were 132 silver phialce, 2 silver cenochose, and a
golden renochoe. They are often seen in the hands of
figures depicted on the vases as making libations.4

Another jug was the prochoos, with an oval body, tall
neck, and round mouth, but without a handle. It was
used for carrying water for washing the hands, for which
purpose the water was poured over them. " A maid-
servant bearing water for washing, poured it out of a
beautiful golden prochoos,'' says Homer ; 5 and Iris de-
scending to Hades for the waters of the Styx, takes a
prochoos to draw it.6 It also held snow,7 and wine.
Hence we read in the Odyssey, " He laid his right hand
upon the renochoos, and the prochoos fell rattling on the
ground/' 8 It was also used for holding oil,9 and libations
to the dead were poured out of it.10 M. Gerhard recognises

1 Hesiod. Opp. et Dier. 744. « Hesiod. Theog. 785 ; cf. also

2 vi. 46-3. Aristoph. Nab. 272; Pollux x. 46.

3 xi. 479, f. ; cf. also Boeckh, Corp. ^ Anaxandrides apud Athenaeum, iv.
Inscr. No. 150, col. 1, v. 30; Athenseus, 131, n. 26.

v. 199, b.; xi. 474,495,6; Pollux, 8 Odyssey, xviii. 398; Xenophon, Cyr.

*• 122. Viii. 8__10i

4 Gerhard, A. V. I. 28—30. » Suidas, voce ; Sophocles, Antigone,

5 Xepvi&a. 8' ai/j.(j)nroXos irpox6<?, eVe'xeve 430.

<t>(pov<ra KO\$, xpweiy.—Od. i. 136. » Athenseus, v. 199 b. ; xi. 474, 495.

OIL AND UNGUENT VASES.

the prochoos in the form depicted in the annexed cut.
He also supposes the small aenochoe, with a bill-shaped
spout and cylindrical body, to be the Apulian prochoos ;
but it is probably rather the epichysis. The epichysis was
a metal vase for pouring liquids, probably so called from

No. 158.— Aryballos.

No. 159.— Aryballos.

No. 160.— Epichysis.

its spout,1 used for holding oil and wine at entertain-
ments.2 The following vases were for drawing liquids.
The arataina, shaped like a ladle, and used in baths for
drawing oil, and distributing to the bathers, or for putting
it into lamps. It was generally made of brass.3 The
aryballos was a vase always described as
like a purse. M. Gerhard and Panofka
attributed this name to a vase resembling
a ball, with a short neck, globular body,
and small handle, just sufficient for a
thong to carry it with, called by the
Italians vaso a palta. It is chiefly found
among vases of the earliest style, and was
carried with the strigil to the bath. In
the later style the form was more elongated, and a base
or foot was added.4

No. 161.— Late Ary-
ballos, or Lecythos.

1 Ussing, p. 103.

2 Varro de L.L. v. 1, 24 ; Pollux, vi.

103, x. 92. ' uernara, 15. A. J5., s. aov, no 44,

3 Ussing, p. 105 ; Aristoph. Equit. 45 ; Panofka, v. 95 ; Annali iii., p.
p. 1090 ; Pollux, x. 63 ; Theophrastus, 263; Ussing, p. 106 ; Pollux, x. 63;

Char. ; Thiersch, s. 33, 34, supposes it
to be a jug.

4 Gerhard, B. A. B., s. 367, no 44,

96 GREEK POTTERY.

Small lecytlii, or aryballi, of various forms, are found ;
for at all times the potter has manufactured these pieces
as the curiosities of his art. Those found at Vulci are
shaped like the bust of the archaic Bacchus, heads of
satyrs and Sileni, armed heads, human-headed birds, sirens ;
the stag or deer, the emblem of Artemis ; the hare and
rabbit, sacred to Yenus and Apollo ; the head of an eagle,
and pigeons. They are all of small dimensions, and appear
to have been used for the toilet.1

The arystichos was a vase used for drawing wine out of
the craters.2 Considerable doubt prevails respecting the
meaning of the passages in which its name occurs,3 and
although Panofka conjectures that he has discovered
the type, his opinion on this point is by no means gene-
rally admitted.4 It was also used for holding the judges'
votes. It was called EPHEBOS, " or youth/' from the boy
who carried it round.5 The aryter, a vase for drawing
liquids, is mentioned by Herodotus.6 The aryseis?
aryster? arysane? and arystris, were also vases used for
drawing liquids. The cenerysis was a kind of cup used
for drawing wine.10 The etnerysis, a vase for serving up
pulse,11 and the zomerysis> a kind of vase used for ladling
out sauce or soup,12 are mentioned, but their shapes are
unknown. The cotyle, or cotylos™ is supposed to have been

Athenseus xi., 781, f.; Thiersch, s. 6 II. 108.

35. ? Sophocl. apud Athenaeum, xi., 783, f.

1 Mus. Greg., p. ii., t. xciii. 8 Simonides, apud Athen. x. 424 b. •

2 Ussing, p. 107; Pollux, vi. 19; 9 Timon ap. Athenaeum, x.,, 424 b.
Hesychius voce. 10 Schol. ad Aristoph. Acharn., 1067.

3 Bockh Corp. Inscr. Grsec., No. 2139; n Schol. Aristoph, Acharn., 245.
Athenseus, x. 424. 12 Anaxippus apud Athenaeum, iv.

4 Panofka, Rech., v. 98 ; Letrouve, 169 b.

Journ. des Savans, 1833, p. 618. 13 Ussing, p. 108 and seq.

5 Schol. Aristoph. Vesp. 855.

VASES FOR DRAWING WINE. 97

a deep cup, used for drawing wine. It was also a measure
of liquid capacity, equal to a Jiemina, or fourth of a sexta-
rius. In Homer, mendicants beg for bread and a cotyle of
water ; * and Andromache, describing a crowd of children
approaching her father's friends, says : " Some one of
those pitying hold a cup awhile, wetting their lips, but not
moistening their palates." 2 So the old Greek proverb : —

There's many a slip
'Twixt cotyle and lip.3

Honey was suspended in it in the festive boughs before
the gate : —

Eiresione bears figs and new bread,
And honey in a cotyle.4

The cotylos, which name was more particularly applied
to the cup, was in use among the people of Sicyon and
Tarentum, the jEtolians, some of the Ionian tribes,5 and
the Lacedemonians, — of all cups the most beautiful
and best for drinking, as Eratosthenes calls it.6 It
was made of the clay of Mount Colias. Apollodorus
describes it as a deep and lofty cup ;
and Diodorus speaks of it as resembling
a deep lavacrum, and as having one
handle. M. Panofka and M. Gerhard
conjecture that it was a kind of deep
two-handled cup,7 which notion, though NO i62.-cotyiiscos.
rejected by some critics, is rather
strengthened by the shape of the hemicotylion, as depicted

1 Odyssey, xv. 312, xvii. 12. 5 Athenseus, 1. c.

2 Iliad, xxi. 494. 6 Athenseus, 1. c., 482 b.

3 Athenfeus, xi. 478 e. 7 Panofka, iii. 51, iv., 50, Gerhard,

4 Schol. Aristoph. Equit., 729; Plutus, ult., Ric. 28.
1054.

VOL. II. H

98 GREEK POTTERY.

in the annexed cut. A vase of this description, of clay,
covered with a black glaze or varnish, and bearing the
inscription HEMTKOTTAION, has lately been discovered
at Corfu (Corcyra).

The cotyliskos, or diminutive cotylos, was a small vase,
either with or without handles.1 Some of the smaller
children's vases were probably of this form.

M. Gerhard supposes the cotyliskos to be a vase of the
shape of a lecythus, generally decorated with painting in
the old or Egyptian style. It has been conjectured that
certain vases, sometimes of glazed ware, are of the de-
scription called cernos. In the mysteries, several small
vases, or cotylishoi? containing various scraps of food,
after being bound together with wool, were tied round a
larger vase, and then carried about. This type is recog-
nised by some writers in certain groups of small cups,
ranged in a single or double circle. These vases, as in an
example already cited, are principally found in the sepul-
chres of Athens and Milo, among the unglazed painted
terra-cotta vases of the earliest style. They are rudely
modelled with the hand, and attached by bands of terra-
cotta to a hollow cylinder in the centre. Some vases of
this shape occur amongst those of the later style, and are
attached to a hollow circular pipe, or crown of terra-cotta,
on which they stand. In this case they sometimes have
covers, and are decorated with ornaments in white. M.
Ussing, on the other hand, considers these vases to be
cotyla. Cyaihos, which means " the ladle," was a name
applied to the small vase, by which the unmixed wine

1 Gerhard, Berlins Ant. Bildw., 1, 2 Ussing, p. 110 ; Gerhard, B. A. B.,
368, No. 46. B. 368, No. 46.

VASES FOR DRAWING WINE.

was taken out of the craters, and put into the cups of the
guests, water being added from a jug. Many cyatlii
of bronze exist in different collections.1 An open
cup, sometimes having a tall stem or foot, and with a

No. 163.— Cyathos.

No. 164.-Cyathos.

long, narrow, ear-shaped handle, well adapted for dipping
the cup into the crater, but not for holding it in the hand
to drink, is supposed to be this vase.

The following vases were also used for liquids : the
louterion, for water for the bath, was generally made of
marble or alabaster,2 and it is uncertain whether it was
ever manufactured of clay ; the asaminthos, a large vase,
also used in baths ; 3 the puelos, or bin, which was in fact

1 Ussing, p. Ill; Gerhard, Berlins
Ant. Bildw., s. 360, No. 24, 25;
Panofka, No. 52, vii.,5; Annali, 1831,
p. 251, and foil.

2 Ussing, p. 114.
Ussing, p. 115; Odyss. iv. 48;

Pollux, vi. 97.

100 GREEK POTTERY.

the bath tub ; l the scaphe, a vase used in the kitchen for
washing culinary utensils, and also employed as a foot
bath,2 appears to have been generally made of wood
or brass ;3 the scapheion or scaphion, an hemispherical vase,
for holding or drawing water, the shape of which is not
identified.4 It seems to have been also a drinking vessel,5
for Phylarchus, in describing the mode of living of Cleo-
menes, the Spartan king, says that he had a silver scaphion,
holding two cotylce?

The exaleiptron was a vase, like a phiale or saucer,7 for
holding ointment. The lecane is recognised by M. Gerhard
in a deep two-handled vase, provided with a cover resem-
bling an inverted cup. It was used for washing the feet, and
for holding cups, clothes, pitch, and for other coarse work ;8
as a basin to vomit in ;9 and likewise in the Sicilian
game of cottabus.10 It was also employed for that kind of
divination called K^avo^avr^ia or "dish-divination." In
the romantic life of Alexander the Great, written by the
pseudo-Callisthenes, a long account is given how the fabled
sorcerer, the Egyptian Nectanebo, employed this vessel in
magic arts, and after placing in it small waxen figures of
men and ships, plunged it into the sea, and so destroyed
his enemies. He constantly used it for the purpose of
enveigling Olympias. Julius Valerius, who wrote in Latin

1 Ibid. ; Aristoph. Equit. 1060 ; Pax. 202, c.

843. s Ussing, p. 118; Pollux, x. 70;

2 Ussing, 1. c. and pp. 116, 117. Suidas, v. /ceAcySe; Bockh. Corp. Inscr.,

3 Pollux, x. 77 ; ^Eachylus in Sisypho. No. 3071, 8 ; Aristoph. Av., 840, 1143,

4 Ussing, p. 117. 1146 ; Vesp., 600.

5 Athen. xi. 475 c. 9 Plutarch, Moral., p. 801, B.;

6 Athenseus, iv. p. 142. Aristoph., Nab. 906; Theopomp.

7 Ussing. p. 117 ; Clearchus. apud Athen., xi., 485, c. ; Pollux, x. 76 ;
Athen., xiv. 648, f.j Pollux, vi. 106; Gerhard, B. A. B., 364, 32.
Aristoph. Acharn., 1063 ; Athen. v. 10 Schol. ad. Aristoph. Pac., 1244.

VASES FOR WASHING. 101

a similar apocryphal life of Alexander, calls the vessel a
bason or pelvis. This magical use of the vase is also men-
tioned in the work called Philosophoumena, erroneously
attributed to Origen.

The lecanis, or smaller lecane, made of terra-cotta, was
probably of the shape figured just above. In it the father
of the bride sent, along with her, presents to his son-in-
law, at the time of the marriage. According to Photius,
lecanides were earthern vessels, very much resembling a
crater, which, he continues, the women now call " food-
holders/'1

The lecaniskos and lecanion were small lecanides? The
podanipter was a bason for washing the feet in.3 Possibly
this vase may be identified with the flat, thick, circular
basons found in the Etruscan tombs. It was generally of
bronze. The cheironiptron, cheironips, and chernibon, were
wash-hand basons, but their shape is unknown.4

The vase called holcion was a kind of bowl, for washing
cups. It also appears to have been used for the table and
the bath. MM. Panofka and Gerhard suppose it to have
been a kind of small crater, with figures and supports ; 5
but this is not by any means satisfactorily proved. The
perirrhanterion, or sprinkler, was a vase which held the
lustral water in the temples, and which, in the earliest
times, was made of earthenware. The list is closed by the

1 Ussing, 1. c.; Pollux, vi. 85; Pollux, x. 78; Herodot., ii. 172.
Photius ; Schol. ad Aristoph. Ach., 4 Ussing, 1. c. 121 ; Athenseus, ix. p.
1110; Teleclides ap. Athen., vi. 208, 408; Homer, xxiii. 304; Andocid. in
c. v. 11.; Hesych., v.; Gerhard, Alcib., 29, K. T. A..

B. Ant. Bild., s. 364, 365, No. 5 Gerhard, B. Aut. Bildw., s, 362, n.

32 ; Panofka, Rech., iii. 42. 27; Ussing, p. 122; Panofka, iv.,

2 Ussing, p. 119. 92; Annali, 1831. p. 252.

3 Ussiug, p. 120; Photius, p. 118;

102 GREEK POTTERY.

ardanion, or ardalion, the lower part of which vase, after
it had been broken, was placed as an emblem before a
house in which a death had occurred.

VASES FOE DEINKING.

The productions of the potter never perhaps at-
tained greater excellence as to form than in cups,
many of which are of unrivalled shape. If any ex-
tant specimens of fictile ware represent the shapes men-
tioned by Homer, who in the true poetic spirit always
speaks of cups as made of the precious metals, they must
be looked for in the primitive vases of Melos and Athens.
The great cup described by Homer bears, however, more
resemblance to some of the specimens of the Etrurian
black ware.1 " The great cup, ornamented with golden
studs, was produced, which the old man had brought from
home. It had four handles, and two golden doves were
placed on each ; and it had two stems. When full, any
one else could hardly lift it from the table ; but old Nestor
lifted it with ease." The cups mentioned by Homer are
the depas ; the aleison? a cup with two handles ; the
ctsfybion* so called from its being made of ivy wood, or
from its being ornamented with carvings representing the
foliage of ivy ; the cupellon? or later cymbion? which,
among the Cretans and Cyprians, had either two or

1 Iliad, xi. p. 632. 5 Macrob. Sat., v. 21 ; Letronne,

2 Odyss., iii. 49, 50, 63, xxii., 9, Journ. d. Savans, 1833, p. 605;
7; Ussing, 1. c., p. 124. Athenseus, 481 e, f, 482 f, 502;

3 Odyss., v. 346; xiv. 78; Schol. Arist.. Pac., 1242; Nicander
Pollux, vi. 97; Theocrit., i. 59, eb Ther., 526; Alexiph., 129; Hesychius
Schol. ; Athenseus, iv. 477. voce; Deinostb. in. Meidiam, 133—158,

4 Athen., xi., 482, 483 a, 783 c. in. Euerg. et Mnesib.,

Hist. Anin., ix. 40.

oo.

VARIOUS KINDS OF CUPS. 103

four handles ; and the amphicupellon 5 formed of two
cupella, united at their base. The cymbion was a kind of
cup, stated by some authors to resemble a boat.6 No vase
of such a shape is known to exist, unless it be the rhyton
in the British Museum, fashioned in the shape of the prow *
of a vessel, with a female seated on it ; or a long boat-
shaped vessel with a spout, discovered at Vulci, on which
is inscribed " drink, do not lay me down." 1 This kind of
vase was in common use among the Athenians.

The name for cups in general was scyplios ; and they
were called, from the places of their manufacture, Boeotian,
Rhodian, Syracusan, and Heracleotan,2 or Thericlean
from their maker Thericles. It may easily be conceived
that no very distinct idea of their shape is conveyed
by ancient writers. Simonides, indeed, mentions that
they had handles ; and the Heracleotan scyplios had
its handle ornamented with the Heraclean knot. Some
vases of the latest period of the art, with reeded bodies,
sides ornamented with white ivy wreaths, and handles of
two twigs or pieces interlaced in a knot, more resembling
the cantharos, are probably the Heracleotan scyplii. M.
Gerhard supposes a kind of wide cup with two handles to
be the scyphos. These cups, which are found at Nola,3
are of the later style, and ornamented with red figures,
principally of a Bacchanalian character. Very often, how-
ever, they are entirely plain, being merely covered with
black varnish. Another kind was, the Panathenaic scyphos,
supposed to be a cup with two handles, of the same shape

1 Panof ka, Rech., v. 74, 75. 3 Gerhard, B. A. B., s. 362, No. 28 ;

2 Athenseus, p. 500 a ; Letronne, Panofka, iv. 92.
Journ. des Savaus, 1833, p. 731, note 1.

104 GREEK POTTERY.

as the preceding, but having one handle placed at right
angles to the cup's axis. Their usual decoration is an owl,
placed between two olive branches. This vase is supposed,
from the shape of its handles, to have been the onychios.
The ooscyphion, or egg (shaped) cup, was without a foot,1
and was, perhaps, the same as the vase called mastos,
which had two handles, like the Panathenaic scyplios, and
was often decorated externally with black figures upon a
red ground. It often terminates like an areola, or nipple,
with an oval band round it. These cups are very rare,
and are ornamented with Bacchanalian subjects. They
are thin and well turned, and altogether very elegant pro-
ductions. They chiefly come from Vulci. The bromias
was a long kind of scyphos?

The cantharos was a kind of cup, probably so called from
its resembling a beetle. It was the cup specially used by

Bacchus,3 and was gene-
rally made of earthen-
ware, although sometimes
of metal. It appears
from the various monu-
ments of Bacchus to have

been a kind of goblet, on

No. 165.— Cantharos.

a tall stem, with two very

long ears. In some of the older specimens of Etruscan
black ware it has no stem.4 Vases of this kind are
seldom decorated with paintings, which, when they do
appear, consist of red figures upon a black ground. A

1 Ussing, p. 133 ; Athen. xi., 488 3 Pliny, xxxiii. 53, 150.

f, 503 e, 477 e; Panofka, v. 103. 4 Gerhard, B. A. B., s. 359, No. 21—

2 Ussing, p. 134 ; Panofka, iv. 23 ; Panofka, iv. 61 ; Aunali, 1831,
65; Athenams, xi. 784 d. 256.

DRINKING CUPS.

105

few are also found among the vases of the latest style
of the Basilicata, especially those produced from moulds.
M. Gerhard classes with them a goblet -shaped vase
without handles. In the picture of the battle of the
Centaurs and Lapitha3, painted by Hippeus, he represented
them drinking out of terra-cotta canthari.1

The carchesion was a kind of two-handled cup, the shape
of which is not very intelligible from the descriptions
of it given by the early
poets, Pherecydes, Sappho, and
others.2 As, however, it was
the sort of cup held by
Bacchus and his "wassail rout"
in the pageant of Ptolemy
Philadelphus,3 it was probably
a kind of cantharus. M.
Gerhard4 and M. Panofka re-
cognise it in a very elegant
cup, with large ear-shaped handles, short stem, and wide
mouth, and ornamented with red figures, relating to
Bacchus. This sort of cup is chiefly found among the
later remains of Southern Italy ; but it is probable that
many of the vases called canthari are carchesia. Accord-
ing to M. Thiersch, they were shaped as in the annexed
cut.

Of all the cups the most celebrated was, undoubtedly,
the cyliX) so called from its being turned on the lathe.

1 Athenaeus, 474 d, Cf.; Pollux, Panofka, iv. 61; Annali, iii., 256, f,
vi. 96. 6, s. 36, compared with the technical

2 Athenseus, 474 f, 475 a. description of Callixinus of Rhodes,

3 Athen., v. 198, b, c. Athenseus, xi. 474, e.

4 Gerhard, B. A. B", s. 359, No. 20 ;

No. 166.— Carchesion.

106 GREEK POTTERY.

It was a flat, shallow, and extremely wide saucer, with
two side handles, and a tall stem or foot, and was deco-
rated with red figures of the
finest style, both on the ex-
terior and interior. Those of
the earliest period are distin-
guished by their deeper bowl

No. 167.— Early Cylix.

of those of a later period, with black figures, is unpro-
vided with a foot. Those ornamented with paintings of

the strong and fine style
have a shallow bowl, re-
curved handles, rising
rather higher than the
NO. 168.— Later Cylix. j'~ and a stem not so

high as the earlier cylices. Their shape is one of the
most elegant of those handed down from antiquity. At
the Basilicatan period these vases resemble large flat
baskets with handles, like the crater. Cylices of this
style, which approach the bowl shape, are very rare,
and have subjects only inside. These vessels hold
about a pint, or even from four to seven heminse, and
were probably passed round from guest to guest. In
banqueting scenes depicted upon them, they are often

represented as being
twirled round upon the
finger, in the supposed
NO. 169.— Late Cylix. Sicilian game of cot-

tabus.1 Athens was celebrated 'for its cups,2 made of clay

1 Panofka, Rech., vii. 37 ; Millingen, Pourtales, xxxiv. ; Thiersch, s. 31.
Vases de Coghill, PI. viii. and 41 ; Cab. a Pindar apud Athenaeum, p. 480, c.

THERICLEANS. 107

from the promontory of Mount Colias ; but the Lace-
daemonian,1 Teian,2 Chian,3 and Argive4 cups were also
esteemed. These cups, when not in use, were hung up
by one of their handles on a peg, and hence Hermippus
sings of

" High on its peg the Chian cup is hung ; "

a good example of which custom will be found repre-
sented on the Ficoroni cista.5

The Thericleios was a kind of cup invented by Thericles,
a Corinthian potter, the contemporary of Aristophanes.6

No. 170.— Early Cylix, with black figures. (Thericlean ?)

The " Thericleans," as they were named, were, however,
soon in vogue at Athens, and are mentioned by the
writers of the middle and the new comedy. They were
all clay, and held three heminae. Thus Eubulus exclaims
in comic bombast —

" Lately the bravest
of the Thericleans, foaming o'er, like
a cothon handled, rattling like a ballot-box,

1 Aristophan. ap. Athen., 484, f. 5 Brondsted, Den Ficorouiske Cista,

2 Alcseus ap. Athen., p. 481, a. folio Kiobenhavn, 1831.

3 Hermippus apud Athen, 480, e. 6 Athen., i. 470, f., 472, d., e.

4 Simonides ibid., 480-a.

108 GREEK POTTERY.

black, well circled, sharp stemmed,
gleaming, reflecting, well cooled with snow,
its head bristling with ivy, calling upon
Jupiter the Saviour, I have quafied."

It is probable that these were the cylices with deep
bodies. They were often successfully imitated in fine
wood.

Along with the " Thericleans " may be cited other
cups, such as the Tiedypotis, a cup of a very cheap kind,
manufactured by the Rhodians to compete with the
Athenian "Thericleans/'1 and the Rhodiaca, Rhodiacai,
Rhodiades, or " Rhodians" which were perhaps the same
as the hedypotides. Their shape does not appear to be
well known.2 The Antigonis, a kind of cup, so called
from King Antigonus, seems to have ended in a point, but
it is uncertain whether it was ever made of earthenware.3
The Seleucis was named after King Seleucus. Ussing
recognises its shape in some of the paintings at Pompeii.
It appears to have had four handles,4 like a mether.

Of the same species as the cylix, but almost limited to
religious offices, was the piddle (the patera or saucer), a
shallow, circular vessel, so like the round Argolic buckler,
that Aristotle calls it the shield of Mars,5 and, vice versa,
Antiphanes 6 calls " the shield of Mars " a phiale. It
rarely had handles,7 and was chiefly used for libations,
being seldom, if ever, employed at entertainments.8 It is
of rare occurrence ; the few which have been discovered

1 Athenseus, xi. 464 c, 409 b. p. 145, 146.

2 Pollux, vi. 96; Hesychius voce 5 Rhetor, iii. 4 and 11 ; Poetic, xxi.
Athenseus, 496, f. 12.

3 Athenseus, 497 f ; Pollux, vi. 95; 6 Athen., x. 433, c; 488, f, 591, f.
Schol. Clement. Psedag., ii. 3. • Hesychius, apQlQerov.

4 Athenseus, p. 488, d, f; Ussing, 8 Bekker, Charicles, Tab. 3, 1,2.

PATERJE. 109

belong to the later style of art, and to the class of moulded
vases. Its want of handles was supplied by a boss,
called the omphalos, in the centre of the cup, having a
hollow beneath to admit of the insertion of the thumb or
finger to hold it steady,1 from which circumstance phialce
were also called omphalotoi, " bossy ; " or mesomphaloi,
" having omphali in the middle/' 2 In metallic work this
umbo, or boss, appears to have been often ornamented
with the head of the Gorgon. Such bosses were called
" balanomphaloi," or glandular omphali, an example of
which has been found.

Another variety of this shape was the phiale lepaste,
respecting which all that can be determined is, that it was
larger than the phiale? Gerhard recognises it in the
large cylix-like vessel of Basilicatan .style, ornamented
with studs at the sides. The acatos appears to have been
the name of a phiale omphalotos, or "bossy saucer."
" Some one/' says Antiphanes, " has raised the acatos of
Jupiter the Saviour !"4 The trier es, that is the "triremis,"
or "first rate/' was a large phiale.5 The phthois was a
broad, bossy phiale, or saucer,6 but it is not certainly known
whether it was made of fictile ware. The petachnon, or
" stretcher/' was a wide-spreading cup, neither resembling
a phiale nor a tryHwn? The labronia was a Persian cup,
probably introduced into Greece after the conquest of
Asia by Alexander, and was made of gold inlaid with

1 Athenseus, 502, a, b, 501, f. 4 Athen., xv. 692, f ; Panofka, iii.

2 Thiersch, s. 30. 30.

3 Ussing, p. 152, 153 ; Athenaeus, p. 5 Athenaeus, xi. 497, b, 500, e.
485, a; Clement. Paedag., ii. 3 ; Athen., 6 Athen., 490, 502, b; Bockh. Corp.
iv. 131, c ; Pollux, vi. 95 ; Pollux, Inscr., No. 146.

x. 75 ; Hesychius voce. Panofka Rech., 7 Ibid. ; Panofka, iv. 31, iv. 41;
iv. 36 ; Gerhard, B. A. B. Athen., iii. 125, f.

110 GEEEK POTTERY.

gems.1 Gualas was the Doric name of a cup.2 With
these cups may be classed the ceras, or " horn," so called
from its imitating a natural horn.3 It was sometimes,
though rarely, made of terra-cotta. Some examples,
together with a notice of it, will be found under the word
rhyton. The body was reeded, and the horn terminated
in a lion's head, with a small aperture for the liquid to
flow through. The upper part was decorated with a
subject in bas-relief, and at the side was a small circular
handle, by which to hang it on a peg. It was sometimes
supported by a collar or anclet, called periscelis.

VASES FOE HOLDING FOOD.

We will now proceed to the vases for holding food, of
which there were several varieties in fictile ware.

The canoun, or " canister," also called canastron, canes,
canenion, and caniskion, was sometimes made of earthen-
ware.4 The shape of this vase may be determined from
that worn upon the heads of the canephoroi, and conse-
sequently it must have resembled the calathos. The
pincM?, or " plate," of which the diminutives are pinacion5
and pinaciscosf though not mentioned among fictile ware,
was probably the flat plate upon a tall stem or stand,7
having its interior ornamented with representations of
fishes, such as the tunny, or pelamys, the cuttle-fish or
sepia, the maid, or pristis, and the echinos or sea-egg.

1 Athen., 484, c. 4 Homer. Epigr., 14, 3.

2 Athen. 467, c. ; Letronne, J. d. S., 5 Ussing, 1. c., 157.
614, n. 3. e Ussing, 1. c., 158, 159.

3 Ussing, p. 155, 156 ; Panofka, v. 7 Panofka, iii. 59.

78.

DISHES. Ill

The discos, or "disk/' appears to have been a flat, circular
plate or dish, similar to the Latin patina.1 The lecanis,
lecos, lecis, lecarion, or leciscion, were dishes or tureens
for holding food. They have already been described.2
The paropsis was a dish, the shape of which is not known.
It does not appear till a late period, and is often men-
tioned by the Roman authors.3 The oxis was a vinegar
cruet of small size, holding a hemina, and generally made
of earthenware.4 Aristophanes ridicules Euripides, as
advising vinegar to be thrown out of vinegar cups into the
eyes of the enemy.5 EmbapMa were vases, the shape of
which is unknown. The ereus was a vase for holding
sweets,6 and the cypselis, which perhaps had a cover, was
employed for the same purpose.7 The cuminodocos,
cuminodoce, or cuminothece, was a spice-box,8 consisting of
several small cups, called cadisca, united on a stand or
stem. Several such vases, erroneously supposed to be
cernos, both of late and early style, are known.9

Another kind of dish was the tryMion, a name which
denoted either a dish or a cup, but is probably more
correctly applied to the former.10 The expression "to
make tryblia badly " (TO, rpvpXia Ka/cw? Kepa^veiv), shows that
they were fictile. All that is known about them is, that
they were larger than the oxybapha, and that figs were
eaten out of them. The oxybaplion, the " vinegar cruet/'

1 Pollux, vi. 84 ; Isodorus, xx. 4. t Ussing, 167.

2 Vide supra, Ussiug, p. 160. » Athenseus, vi. 230, d, e.

3 Ibid. 9 Pollux, x. 92.

4 Ussing, p. 166, 167 ; Aristoph. 10 Pollux, vi. 85, x. 86 ; Aristoph.
Equit., 1304.; Plut., 812. Acharn. 278, Equit., 905; Phut, 1108 ;

6 Aristoph. Ranse, 1440. Schol. Aristoph. Aves., 371 ; Athen., iv.

6 Pollux, x. 92 ; Athen., ii. 67, d. 169, e, f, xii. 549, f ; Ussing, p. 161, 2.

112

GREEK POTTERY.

or " cup," often served the general purposes of a cup.1 It
appears to have been small and open.2 The name was
also applied to dice-boxes. Oxybaplia were used in the
Sicilian game of cottabus,3 which was played in many
different ways.

1 Athenseus, xi. 494, b; Pollux, vi.
85.

2 Athen96us, 494, c ; Aristoph. Aves,
361 ; Schol. ad eund.

3 Bekker, Charicles, i. 476-480 ; Athe-
nams, xv. 665, f ; 669, h ; Pollux, vi.
109, 111.

DISTRIBUTION OF VASES. 113

CHAPTER X.

Sites of Ancient Potteries, and where Pottery has been discovered in Asia Minor
— Grecian Islands — Continent of Greece — Athens — Solygia — Sicyon —
Argolis — Delphi — Corinth — Patrse — Megara — Laconia — Corfu — Italy —
Classification of Lenormant and De Witte — Hadria — Modena — Pollenza —
Gavolda — Mantua — Etruria — Vulci — Ponte dell' Abbadia — Castel d'Asso —
— Corneto — Toscanella — Chiusi — Orbetello — Perugia — Sarteano, &c. —
Volterra — Bomarzo — Orvieto — Veii — Cervetri — Civita Vecchia — Theories
respecting these vases — Are/zo — Selva la Rocca — Sommavilla — Monterone
— Poggio —Central and Lower Italy — Periods — Naples — Cuma, — Terra
di Lavoro — Nola — Acerra — St. Agata del Goti — Cajazzo — Telese — Prin-
cipato Citeriore — Pesto — Eboli — Battipaglia — St.. Lucia — Sorrento — Prin-
cipato Ulteriore — Capitanata — Basilicata — Anzi — Arruento — Potenza —
Grumento — Puglia — Polignano, Putignano — Ban — Canosa — Ruvo —
Ceglie — Calabria Ulteriore — Locri — Brindisi, — Tarauto — Castellaneta —
Ischia —Sicily — Girgenti— Malta — Africa — Bengazi — Naucratis — Alexan-
dria— Kertch, or Panticapseum — Sites of supposed Egyptian ware — Imi-
tations and forgeries of Greek vases — Prices.

IT now remains to enumerate the principal localities in
which the existence of potteries is mentioned by ancient
authors, as well as those in which the fictile productions
of the Greeks have been discovered. This enumeration,
however, chiefly relates to painted vases, as it would be
almost impossible to detail all the places where unglazed
terra-cotta objects have been found.

ASIA MINOE.

The most ancient potteries were probably those of Asia
Minor, the scene of the first development of Grecian

114 GREEK POTTERY.

civilisation ; but our imperfect information will not permit
us to follow the chronological order in describing them.
Erythrse, in Ionia, was celebrated for the extreme thinness
and lightness of its ware, and two amphorse, remarkable
for these qualities, the rival productions of an Erythraean
potter and his pupil, were consecrated in a temple of that
city.1 Certain fragments of vases found near the circular
tombs on Mount Sipylus, and in the so-called sepulchre of
Tantalus, show that this ancient site had potteries which
produced ware of the earliest fawn-coloured style, re-
sembling the oldest Athenian pottery.2 At Xanthus, in
Lycia, some fragments of vases, with black and red figures,
were found in the course of the excavations.3 That potters
were distributed all over Asia Minor may be surmised.
An inscription at Telmissus records one who had bought
a sepulchre for himself, his wife Elpis, his mother-in-law
Euphrosyne, for Januarius, and his father-in-law Soterius.4
He must have been in easy circumstances. At Halicar-
nassus, during the excavations made at the mausoleum,
the fragments of a vase, with brown figures upon a cream-
coloured coating, was found. The vases of the oldest
style discovered at Smyrna are not of any great size
or importance.5 Lampsacus,6 and Parium,7 have also
produced vases. The vases found in Ionia have the white
grounds of the Athenian style ; but one had the outline
of the figure traced with a graver on a pale black ground,
and the principal portion retouched in black with a pencil.8

1 Plin., xxxv. 12, s.46; Brongniart, p. 116.

Trait4, p. 578. 5 Jahn, Vasensammlung, xxvii.

2 Trans. Roy. Soc., Lit., N. S. ii. 258. 6 Walpole, Mem. p. 91.

8 Brit. Mus. ; Arch. Zeit. iv. 216. "' Dubois, Cat. Chois. Gonf. p. 139.

4 Franz., Corp. Inscr. Grsec., iii. n. 8 De Witte, Bull., 1832, p. 169.

4212; Supp., p. 1116; Annali, 1847,

ASIA MINOR— THE TROAD.

115

The determination of the characteristics of the different
local styles is a point of the greatest difficulty.1 The
ware of Cnidus was renowned, even till the days of the
Roman empire, but its fictile vases were probably not of
the painted kind.2 Their extreme lightness was much
praised. In the days of Pliny, Tralles had a great
commerce in vases.3 Pergamus, in Mysia, was also cele-
brated for its potteries in the time of the same author.4
A few vases, of very poor style and character, have been
found at Tenedos,5 a site once renowned for its potteries,6
which lasted till the time of the Roman empire. Dion
Chrysostom mentions in one of his discourses the vases
which travellers purchased at this place, and which, on
account of their extreme lightness, were packed with
great care, but when they arrived at their destination
were mere potsherds.7 At the supposed grave of Achilles,
in the Troad, lecyilii, with polychrome figures, have been
discovered, resembling in style those found in Athenian
sepulchres.8 And recent excavations made at the sites of
New Ilium and Old Dardanus in the Troad, have dis-
covered many small vases, some of the early fawn-coloured
style, with figures of birds, a few with yellow grounds of
the later style, and many small lecythi, with black figures
resembling the Athenian.9 Fragments of vases may

1 Bull, 1840, p. 54.

2 Eubulus in Athenseus, i. p. 28, D •
Lucian, Lexiphanes, 7 and 11.

3 Plin. N. H., xxv. c. 12, ad eund.

4 Ibid., c. 17.

5 Welcker, Rhein. Mus., 1843, s. 435 ;
Annali, 1843 ; Chevalier, Voyage dans
La Troade, title page, 8vo. Par. 1.

r> Plutarch de vit. ser. alien Reisk., ix.
291.

7 Orat., xlii. 5.

8 Chevalier, Voy. dans La Troade,
Reisenach Troas, 8vo, Alten., 1800, Taf.
i. s. 213. Choiseul Gouffier, Voy. pitt.
ii. 30.

9 Made in 1855-56, by Mr. Brunton, of
the Civil Hospital of Renkioi. These
vases have been presented by Lord
Pannmre to the British Museum.

I 2

116 GREEK POTTERY.

probably be traced throughout Asia Minor, and all the
principal cities must have had their potteries. Some have
been found at Tarsus.

ISLES.

In the Isles of Greece many vases of different styles
have been discovered. From the oldest times the island of
Samos was renowned for its fictile ware. It is to the potters
of Samos that one of the Homeric hymns is addressed — the
oldest record of the art in literature. It appears from the
life of Homer, attributed to Herodotus, that the poet had
taken refuge in one of the potteries from a storm ; and that
upon the morrow the potters, who were preparing to light
their furnaces and bake their earthenware, perceiving
Homer, whose merit was known to them, called upon him
to sing some verses, promising in return to present him
with a vase or any other object they possessed. Homer
accepted their offer, and sung to them the " Lay of the
Furnace," in which the inflated language of epic verse is
applied, in a kind of satiric strain,1 to the subject of baking
vases : —

" Oh, you who work the clay, and who offer me a
recompense, listen to my strains.

"Athene ! I invoke thee ! Appear, listen, and lend thy
skilful hand to the labour of the furnace, so that the vases
which are about to be drawn, especially those destined for
religious ceremonies, may not turn black ; that all may be
heated to the proper temperature ; and that, fetching a
good price, they may be disposed of in great numbers in

1 Muller, Greek Literature, p. 132.

SAMIAN POTTERIES. 117

the markets and streets of our city. Finally, that they
may be for you an abundant source of profit, and for me
a new occasion to sing to you. But if you should shame-
lessly deceive me, I invoke against your furnace the
most dreadful afflictions — fracture (syntrips), contraction
(smaragos), overheat (asbestos), destruction (sabacte), and,
above all, a destructive force (omodamos), which, beyond
all others, is the destroyer of your art.

" May the fire devour your building, may all the
furnace contains mix and be blended together without
power of regaining it, and may the potter shudder at the
sight ; may the furnace send forth a sound like the jaws
of an angry horse, and may all the vases broken be only
a heap of fragments." 1

The Samian ware was distinguished for its hardness,
and was used for surgical operations.2 The earth was
medicinal.3 A lecythus, or toilet vase, of fine paste, and
exquisitely modelled, with representations of the sandals
attached to it, with black glaze and red accessories, procured
by Mr. Finlay from this island, is now in the collection of
the British Museum. Few vases have been found at
Samos, notwithstanding the ancient renown of the Samian
potteries, and especially of the earth, which, on account
of its fineness and red colour, maintained its reputation
till the days of the Roman empire.4 In the days of the
lioman empire, Samos supplied dinner services ; and

1 Miot. Histoire d'Herodote. Paris 4 Plautus, Capt. 291. Stick v.
1822. PI. iii. p. 263. 694. Tibullus, ii. 3, 51. Cicero pro

2 Pliny, N. H. xxxv. 12, 46. Luci- Mura)ua,36. Pliny, H. N. xxv. 46. Ter-
lius i. Nonn. 398. 33. tullian Apolog. 25. Ausonius Epigram.

a Hesychius Sa/tia 777 Etymol. Magn. 8. Isidorus Origin, xx. 4, 3.
p. 229. 21.

118 GREEK POTTERY.

certain vases of red ware with ivy-leaves, perhaps belong-
ing to the Roman class, have been found there.1

The vases found at Melos are of different ages and
styles ; but this island was more celebrated for its plain
than its painted vases.2 Those of the earliest period have
a paste of a greyish yellow colour, of a density and hard-
ness resembling common stone ware.3 Some vases from
this island, formerly belonging to Mr. Burgon, and now in
the British Museum, are of the old fawn-coloured and pale
yellow wares, and have black figures of the most ancient
style. Others exhibit a great advance in the arts, and
are as late as the period of the Roman empire. At the
neighbouring island of Argenticra Cimolos painted vases
have been exhumed.4 The vases found in the sepulchres
of Santorino, the ancient Thera, and then an old Phoeni-
cian settlement, are all of primitive style, with fawn-
coloured grounds and brown figures.5 Many vases from
this island are in the Bibliotheque Imperiale, at Paris.
Others, in the Museum at Sevres, were taken out of tombs
excavated in the solid limestone, the principal formation
of the island. These tombs have been covered, at a very
remote period, to the depth of 15 to 20 metres by a
volcanic eruption of tufo, and are of the most remote
antiquity.6 Some pithoi from this island are of huge size.7
Several vases which have been found in Crete, are said to
resemble those of Campania.8 Those of the sepulchres of

1 Bull, 1830, p. 226. mant, Introd. a" 1' Etude, xxiii.

2 Welcker, Rhein. Mus., 8vo, Franck. 6 Brongniart, Traite, i. p. 577-8 ; Mus.
1843, s. 435, 1823, p. 239. Cer., xiii. 4, 13, 15, 16.

3 Brongniart, Traite", i. 577; Mus. Cer., ? Arch. Zeit. xii. 61, 62 ; Ross. Insel.
PI. xiii. fig 1, 2, 5, 6, 7, 10, 14. i. 66, 68 ; iii. 27.

4 Ross, Insel. iii. 65. » Brongniart, Traite, i. p. 578.

5 Brongniart, Traite, i. 577; Lenor-

CALYMNA —^EGINA.

119

Kalymno, the ancient Calymna, a little isle of the Sporades,
were of a fine clay, covered, like those of Athens and
Vulci, with a fine lustrous glaze, but not ornamented
with subjects.1 Cos, which was celebrated for its culinary
vessels and for its amphora3, which were considered very
beautiful, and were exported to Egypt, has contributed
cups of the oldest style to collections of vases.2 At Myti-
lene and Lesbos, the fragments of vases hitherto discovered
have either black or red figures, resembling in their style
those found in the graves of Athens.3 The vases of
llhodes have black figures on red grounds of the free
and careless style of Greece. In Cyprus the vases as yet
discovered resemble in style and ware those of Thera.4
At Piscopia, Telos, another of the small isles, a vase, with
black figures on a yellow ground of bad drawing, has
also been discovered.5 At Chiliodromia, one of the small
isles of the Sporades, several vases of coarse and late style,
and principally of the Roman period, have been found.
They are chiefly remarkable for the peculiar manner in
which they were ranged round the skeletons of the dead.6
Another site of the old insular potteries was the island
of ^Egina,7 celebrated at an early period for the excellence
it attained in the arts, and especially for its sculptures.
Although ^Egina chiefly imported Athenian ware, yet that
it also manufactured pottery appears from an anonymous
writer of comedy, calling it " the Rocky echo — the vendor

1 Archaol. Zeit. 1848, 278.

2 Herodot., iii. 6.

3 Mr. Newton, H. M. Vice-Consul, has
found here many fragments of painted
vases.

4 Ross. Insel. iv. 175, 194, 201, 206.

5 Ross. Insel. iv. 44.

6 Fiedler, Reise durch alle Theile
des Konigr. Griechland, Leips., 1841 ;
Brongniart, Traite", PI. ii. fig. 1, i. p. 581.

7 Bull, 1829, p. 113, and fol. ; Paus,
x. 17, 6.

120

GREEK POTTERY.

of pots." l The few vases found there are remarkable for
their lightness, being made of a superficial soil, for the
most part of a siliceous base of infusorial carapaces.
They are principally lecytU? A cylix with black figures
has, however, been found, with the subject of Heracles
strangling the Nemean lion, .and a Bacchanalian dance,
with the names of -Nicaulos, Charidemus, Empedocrates,
and an inscription,3 probably alluding to the capture of
Midas, or the appearance of Pan to the hemerodromos, or
courier, Philippos. It also bears the name of the maker,
Ergotimus. .Some fine lecythi, with white grounds and
figures, painted in the polychrome style, have been found
at ^Egina. At Colouri, Salamis, a polychrome vase of
fine style ;4 and at Caristo, Carystus, in Euboea,5 a vase
with black figures on a white ground, accompanied by an
inscription.

GEEECE.

Passing hence to the continent of Greece^ the first place
to be considered is Athens, the pottery of which was, of
course, the most highly renowned of the ancient fabrics.6
The city was celebrated for its cups,7 which, however,

1 Meineke. Frag. Com. gr. 130. B.j
Hesych. voce. 'HX&. Photius and Poll,
vi. 197.

2 Brongniart Mus. Cer. Pi. xiii. fig. 11.
Trait^, p. 576.

3 For vases found at -<Egina Cf. Ger-
, hard, Bulletino, 1829, p. 118. Wagner,

Bericht ueber die eginetischen Bild-
werke, s. 80. Wolf, Bull, 1829, p. 122.
Gerhard, Bull, 1829, p. 122. Ross, Bull,
1841, p. 83. Bull, 1833, p. 27.

4 Rochette, Peint. aut. taf. 8—11.

5 From the Atticism of this inscription

Kramer (ueber den styl. s. 173.) is of
opinion, that the vase was made at
Athens.

6 Rochette, Lettre a M. Schorn, 6.
Cf. Matro Parodseus. apud Athen,
iv. p. 136. f. ATTI/C£ ev K€pa/j.(2 Trerrwu
rpeTs Kal 8e/ca p/qvas,

f 'ETrifTTj/uoi Kv\iKes (Kepdfj.ea iror-fipia)
at re Apyeiai Kal al 'ATTIKCU. Athenseus
Lib. xi. p. 480 c. Jacob ad Anth. Grsec.
I. p. 2. p. 141. Eratosthenes, apud Ma-
crob. Saturn, v. 21. Pindar. Fr. 89.
a Bockh. Athenrcus xi. p. 480, C.

ATHENIAN POTTERIES. 1-21,

were rivalled by those of Argos ; for its wine casks or
amphorae,1 its bottles, or lagsense,2 and its ware in general.3
Claiming, as it did, the honour of having invented the
potter's wheel, the manufacture was highly esteemed ; and
in very early days the Athenians exported their wares to
^Egina and the neighbouring isles. At Athens there
were two pottery quarters, or ceramici, one within; the
other, without the walls. Both seem to have had a bad
reputation from their being frequented by hetairse.4 • The
tombs of Athens have yielded specimens of painted and
glazed ware of all kinds and periods. These have passed
into the different European collections ; and the British
Museum 5 has been particularly enriched by them, from
having obtained the collections of Lord Elgin and '
Mr. Burgon. The earliest Athenian vases, with brass
figures on a fawn-coloured ground,6 have been already
described.

Many remarkable examples of glazed ware have been
found in the tombs of Athens, and among them the sarco-
phagus of glazed ware found by Stackelberg in 1 813, which
contained the skeleton of a child, surrounded with terra-cotta
figures, lecytlii, and other small vases.7 It was in a grave
beyond the Acharnian gate, and its contents subsequently

1 Ot /cepajuot, Aristoph. Acarn, 910, 5 For the vases discovered at Athens,
Corsini Fasti, Attici., Tom. ii. p. 236-7. cf. Millingen, Anc. Uned. Hon., p. 1.
DiB8. xii. Stackelberg, die Graeber der Hellenen.

2 KeKpoTrls \uyvvc. Posidippus, Epist. Panof ka, Cabinet Pourtales. Creuzer, em
xi. alt Athensches gefass. Leipz. and Darm.

3 "ATTIKO. cr/ccDrj. Pindar, p. 614. Gerhard Ann. ix. 135. Brondstedt,
Athengeus, xi. p. 484, f. Simonides, Memoir Tran. R. S. Lit. II. pt. 1. Bull.
Anal i. p. 72, 69, Ed. Jacobs. Athens, 1831, p. 95.

had also a -large trade in domestic ves- 6 No. 2800 and foil. Graeber der

sels. Aristophanes, Lysistr. 557. Hellenen, s. 47. Taf. ix.

4 Schol. Plat. Parmenides, Bekker, 7 Ibid., s. 42. Taf. viii.
p. 17, No. 127.

122 . GREEK POTTERY.

passed with Mr. Burgon's collection into the stores of the
British Museum. The early sepulchres have also yielded
many vases of the style called Doric, with yellow grounds.1
Of vases with black figures the predominant form disco-
vered is the lecytlms, especially lecythi of small size, orna-
mented with subjects, of which the most favourite was the
return of Proserpine to earth ; but there are several with
subjects taken from the Gigantomachia, the Heracleid, the
War of Troy, and from Attic myths, as Boreas and Orei-
thyia, and the Theseid. Many, as might be expected, are
ornamented with scenes from the Gymnasium.2 Of other
vases of this style, the most remarkable are that with the
subject of the Trojan women lamenting either Troilos or
Hector,3 and a tripod vase.4 But all these yield in
interest to the Panathenaic amphora, or Vas Burgonianum,
found ouside the Acharnian gate at Athens, in the year
1813. It is of a pale salmon-coloured clay, on which the
figures are painted in a blackish-brown colour, while the
parts not painted are of a pale black leaden glaze. The
subject represents, on one side, Pallas Athene, standing
between two columns of the Palasstra, surmounted by
cocks, the birds sacred to Hermes and the Games. She is
dressed in a talaric tunic, and armed with her aegis and
shield, the device, or episemon, on which is a dolphin ; in
her other hand she holds her lance. Inscribed on the
vase is a perpendicular line of Greek, reading from right to
left, TON: A0ENE0EN: A0AON : EMI: "I am a prize

1 One with a giant is figured in Stack- s. 230, 709; No. 674, 711, 716, s.
elberg, Taf. 15. 231, 717.

2 Cf Stackelberg, Die. Graeber., Taf. 3 Mon. iii. 60.

10-16. Gerherd, Berlins Ant. Bild. 4 Stackelberg, Ibid. Taf. 15.

LATE ATHENIAN VASES. 123

from Athens." On the other side is a man driving the
biga, or synoris, and urging the horses with a goad, while
jingling bells are attached to their necks. There can
be no doubt bnt that this is one of the very amphora
described by Pindar, when he sings of the TheiaBus, son
of Ulias of Argos, in the passage before cited. " As a
prelude to future victories, " sacred songs twice proclaimed
him victor in the sacred festivals of the Athenians, and
the fruit of the olive tree came over in the splendid
vessels of earth burnt in fire for the manly people .of Juno."
It held the holy oil from the Olive Grove of the Moirse, or
Fates. When discovered, it was filled, as already men-
ioned, with the burnt ashes of its former owner, and also
with several small vases, which probably held the oil,
milk, and other substances poured upon the pyre.* Its
age is at least as early as the sixth century B. c.1

The Athenian vases of this style differ considerably
from those found at Vulci, the drawing of the figures
being much more free and careless, and the incised lines
bolder and less rigid.2 A few vases, with the white coating
and black figures, have also been discovered at Athens,
and a few, with red figures of the hard style ; the best
much resembling in their varnish and treatment the vases
of Nola ; but they are exquisitely fine and light, and cer-
tainly equal to any found in Italy. Many of the Athenian
vases are of the later period of the art, and resemble those
found in Apulia and St. Agata dei Goti ; among which

1 Brondsted on the Panathenaic vases. Eheinische Museum for Philologie

Trans. R, Soc. Lit. ii. p. 112; Bockh, Bd., i. 1833, s. 301, 346; Pindar, Nem.

Bullet, 1832, p. 91 ; Miiller, Comment, x. 33, 36.

S. R. Scient. Gott. t. yii. Class. Hist. p. 2 Gerhard, Berl. Ant. Bild., s. 237,

111; Bullet, Inst., 1832, 98; Welcker No. 804.

124 GREEK POTTERY.

some pyxides, or ladies' toilet boxes, are distinct from any
yet discovered even in Southern Italy, being ornamented
with polychrome figures, in red, white, and blue colours.
Some of the vases found here are of the florid style of
Ruvo ; among which may be cited an allegorical vase,
with the subject of Aphrodite and Peitho plaiting a
basket, and the three graces, Paidia, " instruction ; "
Eunomia, "discipline ;" and Cleopatra, "national glory."1
There have also been discovered vases with opaque
red and white figures, painted on a ground of black
varnish. Among these is a charming little toy jug,
on which is depicted a boy crawling to a low seat, on
which is an apple. This specimen is unrivalled for its
exquisite varnish and treatment.2 Another vase, also
ornamented with gilding, has a representation of Nike in
a quadriga of winged horses, between Ploutos, " Wealth,"
and Chrysos, or " gold." 3 To this class must also be
referred an exquisite little vase, in the shape of an astra-
galos, or knuckle-bone, ornamented with the subject of
Pentheus and the Maenads ; 4 a cantharis, a thermopotis,
rhyta? cylices, pyxides? calpides, and pelicfs.7 Some
alabastra, with linear figures, in black upon a white
ground, have also been found at Athens, as well as nume-
rous lecyihi, with polychromatic paintings on a white
ground.8 Their subjects are Orestes, Electra, and Pylades
at the tomb of Agamemnon. Many Athenian vases are
unadorned with figures, and many painted black, although

1 Stackelberg xxix. It was found at 5 Ibid. xxiv.

the Museum. 6 ibid. ^\\\. xxiv. xxvi. xxvii. xxviii.

2 Ibid. Taf., xvii. 7 Ibid. Taf., xx. xxi. xxii.

3 Ibid. xvii. s Ibid. xliv. xlv. xlvi. xlviii.

4 Ibid. Taf., xxiii.

ATHENIAN LECYTHUS, ELECTRA AT THE TOMB OP AGAMEMNON.

[Vol. II., p. 124.

POTTERIES OF THE PELOPONNESE. 125

very elegant in shape and finish. The accounts of the
rivalry in trade between Athens and ^Egina and Argos,1
and the fact of these vases being transported to Dicaeo-
polis,2 and carried by Phoenician ships to ^Ethiopia,3 show
the extent of the Athenian trade in pottery.

In the other parts of the continent of Greece, the vases
found are not very numerous. Some, however, with both
black and red figures upon a black ground, as well as some
with opaque white figures of the very latest style of art,
have been discovered in the district of Solygia ; 4 but they
are of rare occurrence. Nor has the "hollow Lace-
dsemon," once renowned in this branch of manufacture for
dark brown cups, called cpthons, with recurved lips,
adapted for keeping back the mud of the foul water,
which her valiant soldiery drank upon their marches,
enriched our stores of Greek fictile productions.5 Sicyon
has only yielded a cylix of early Doric style. Of the pot-
teries of Argolis, only a few fragments ploughed up at the
foot of the supposed tomb of Agamemnon at Mycenae,
of the early fawn-coloured style, with mseander ornaments,
have been discovered.6 A vase in the Munich collection
is from Tenea.7 Near Sinano, the ancient Megalopolis, in
Arcadia, a lecythus, with black figures, has been found.8

Some fragments have been discovered at Delphi,9 and
a considerable number of vases at Corinth, already cele-
brated for its earthen ware in the days of Caesar, when

1 Herod, v. 88. Athenaeus, xi. p. 502. Lycurg. Vol. i. p. 84.

C. ; Pollux, vi. 100. 6 Dodwell Classical Tour, ii. 237.

2 Aristophanes. Acharn. 902. ' Abeken, Mittel-Italien, p. 298.

3 Scylax. p. 54, H. 8 Berl. Ant. Bild. 1887.

4 See Arch. Zeit. Bull. 1830. 9 Boss, Morgenblatt, 1835,, 698. De

5 Brongniart, Traite", p. 576. PI. ii. Witte, Annali, xiii. p. 10.
fig. 1. PI. xxxiii. 1. . Plutarchus, vit.

126 GREEK POTTERY.

the new Colonia Julia, as it was designated, ransacked the
sepulchres for the vases, which were the admiration of the
rich nobility of Rome.1 The most remarkable ones of
this site are of the old style called Doric, with black
figures on cream-coloured grounds, many of which were
probably made in the days of Demaratus, when Cypselus
expelled the Bacchiads. The principal one is that found
by Dodwell,2 and generally called the Dodwell Vase, with
a subject representing the boar hunt of Agamemnon.

The collection of Mr. Burgon also contained specimens
of vases from Corinth, some with black figures upon a red
ground, consisting of pyxides, cenochoe, and tripods with
subjects of little interest ; the best specimen had a repre- ,
sentation of a Centaur, bearing off a female. Some years
ago a great number of vases in very indifferent condition,
having suffered much from the percolation of water
through the earth, were found by boring into tombs many
feet below the surface at the isthmus, or Hexamili.
Most of them have passed into the possession of the
Society of Arts. Lately, some cylices, chiefly of the early
shapes, with tall stems and small figures of bulls, dancing
men, ornaments, flowers, and illegible inscriptions have
been found there. The discovery of a cup with the name
of the maker Tleson, shows that Corinth was probably
the place whence these vases were exported to Italy.3

Corinth, like Athens, boasted the invention of pottery,4

1 Strabo, 1. c. Zumpt, Arch. Zeit. Akad. 1838. ii. 2. p. 109., contending
1846, p. 309. Osan, Zusatz. ueber for the so-called Egyptian style being
Urspruag, p. 63, 85., considers the Corinthian.

Nekrokorinthia to be bas-reliefs. 4 Earth, Corinth, commerc. et mer-

2 Dodwell, ii. p. 197, 201. cat. Hist. p. 16; R. Rochette, Ann.

3 Abeken, Mittel-Italien, p. 298. Ross, xix. p. 237.
Anaphe; Thiersch, Abhandl. d. Munch.

CANTHARUS, FROM MELOS. BACCHANTE.

[Vol. II., p. 120.

CORINTHIAN POTTERIES. . 127

and of the wheel. As the artists Eucheir and Eugrammus
accompanied Demaratus from Corinth to Italy, it has been
supposed that the Corinthians instructed the Etruscans in
the art of making fine vases. Thericles was the most
renowned of the Corinthian potters. His cups, under the
name of " Thericleans," obtained a celebrity almost
universal. It was here that in the time of Julius Caesar,
the colony sent here found ancient painted vases, and
other remains, which excited as much interest then at
Rome1 as the discoveries at Vulci did a quarter of a
century ago in Paris and London.

Vases have also been found at Patras, Patrce, and a
small bottle, of a fine red paste, having on it a winged and
bearded head in a Phrygian mitre, is said to have been
discovered there.2 It is well known that Megara was
anciently renowned for its vases.3 They were chiefly of
a large size and of a soft paste, as the pantomimes used
to break them with their foreheads.4 Some vases have
been found on its site.5 Laconia gave its name to a
kind of cylix? and its vases when pounded and mixed
with pitch and wine, were supposed to make hens lay
large eggs.7

From the sepulchres of Aulis, which is also mentioned'
by Pliny with Tenedos,8 has been disinterred a vase
with red figures, representing the Prometheus Bound of
^Eschylus, at the moment when the wandering lo enters
on the stage.9

1 Strabo, viii. 381, f. 6 Athen. xL p. 484. F.

2 Gerhard, Annali, ix. 139. 7 Geoponica, xiv. 11.

3 Steph. Byz. Metope. 8 Plut. de vit. aer. al. 828.

4 Synesius, Exc. Calv. 44. p. 77. C. 9 Millingeu, Anc. Uned. Mon., PI. ii.

5 Dodwell, Tour, ii. 180.

128 GREEK POTTERY.

Passing westward, some vases of early style with brown
figures on a yellow ground were found in the cemetery at
Castrades in Corfu, or Corcyra,1 where stood the sepulchres
of Menecrates and Tlasias, besides numerous terra-cotta
amphorae for holding wines of the Hadriatic,2 which have
been already mentioned.3

ITALY.

The vases found in Greece are both small in size and
few in number, when compared with those discovered in
the ancient cemeteries, and on the sites of the old cities
of Italy. These are indeed so numerous, that the fictile
art of antiquity might be traced from the vases of Italy
alone. MM. Lenormant and De Witte,4 in their work on
the subject, divide these vases into three great classes :

I. The first division comprises those found in the south
of the peninsula, the ancient Magna Grcecia, where the
cities founded upon the coast by the Greeks, infused a
certain degree of civilisation into the interior. Thus at
Locri and Tarentum,5 the potter's art is supposed to
have been first established, and to have influenced the
semi-barbarous population of Apulia and Lucania. The
vases of these cities are distinguished for their beauty and
art, and are far superior to the specimens discovered in
the southern and eastern districts of the kingdom of
Naples, in the mountainous regions of the Basilicata, and
the Mediterranean cantons of Puglia. Of the rest of this

1 Arch. Zeit. 1846, s. 377. For the » Jahn. 1. c. s. 34. Anth. Pal. ix.
amphorae, see Pseudo-Arist., Mirab. 232, 257.

auscult. Ed. Beckmau, no. cxi. 4 Elite, Introd. xxv.

2 Eubulus, Atheneo, i. 28 e. 5 Gerhard, Bull. 1829, 167.

CLASSIFICATION OF ITALIAN VASES. 129

territory, the finest specimens have been found in the
necropolis of Canosa, the ancient Canusium, and of Ruvo,
the ancient Rubi.

II. The second class l embraces the vases of Campania,2
which were discovered in three of the cities of its coast,
viz., Cumse,3 PaBstum,4 and Surrentum,5 and in others in
the interior. Those of the first-mentioned city are sup-
posed from their style to have been fabricated after its
subjection by the Samnites, as also were those of Nola at
their finest period. The rest of the vases of Campania,
as those of Capua, Avella, and St. Agata dei Goti, are far
inferior to the preceding in art and fabric. As all these
cities fell with the Samnite league in B. c. 272, it is pro-
bable that their potteries then ceased to exist.

III. The third, and last class,6 are the vases discovered
in Etruria, which are as abundant as that of the south of
Italy. They are found in every Etruscan city of im-
portance, from Hadria,7 at the mouth of the Eridanus
or Po, to the very gates of Rome itself.8 These vases are,
in general, of older style than those of Southern Italy.
The most ancient are discovered in the sepulchres of Casre,
or of Agylla, its port ; in those of Tarquinii, and in the
numerous sepulchres of Vulci, which have yielded an
immense number of vases.

In describing these remains, the most convenient method

1 Berl. Ant. Bildw. s. 138. Bull. 1842, 10.

2 filite Introd. xxvi. 6 filite Introd. xxvi.

3 Gerhard, Bull. 1829. p. 163; Schulz, 7 Gerhard, Bull. 1832. pp. 90, 205.
Bull. 1842. 8. Bull. 1834, p. 134 ; R. Rochette Anal. vi.

4 Gerhard, Bull, 1829, p. 163. Ger- 293 ; Gori. Mus. Etr. tab. ii. clxxxviii.
hard u. Panofka, Neapels Ant. Bildw. s. 8 Winckelmann, Cat. Pierries Gravees,
3.13, no. 60, 5, 308. no. 404. p. 215. Lanzi., Vas. Dip. 42.

5 Gerhard, Bull. 1829. p. 164 ; Schulz,

VOL. II. K

130 GREEK POTTERY.

will be to follow the geographical distribution of the pot-
teries from north to south, and, accordingly, to commence
with those of Hadria, and which, at the time of Pliny,
still continued to manufacture drinking cups of the finest
quality. Painted vases have also been found in its tombs.
According to Micali,1 the vases discovered at Hadria
differ entirely from the fabric of those found in Puglia,
the Basilicata, and at Nola. They have been exhumed
there as early as the sixteenth century ; 2 and in later
excavations made at the mouth of the Po, and in some
others undertaken by the Austrian government, fragments
of Greek fictile vases were found at some depth below the
Roman remains. Of these, Micali 3 has engraved a selec- •
tion, consisting of a fragment of an amphora, with the
subject of Hephaistos holding a hatchet; a vase of large
size, with part of a chariot ; a female named KAAIOnA,4
and a man named 2IKHN (Sikon) ; and three fragments of
cups, with the subjects of a satyr, a lyrist, and a man at a
symposium. It has been observed that, in Italy, the old
vases with black figures are rare in graves of the earliest
style, and that the greatest number of vases come from
the more recent tombs 5 of the other northern cities of Italy.
Mutina, or the modern Modena, in Gallia Cisalpina, was
celebrated in the days of Pliny for its drinking cups. Few
painted vases, however, have been found there, but only
some of a glazed red ware, resembling the ware of Arre-
tium, an observation which also applies to the city of

1 Mon. Inedit.,p. 279, and foil.; Bull., 3 1. c. tav. xlv.

1834, p. 134. 4 Supposed to refer to the horses of

a Bocchi, Dissert, dell 'Acad. di Rhesus. See Panofka, Arch. Zeit. 1852,

Cortona, torn. iii. p. 80, tav. viii. ix.; 481.
Mus. Etrusc. tav. 188. 5 Abeken, Mittel-Italien, s. 298.

NORTHERN ITALY. 131

Asti.1 Painted vases have, however, been found in this
part of Italy, some with red figures, of a style like the
Campanian, having been exhumed at Pollentia,2 which,
like Modena and Asti, was celebrated in the time of Pliny 3
for its cups ; and others at Gavolda,4 on the left bank of the
Mincio, near its confluence with the Po. One, discovered
near Mantua, had the subject of Perseus holding the Gor-
gon's head, and Andromeda.5

At Bologna, the ancient Bononia, in the Bolognese
legation, vases, even with black figures, have been for-
merly discovered.6

ETBUKIA.

Proceeding to the site of Etruria, so prolific in spe-
cimens of the fictile art, we find that many vases of
the oldest style have been discovered at Valore, in the
vicinity of Viterbo,7 consisting of Archaic amphorae with
black figures, and cups with red figures ; amongst which
was one made by the potter Euphronios.8 From the sepul-
chres of Castel d'Asso, some ancient amphorse and frag-
ments of cups, with red figures, have been obtained.

Corneto, the celebrated town of Tarquinii, the birth-
place of the Tarquins, and the spot to which the
Corinthian Demaratus fled, taking with him the artists
Eucheir and Eugrammus,9 yielded from its sepulchres a

1 Nat.Hist., xxxv. c. 4 6., ad. fin.;Bull., 8 Gerhard, Rapporto Volcente, p. 116,
1837, p. 88— 97. note 8; Bulletino, 1830, p. 233—243,

2 Brongniart, Traits',!, p. 583 ; Bull., 1832, p. 2, 1839, p. 199; Gerhard,
1830, p. 21. B. A. B., s. 141, n. 5, no. 680 ; Mi-

3 N. H. xxxv. c. 46. call, Storia, tav. xcii. xciii ; Panofka,

4 Bull., 1847, p. 17. Mus. Bart., p. 69.

5 Bull., 1838, p. 62. 9 Livy, i. dec. 34 ; Bull., 1831, p. 5,

6 Lanzi, ant. vas. dipint. p. 25. 1832, p. 2, 3.

7 Also coarse vases, B. 1829, p. 201.

K 2

132 GREEK POTTERY.

great quantity of the black Etruscan ware, with embossed
figures.1 Of the painted vases,2 comparatively few
have been found on this site ; but among them are
a lecythus of the most Archaic style, resembling the vases
of Corinth, or those called Doric.3 Alabastra of this
style were more frequently found here than at Yulci.4
Archaeological excavations were made on this site in 1825
by Lord Kinneir, and in 1827 by Chev. Kestner and
M. Stackelberg.5 The vases from this spot, are chiefly
small amphorae, of medium size, and good Archaic
style, but for the most part either of ordinary glaze, or
unglazed. One of the largest vases found in Etruria,
however, came from this site ; and on fragments of cups
found here are the names of the artists Amasis and
Briaxides.6

This site has principally afforded vases of the solid
black or Etruscan ware,7 although a few painted ones have
been disinterred from its sepulchres, with black figures
and Athenian subjects.8 Some came from Monte
Quagliere.9

At Toscanella (Tuscania), only a few vases, and those
generally with black figures, and of careless drawing,
have been discovered.

At Chiusi, the Etruscan Camars and Latin Clusium,
fragments of painted cups, with the names of the makers,

1 Annali, 1829, p. 95, 109. 115, n. 3 ; Kuntsblatt, 1823, p. 205, 1825,

2 Hyperb. Rom. Stud. I. 89; Rapp. p. 199; Annali, 1829, p. 120; Bulletino,
Vole, note 3. 1829, p. 198; Bull., 1830, p. 242, 1831,p. 4.

3 Ibid., Bullet., 1829, p. 176, 197, 1830, 7 Bull, 1830,202, 1831, 3; 1833,
p. 197, 138. p. 80.

* Gerhard, Rapp. Vole. p. 121. n. 35. 8 Bull., 1829, p. 5.

5 Bull., 1829, p. 2. 9 Bull., 1829, p. 10.
B Gerhard, Rapporto Volcente, p.

ETRURIA. 133

Panthseos and Hiero, and the youths Cherilos and Nicos-
tratus, have been found.1 Latterly, however, the exca-
vations of M. Francois have discovered the magnificent
crater of the Florence Museum, representing the subjects
of the Achilleis.

Many vases of all the principal styles have been dis-
interred at this site ; those with black figures resemble,
in general tone of glaze and style, those of Vulci, and are
of the usual forms. One of them has the name of the
potter Anakles. Vases with red figures, both of the
strong and fine styles, abound here ; the most remarkable
of which are the cups, which have certain local peculiarities,
and some vases of local manufacture have also been met
with in the excavations.2

Many come from the sepulchres of the Val di Chiana.3

Vases of the moulded black ware have been found at
Sarteano* at Castiglione del Trinoro, in the vicinity, and
at Chianciano, to the number of several thousands in all,
but no painted vases.

The ware of Orbetello is of a pale dull clay, the
glaze of a dull leaden hue, like that of the worst of
the Apulian and Southern Italian vases ; the forms are
rude and inelegant, and the subjects, representing satyrs
and Bacchantes, and youths, are coarse and ill drawn.
Vases, with subjects of the earliest Archaic style,
together with the usual Etruscan black ware, have been

1 Gerhard, Rapporto Volceute,s. 116, 2 Jahn, Vasensammlung, Ixxix.-

No. 5 ; Bulletino, 1830, p. 244 ; Mus. Ixxxii; Inghirami Etrusco Museo chiu-

Etr. Chius. tav. xxv. 46; Gerhard, B. sino 2 ed. 4to. Fies. 1832.

A. B., 390, 427 ; B., 1839, p. 49 ; 3 Bull., 1841, p. 4, 1835, p. 128.

1840, p. 150; 1836, p. 35; 1838, p. 82, 4 Dennis, Etruria, i. p. 464.
74 ; 1831, p. 100 ; Bull, 1836, p. 25.

134

GREEK POTTERY.

discovered at Perugia l or Perusia, and others at Roselle
or Rusellse.

The painted vases discovered in the sepulchres of Vol-
terra, Volaterrse, are much inferior to those of Yulci,
Tarquinii, and Chiusi. Their clay is coarse, their glaze
neither lustrous nor durable.2 Their subjects are prin-
cipally large female heads, in yellow, upon a black ground,
like those of the Basilicata. They betray a comparatively
recent origin ; and although some fine vases are said to
have been found there, none of an early style have been
discovered.3 Some contained the ashes of the dead.4

Similar vases have been found in Siena, or Sena.5 And
at Pisa, in the beginning of the present century, a potter's
establishment was discovered. A fine hydria from this
find is figured by Inghirami. At a later period vases
with red figures, both of the strong and fine style, have
been discovered here.6

The excavations in the ancient site of Bomarzo have
produced some Archaic amphorae, with black figures, of per-
fect style, and a few elegant cups. Some of the vases have
red figures, and the flesh of the females is white.7 The
hydria, or water jar, has not been discovered there. The
glaze is bad, and the subjects common. The place where
the vases have been principally found is at Pianmiano,
the supposed Mseonia of the Italian archaeologists.8

1 Dennis, Etr. i. p. 425; Bulletino,

1829, p. 14 ; Micali, Storia d'ltalia, Ixxiv.
Ixxvi. Ixxviii. 2, Ixxix. 1 j xxiii. 9 ; Ber-
lins Antiken Bildwerke, a. 172 and foil.,
No. 390, 426.

2 Dennis, Etruria, ii. p. 203 ; Bull.,

1830, p. 236.

3 Micali, Mon. Ined., p. 216.

4 Bull., 1829, p. 203.

5 Lanzi, Vasi, p. 24.

6 Jahn, Vaseusammlung, Ixxxiii.

7 Gerhard, RapportoVolcente, p. 11 6 ;
Bull., 1830, p. 233, 1831, p. 7 ; Gerhard,
1834, p. 50 ; B. A. B., s. 141, n. 8.

8 Bull., 1830, p. 233.

VASES OF VEIL

135

The vases found at Orvieto are a cylix, with red, and a
crater, with black figures ; * one bearing the name of a
youth, Hiketas, or Niketas, the other having Bacchanalian
subjects.2 Vases of the solid black Etruscan ware are also
found on this site.

Veii, or Isold Farnese, is more celebrated for its black,
or Etruscan ware, than for its vases of Greek style.
Several painted vases have, however, been found at this
place. Some of the Veian sepulchres consisted of a large
chamber, containing sculptured couches, on which the dead
were deposited ; others were mere niches cut out of the
tufo, and were capable of containing one vase, and a small
covered urn of terra-cotta, in which the ashes of the dead
were deposited. The black vases of larger size were
found placed round the body of the deceased, while those
of more elegant shape were in the niches, amidst the ashes
of the dead and the gold ornaments.3 The vases were of
the archaic style, with brown figures upon a yellow ground,
representing two men fighting for a tripod, stags, panthers,
and hind, a gryphon and crow, a lion swallowing Pegasus,
a man and an androsphinx,4 rows of animals, and a winged
figure between two gryphons. Several vases were of the
finished style, with black figures, consisting of craters,
celebe, with the representation of a maenad and satyr.5
Heos pursuing Cephalus and Deinomachus, and of am-
phorae, with the Centauromachia ; the first labour of

1 Bull., 1831, p. 23, 35, 57 ; Cf. p. 7.

2 Bull, 1833, p. 9.

3 A particular description of the se-
pulchres of Veii is given by S. Campa-
nari, Descrizione dei Vasi rinvenuti nei
sepolchri dell' antica Veii, and in the
Descrizione dei Vasi rinvenuti nelle es-

cavazione fatte nell* isola Farnese, fo.
Roma, 1838,112; Bull., 1840, p. 12,
Canina, Vej. fo. Rom. 1847, Etr. Marit.
I. p. 123. tav. 34-38.

4 Ibid., tav. i. p. 13-15.

5 Ibid., pp. 18-21.

136 GREEK POTTERY.

Hercules, or the conquest of the Nemsean lion ; Tyndareus
and the Dioscuri ; the car of Heos ; Achilles arming
in the presence of Thetis. The vases of the finished style,
with red figures, consist of the shape called stamnos,
having the subject of Jupiter, Ganymede, and Dardanus ,
the departure of Triptolemos ; the Dionysiac thiasos,
citharsedi, and athletes. Some cups, with subjects derived
from the Dionysiac thiasos and gymnastic exercises ; a
scyplios panathenaicus, with the owl and laurel branch ;
and a rkyton, with a scene taken from a triclinium.1

The vases found in the very ancient tunnelled tombs of
Cervetri or Caere 2 are of the oldest style. One from Civita
Vecchia, now in the British Museum, has bands of animals,
centaurs, and other figures, drawn in maroon, on a white
coating, in a style of art scarcely a degree advanced
beyond that of the pale fawn-coloured ware of Athens.3

The most remarkable vases of this locality are certain
ones of anomalous shapes, with two or more handles —
the very oldest example of the Archaic Greek ; the
figures of a dark colour, on a pale red or yellow back-
ground, originally traced out in a white outline, and not
relieved by any incised lines ; the subject fish, and large
ornaments. These vases appear contemporary with
certain others, on which are painted deer and animals, in a
white tempera outline, sometimes stippled.4

Abundance of vases of the early Phoenician or Corinthian
styles, especially large craters, with stands, called by some
holmoi, have, besides the usual friezes of animals, such
subjects as the hunt of the Calydonian boar,5 the mono-

1 Ibid. Cf. for the shapes, tav. A, B. 4 Campana collection at Rome.

2 Bull, 1839, p. 20. 6 Mus. Greg., ii. xc.

3 Brit. Mus.

CERVETRI AND VULCI. 137

machia of Memnon and Achilles,1 and the rescue of the
corpse of the last-mentioned hero 2 from the Trojans.
Other vases, such as an oenochoe of the Gregorian Museum,
are of the same style of art, but tending towards the rigid
class of black figures, and representing Ajax, Hector, and
^Eneas.3 Vases of the hard style of black figures also
occur, as an olpe, with the subject of the shade of Achilles,4
and among those with red figures is a remarkable stamnos,
in which is represented the contest of Hercules and the
Acheloos.5 A cylix, with black figures, discovered at this
place, had the name of the potter Charitseus.6 Many
vases of Nicosthenes were also found there.7 Some have
incised Etruscan inscriptions.8

Other vases bore the names of the potters and artists —
Pamphseos, Epictetus, and Euphronius. The sepulchres
of Caere have produced some vases of the fine style, dis-
tinguished by a deep black and lustrous glaze, distinct in
tone from those of Nola, and some few of later style.

But the discoveries made at all the other Etruscan sites
combined are surpassed, both in number and interest, by
those at Vulci (which name is universally agreed to be
the ancient designation of the site of the Ponte detta
Badid), and, in its vicinity, the supposed Necropolis. It is
to the elaborate report of M. Gerhard9 that we owe an

1 Mon., ii. 38 ; Annali, 1836, pp. 310, Mittel-Italien, p. 299.

311. 7 Bull., 1830, p. 124, 1832, p. 2, 1834,

2 Mon., i. 51 ; Annali, 1836, pp. 306- p. 49, 1839, pp. 20, 21.

310. 8 As that with Larthia, Bull., 1836,

3 Mus. Greg., ii. 1, 3. p. 61 ; Bull., 1839, 21. For Cervetri

4 Bull., 1830, p. 243. Vases, see Bull., 1832, p. 3.

5 Roy. Soc. Lit., New Series, ii. p. 9 Called the Rapporto Volcente, and
100 , Anuali, 1837, p. 183. published in the Annali, 1839; see also

6 Visconti, Ant. Mon. Scop., pi. 9 ; Bull., 1830, p. 4, 1832, pp. 1-3-5.
Canina, Cere Antica, pp. 73, 78 ; Abeken,

138 GREEK POTTERY.

excellent classification and account of the discoveries at this
site. They appear to have commenced towards the close
of the year 1829, during which year about 3000 painted
vases were discovered by the Princess of Canino, SS. Fos-
sati, Campanari, and Candelori, at places called the Piano l
deW Abbadia and the Campo Morto,2 in a vast desert plain,
about five miles in circumference, between the territory of
Canino and Montalto, known by the name of Ponte della
Badia, from the bridge which crosses the little stream
Fiora, by which the plain is traversed. The country on
the right bank of the river, called by the inhabitants Cam-
poscala, and that on the left, distinguished by a hill called
the Cucumella, belonged to the Prince of Canino. Since
that time continuous excavations made at Vulci have
brought to light several vases of great interest, although
the numbers have materially diminished since the first
discovery. They were found in small grotto-tombs, hol-
lowed in the tufo, and with few exceptions only a few
palms under ground. There was nothing remarkable in
them except the vases, for they were neither spacious nor
decorated, nor furnished with splendid ornaments, like the
sepulchres of Tarquinii and of Magna Grsecia. Some had
seats for holding the objects deposited with the dead ;
others pegs for hanging the vases up to the walls. The
wonder was to find such noble specimens of art in sepul-
chres so homely.3 These vases were of all styles and
epochs of the art, from those with maroon figures upon
yellow grounds to the pale figures and opaque ones of its
last decadence. Hence they comprise specimens of the

1 Bull., 1832, p. 5, 1836, p. 134, 1839, For a view of this, see Mon. i. xli.
pp. 69-77 ; Gerhard, in the Bull., 1831, 2 Bull., 1829, 3, 18, 39, 141.

p. 161, makes them about 3000-4000. 3 Bull. 1829, pp. 4, 5.

DISCOVERIES AT VULCI. 139

style called ^Egyptian, of the transition to the black
figures upon a red ground, of the hard rigid red figures,
of those of the most flourishing age of the fictile art, of
the style of the Basilicata and Southern Italy, of figures
in outline upon a white ground like those of Locri and
Athens, of opaque figures in white or red, laid upon the
black varnish of the vase, and of others of a character
unmistakeably Etruscan. Besides these, an immense num-
ber of vases painted black only, without any subject, and
others of the solid black ware, were discovered in the va-
rious sepulchres along with Etruscan bronzes and ivories,
and other objects peculiarly Etruscan.1

This vast discovery naturally attracted the attention of
the learned in Europe. Notwithstanding the glaring fact of
their Greek inscriptions, and the light thrown upon them by
the researches of Lanzi,2 Winckelmann 3 and other archae-
ologists, the Italian antiquaries, animated with an ardent
zeal for their country, claimed them as Etruscan works.4
It was easier to demonstrate the error of this hypothesis,
than to explain how so many Greek vases should be found

1 Besides the already cited Rapporto 1832, 74, 1834, 75, 1835, 111.

Volcente (Annali, 1830, iii.) of M. Ger- 2 Dei Vasi antichi dipinti volgarmente

hard, an account of these discoveries chiamati Etruschi.

will be found in the Muse'um l^trusque 3 Hist, de 1'Art, iii. 3, 10.

of the late Prince of Canino,'4 to, Viterbo; 4 Bonaparte, L. (P. de Canino), Mu-

MilliDgen on Late Discoveries in Etru- scum Etrusque, 4to, Viterbo, 1829; Ca-

ria, Tr. R. Soc. Lit. vol. ii. Supp. talogo di Scelte antichita Etrusche, 4to,

1831,409; Schultz., Allg. Zeit., 1831, Viterbo, 1829; Idem, Vases Etrusques,

p. 409; R. Rochette, Ann., 1834, p. 285. 2 livres grand folio; Annali dell' In-

See also Archseol., xxiii. p. 130, the stitut. Arch., i. p. 188 ; Bull., 1829, p.

Beugnot, Magnoncourt, and Durand 60; Idem, Lettres a M. Gerhard ; Bull.,

Catalogues, and the Reserve Etrusque, 1829, pp. 113-116, 1830, pp. 142, 143 ;

by M. De Witte, that of the Feoli Col- Amati, sui Vasi Etruschi, Estratto

lection, by Campanari, and all the dal GiornaleArcadico Roma, 1829-1 830;

recent works upon antiquities. Cf.Bull , Bull., 1830, p. 182 ; Fea, Storia dei Vasi

1829, s. 49, 1830, 1, 1831, 88, 161, 193, fittili dipinti, 8vo, Roma, 1832.

140 GREEK POTTERY.

in an inland Etruscan city. Milling-en advanced the opinion
that they were the productions of an Hellenic population,
called by him Tyrrhenians, who were subdued by the
Etruscans between B.C. 600—350. Gerhard, on the
contrary, imagined them to be the work of Greek potters
settled in Vulci along with the Etruscans, and enjoying
equal rights * with them ; an opinion so far modified by
Welcker 2 that he supposes these potters to have been
Metoikoi, or foreign residents, which view was also adopted
by the Due de Luynes.3 Hirt attributed them to the
300 Thasians who, after the failure of the Athenians
before Syracuse, might have fled to Cumse and Capua ;4
while others imagined that they were importations, either
from Sicily,5 as Rochette supposed, from Athens,6 or from
Cuma3.7

This opinion was also adopted by Bunsen, but with
the modification that they might principally have come
from Nola in Campania, although many specimens of dif-
ferent styles, he imagines, were brought from Greece.8
Kramer, on the contrary, disputes all the previous conjec-
tures, and traces the vases, not only of Italy, but even of
Greece itself, to the potteries of Athens.9 Such was also
the opinion of Thiersch ; 10 while Muller, on the other

1 Rapp. Vole., n. 966 ; Bull., 1832, sem. hib. 1831-32.

pp. 78-90, 183S, pp. 74-91. ? Muller K. 0., in Bull., 1832, p. 100 ;

2 Rhein. Mus., 1833, s. 341 ; Berl. Cat. fitr., avert, p. vii. n. 3.

Ant. Bildw., s. 143. 8 Annali, vi. p. 72. See also, Bull.,

3 Annali, iv. 138. 1832, p. 74.

4 Annali, 1831, p. 213. 9 Ueber den Styl und die Herkunft

5 R. Rochette, Journ. des Sav., 1830, der bemalten Thongefasse, 8vo, Berl.,
pp. 122, 185; Lettre a M. Schorn, pp. 1837, s. 146; see Campanari, Atti. di
5, 10. Pont. Acad. R. Arch., vii. p. 1.

6 Muller K. 0., Comm. sec. reg. 10 Ueber die Hellenischeu bemalten
scient. Gott., vol. vii. cl. ; hist., pp. 77- Vasen, in the Abhandlungen d. I. Cl. d.
118 ; Bockb., Index Lect. Univ. Berol. Akad. d. Wiss. iv. Bd. Abth. i.

QUESTION OF IMPORTATION. 141

hand, considered them to be an importation from the
Chalcidians, basing his argument on the Ionic dialect of
their inscriptions, their discovery in maritime and not in-
land cities, the admitted exportations of Athens, and her
well-known superiority in the ceramic art.1 Those who
inclined to the idea that the vases were a local production,
based their arguments upon grounds partly material and
partly traditional ; as, on the difference observable in the
vases found at different spots ; on the varieties of their
tone, drawing, and art, which differ in some cases most
remarkably from those of vases discovered in Greece ; on
the difficulties of transporting, even with the appliances of
modern skill, articles of so fragile a nature ; on the uni-
versal diffusion of clay on the earth's surface ; and on the
idea, that it is much more probable that the potters were
imported than their products. Much light, they considered,
was thrown on the condition of the arts in Italyand northern
Greece at this period by the story already related of the
flight of Demaratus, the father of the elder Tarquin from
Corinth, and his introduction of the plastic art into Italy.
From this account, which rests on the authority of Pliny,2
it is contended that the art clearly came from Greece. It
appears, indeed, that Demaratus and his companions emi-
grated to Tarquinii, then a flourishing city of the Etrus-
cans ; that he there married a native woman ; and that
one of his party, named Lucumo, initiated the Etruscans
in Greek civilisation.3 Unfortunately, however, this account
of Demaratus is enveloped in much obscurity, as other

1 Bull., 1832, p. 102. The fact which unglazed ware.

he cites, however, of the Phoenicians 2 N. II., xxxv. c. 3, s. 5, &c. 12, s. 43.

purchasing Athenian vases to export to 3 Cicero, De Rep., lib. ii. c. 19, s. 9.

Cernse on the African coast, applies to

H2 GREEK POTTERY.

authorities represent him as being a Corinthian merchant.1
The opponents of this theory contest it by alleging the
traces of an earlier independent art in Italy ; the hesita-
tion with which Pliny speaks ; 2 the Ionic character of the
ware ; the identity of its style of ornament with that of
vases found at Athens ; 3 the fact, that vases made by the
same potters have been discovered at different places, the
supposed mystery of the art,4 and the extreme rudeness
of the Etruscan imitations. Some writers have even gone
so far as to assert, on the authority of Pliny,5 that Etruria
exported vases to Athens.

When we consider the great space of time occupied by
the history of Italy, it seems reasonable to believe that
vases were imported into Etruria from various localities,
and principally from Greece. It is probable, however, that
many came from potteries established in Sicily and Magna
Grsecia ; for it can hardly be conceived that an art esteemed
so trivial by the Greeks was not exercised in their colonies,
wherever founded. The influence of these settlers upon
the Etruscan population appears to have been most marked
since Lucius Tarquinius Priscus, the last king but one of
Rome, ingratiated himself into the favour of Ancus Mar-
tius by his superior education and knowledge — and finally
obtained the sovereignty. According to Florus 6 his ele-
vation was due to his application to business and the ele-
gance of his manners ; " for/' he adds, " being of Corin-
thian origin, he combined Greek intelligence with the arts
and manners of Italy."

1 Dionysius Halic., Ant. Rom., iii. 48, 4 Lenormant and De Witte, Introd.

Liv. L 34 ; Tacit, Ann., xi. 14. xix.

a Thiersch, 1. c. s. 10. 5 ' N. H., xxxv. 12, 46.

3 Thiersch, ss. 89-94. 6 Lib. i. 5.

ARTISTIC ANALOGIES. 143

The introduction of the fine arts, as well as of writing,
into Italy, is placed by Bunsen at a very remote
period, when the whole of southern Etruria was in the
possession of the Tyrrheno-Pelasgians. The epoch when
these were expelled from Agylla, Pyrgos, and the coast,
appears, according to the researches of Niebuhr, to have
been later than the second century of Rome, or at least
than the first half of that century. But the Attic dialect
of the races here under consideration, will not the less
belong to an epoch later than the invasion of the Romans,
since the tombs of Tarquinii exhibit nothing but what is
Etruscan.1

Besides these, many other vases were decidedly of
Etruscan origin, and were made either at Vulci or in some
of the neighbouring cities. The tutulus, or pointed cap,
on the head of Juno, in a scene of the judgment of Paris,
has been supposed to be a proof of the Etruscan origin of
a vase. The same argument has been adduced from a
vase on which Hermes is represented with four wings,
and Ganymede with two. The properties of the figures
of the vases of the paler tone, and of the style called by
the Italians " national," which resemble in their short
stature and thick-set limbs, the Etruscan bronze figures,
has also been considered an additional proof of their
origin ; and all doubt vanishes when names of persons in
the language, not of Greece, but of Etruria, are found
upon them.2

It is indeed evident that no argument as to exportation

1 Annali, 1834, p. 65. AXAE, Achilles, XIPYN, Chiron, APTNM,

2 Such as RAPE MAKA0E2A, "dear" Aruns, AA22AM, Lassas; Anuali, 1834,
or " lovely " Macathesa, DEAEI, Peleus, p. 54.

144

GREEK POTTERY.

or local manufacture can be drawn from the circumstance
of the different proportion in which vases with black and
red figures are found at Vulci and Nola, as this may be
entirely owing to the different epochs at which these cities
flourished. Yet there are certain differences of style and
glaze perceptible to an experienced eye, which show, at
all events, a difference of importation. It is indeed pos-
sible that the early vases, or those called Doric, were
introduced into Italy from the Doric states, such as
Corinth,1 and were subsequently superseded by the more
active trade and more elegant productions of Athens.2
The objection that the Etruscan Larths would have
taken no interest in foreign pottery, can scarcely be
serious, for the entire art of the Etruscans is filled
with Greek symbolism and mythology. Greece, in fact,
then stood in the same relation to Etruria as France
now does to Europe in the application of the fine
arts.

The vases found at Yulci consist of all styles till that of
the decadence, commencing with the early Archaic Greek,
with narrow figures on yellow grounds, although neither
so numerous nor of so large a size as those of Cervetri.
Most of the finest vases with black figures, consisting of
hydrise, amphora?, and osnochose, many of large size and
of finest drawing and colour, have been found at Vulci.
Some vases with inscriptions, often with the names of
potters or artists, of this style, have been discovered here,
— a few of the vases, also, with black figures on a white
ground, chiefly of small size. But as remarkable for

1 Annali, 1834, p. 64.

2 Abeken, Mittel-ItalieD, p. 294, places these in Olympiad 70-90.

ULYSSES AND POLYPHEMUS. (FROM A CYLIX, VULCI.)

[Vol. II., p. 144.

VASES OF AREZZO. 145

their beauty and number are the vases with red figures,
of the strong style, found on this site, consisting of
amphorse, . hydrise, and craters of large size, cylices, and
cenochose. These vases are distinguished by the green
tone of their black colour, the vivid red of the clay and
figures, the fineness, energy, and excellence of their draw-
ing— of the later developed and fine style, comparatively
few vases have been found. The numerous inscriptions
with which these vases abound, the occurrence of subjects
new to classical authorities, the beauty of their shapes — •
contemporary with the best periods of Greek art — and the
excellence of their drawing, glaze, and colour, has had
great influence — not only on modern manufacture, but
also on the fine arts in general, and has tended more to
advance the knowledge of ancient pottery than all the
previous discoveries.1

Vases with red figures, and Etruscan ones with black and
white figures on a yellow ground, have been discovered in
the sepulchres at Alberoro, near Arezzo, in the north-west
of the Etruscan territory. Arezzo itself, the ancient
Arretium, so repeatedly mentioned by the Latin authors,
and called by Lanzi the Etruscan Samos, has also produced
a few painted vases.2

Other sites in the neighbourhood of ancient Rome, as
Civita Vecchia,3 have yielded vases of a bad style, which
were probably brought thither by the commerce of modern
dealers. One, remarkable for its high antiquity, has
been already mentioned. The old hut-shaped vases of
the Alban lake, near Alba Longa, will be described

1 Jahn, Vasensammlung, Ixviii.- 2 Bull., 1838, p. 74.
Ixxviii. 3 Bull., 1832, p. 3.

VOL. II. L

146 GREEK POTTERY.

under the Etruscan potteries.1 Several lecythi have been
exhumed at Selva Le Rocca, near Monteroni, the ancient
Alsium,2 and at Monteroni itself, dishes ornamented with
red bands, and coarse vases of the different styles. Others
have been discovered at the Punta di Guardiola, near St.
Marinella ; and at Poggio Somavilla, in the territory of the
Sabines, vases of Etruscan fabric, ornamented with red
lines,3 and other vases, with red figures, having the subject
of the gods of light, Bellerophon, and an Amazonomachia,
have been excavated, all of the later style.

CENTEAL AND SOUTHERN ITALY.
The mass of vases found in central and lower Italy,
are distinguished from those of Etruria by the greater
paleness of their clay, by the softer drawing of their
figures ; their glaze, which, in the case of the Nolan pot-
tery, is of a jet black lustre, and in the Campanian of a
duller and more leaden hue ; by their more elaborate
shape, by the freer introduction of ornaments, and by the
abundant use of opaque colours. Generally, the vases
from this part of Italy, whether of the Greek settlements
of Magna Grsecia, or from the sepulchres of the Samnites,
the Lucanians, and the Apulians, are of the later period
of the art ; although several, even of the old or Doric
style, have been found at Nola 4 and Ruvo, and those of
the black style in the Basil icata.5 Their paste shows a
great proportion of carbonate of lime ; 6 and beds of clay,

1 See also Abeken, Mittel-Italien, p. 5 Ibid.

324. 6 The analysis of Gargiulo, Cenni, p.

2 Bull., 1839, p. 34, 1840, p. 133 ; 21, gives :— Silica 48, Alumina 16, Ox.
Abekeu, Mittel-Italien, p. 267. Iron 16, Carb. Ac. 16, Garb. Lime 8.

3 Bull., 1838, p. 71. That of Brongniart has been cited

4 An., 1834, p. 78. before.

VASES OF SOUTHERN ITALY. 147

discovered in the vicinity of Naples, and now used for
making imitations of these vases, show that the ancient
ones found in this locality may have been produced on the
spot. It will, perhaps, afford some clue to the date of the
use and fabric of many of these vases, to remember that
the most flourishing period of the Doric colonies was ten
Olympiads, or half a century, before the Persian war ; that
Sybaris was destroyed before the expedition of Darius ;
that the colonies formed by the other emigrations flourished
from the LXX.-LXXXIV. Olympiad, B.C., especially those of
Sicily ; that Campania was invaded by the Samnites in
the LXXIV. Olympiad, B.C. 440 ; and that in the age of the
second Punic war Nola is mentioned as a completely Oscan
colony. After the arms of Rome had conquered Southern
Italy, about the second century before Christ, the Greek
settlements relapsed into utter barbarism. The subjects
of the vases show an equal deterioration in moral feeling,
sensual representations of nude figures, bacchanalian orgies,
and licentious subjects, having superseded the draped
figures, the gravity of composition, and the noble incidents
of heroic myths, or epic poetry.1

The different condition of the states of Southern Italy
accounts for the variety of the vases exhumed from the
sepulchres of different sites. The Greek cities on the
coast, principally founded by Achaean colonies, but some-
times by Dorian adventurers, maintained, at an early
period, a constant intercourse with Greece ; and their
sepulchres were enriched with the vases of the oldest
period and style. The inland cities were generally of
more recent origin, and their sepulchres contain vases of

1 Abeken, Mittel-Italien, p. 342.

L 2

148 GREEK POTTERY.

the fine and florid styles. The people north-west of
lapygia appear to have been governed by tyrants or kings,
generally patrons of the arts. During the war with the
Samnites, and that between Pyrrhus and the Romans,
these countries were fearfully ravaged, but enjoyed peace
from A. c. 272 till A. c. 218, the commencement of the
second Punic war, which lasted 113 years, and ended by
the Social war and the ruin of Southern Italy.

In the kingdom of Naples, and the states which compose
it, many vases of the late style have been discovered. Many
small vases, indeed, of good style, with red figures, have been
found in excavations made on the site of Naples 1 itself,
although they have not the extremely beautiful glaze of the
Nolan vases.2 Others were discovered in sites in its vicinity,
as Giugliano.3 At Cumce, the fabled residence of the Sybil,
where the sepulchres are either excavated in the tufo, or
covered with blocks of stone, have been found many vases,4
which belong to the later days of its ancient splendour, when
it was held by the Campanians. The most ancient of the
Greek colonies, founded by the Chalcidians of Euboea or the
Cumseans of ^Eolis have produced vases of second style ;
some, however, with black figures, and most of the later style
— many of the fine style, with lustrous glaze, only inferior to
that of Nola. These are probably about the time of its
conquest by the Campanians and Opici, A. v. c. 338, A. c.
416, after which it issued a few coins till A. v. c. 409, A. c.
345, when it fell into the Roman Protectorate. Here were

1 Jahn, Vasensammhmg, lx., Bull., chri, p. 11 ; Abeken, Mittel-Italien, p.
1829, p. 166. 338 ; Gerhard, Rapp. Vole., n. 631, 632 ;

2 Bull., 1829, p. 164. De Witte, Cat. Magn., p. 48; Vases de

3 Bull., 1829, p. 86. Lucien Bonaparte, liv. i Nos. 542, 543.

4 Jorio, Metodo per rinvenire i sepol-

VASES OF CAPUA. 149

discovered in 1842, craters resembling those of St. Agata
dei Goti, with pale glaze,1 and abundance of white
accessories, and decorated with the Attic subjects of Ceres
and Triptolemus, and Cephalus and Aurora ; 2 also Pan-
athenaic amphora, with black figures and inscriptions, like
those of Berenice.3 The potteries of this city were famous
even in the time of the Romans, and moulded vases of
their fabric have been discovered there.4 The other sites
in this province where vases have principally been dis-
covered, are Massa,5 Lubrense, Marano, Giugliano, Sant
Arpino, Affagola, Sorrento, and Mugnano.

TEEEA DI LAVOEO.

In the Terra di Lavoro. S. Maria di Capua, the site of
ancient Capua, has yielded many vases of the highest
interest belonging to the strong style, some with the names
of makers, as Euergides and Pistoxenos, or with those
of artists, as Epictetos, have been found here. Those of
fine style have occasionally been discovered here, but the
style of the decadence, especially of those with red figures,
having abundant ornaments, is the most prevalent. The
most remarkable vase found on this spot is the calpis in
the Campana collection, having a frieze of polychrome
figures, with much gilding, representing the departure of
Triptolemus, round the neck, and a frieze of animals
round the lower part of the fluted body. One remark-

1 Bull, 1829, p. 164. 1853.

2 Bull., 1842, pp. 8, 9; Mon. I., taf. 4 Martial, Epigr., xiv. 114; Statius,
iv.; Bull., Arch. Nap., ii. p. 6. Silv., iv. 9, 43.

3 Fiorelli, Vasi rinvenuti a Cuma, fo. 5 Gerhard, Berl. Ant. Bild., B. 139;.
Nap. 1856, cf. also Mon. Ant. 4to, Nap. Bull., 1829, p. 170.

150 GKEEK POTTERY.

able vase had an incised Etruscan inscription. Some
recently discovered there, through the excavations under-
taken by the Prince of Syracuse, are of the most
magnificent character. They are ornamented with poly-
chrome figures, some being gilded, and representing
scenes derived either from the drama or history. One
remarkable vase had the subject of Aurora and Tithonus.1
A very early crater, of pale clay, with black figures,
representing a hunt, probably that of the Calydonian
boar,2 and with very archaic inscriptions, and drawing of
peculiar style, was in the Hamilton collection. This
site has offered vases of a style,3 distinguished for the
paleness of its clay, the bright red of its figures, and a
glaze like that of the vases of Puglia. Certain vases
with black figures, carelessly drawn, and with a bad glaze,
have also been found here, supposed to have been made
about c. Olympiad, A. c. 381.

It is uncertain whether this city was founded by the
Tyrrhenians or conquered by them from its ancient pos-
sessors. They gave it the name of Elatria, which the
Latins changed into Vulturnus, and the Samnites on their
conquest, into Campua or Capua. The arts continued to
flourish there till a late period, — its coins being all later than
the second Punic war, when it was called in Oscan Kapu.4

At Teano, the ancient Teanum, lying between Capua
and St. Germano, vases of the white style have been
discovered.5

1 Minervini, Mon. In. 4. 3 Bull., 1829, 165 ; Bull. Arch. Nap.,

2 Cat. Brit. Mus., No. 559 ; D'Hancar- v. 52 ; Abeken, Mittel-Italien, p. 341.
ville, pi. 1 — 4 ; Inghirami, Mon. Etr., 4 Millingen, Considerations, p. 192-

'v. tav. 56; Miiller, Denkmal. A. taf. 194.

93. s Bull., 1837, p. 97.

VASES OF NOLA. 151

At Atella, the Oscan Aderl, craters with red figures,
painted with a profusion of white and other colours, of
the later style of art, have been discovered.1

The vases found at Nola consist of all the principal
classes, together with a few local types. Their distin-
guishing characteristics are the elegance of their shapes,
and the extreme beauty of their glaze, which is often
of an intense black colour. Of vases of the old or Doric
style, with yellow grounds and dark figures, many have
been found in the ancient sepulchres. These vases are
easily distinguished from similar ones discovered at Vulci,
as the figures are smaller, but more carefully executed, and
the colour darker. A few have human figures, represent-
ing combats of warriors. M. Gerhard, indeed, is disposed
to consider these vases as imitations of the more ancient
style, but it is probable that the difference is rather owing
to the local fabric. Of the second period of art, viz. of
vases with black figures, comparatively few have been
discovered at Yulci. They are also distinguished from
those of the Etruscan sites by the smallness of their size,
and by the peculiar black lustrous glaze of the locality.
A few are hydrise or amphorae, but the great proportion
are oanochose or lecythi. Amongst them have been found
a Panathenaic amphora, with the usual inscription.2
Their drawing, also, is not so rigid in its details, approach-
ing in this respect the vases of Greece and Sicily. The
subjects of them are Greek, like those of Vulci, and show
that the same Hellenic mythology prevailed there. A few
vases of this style, with cream-coloured grounds, have
also been discovered at Nola. The great excellence of

1 Bull., 1829, pp. 165, 166. 2 Jahn, Vasensammlung. lii.

152 GREEK POTTERY.

the potteries which supplied this city is to be seen on the
vases with red figures. These vases, like the preceding,
are also of small dimensions ; and the principal shape is
the amphora3, one type of which, almost peculiar to this
spot, tall and slim, has twisted handles. Besides this are
the crater, calpis, cothon or scyphos] cenoclioe, pyxis, and
phiale. They are the most charming of the ancient vases.

Some few vases with red figures are of the strong style,
or of one intermediate between that and the fine style, —
the most remarkable of which is that with the subject of
the last night of Troy.1

Some of the vases of Nola are modelled in fanciful
shapes, such as that of an astragalus, or the claw of a
lobster. Besides the painting, they were often decorated
with an ornament punched in, like that on the vases of
Vulci. These decorations are antefixal ornaments,— as
stars, and bands of hatched or plain lines. A favourite
ornament of the purely black vases, which form a large
proportion of the Nolan ware, is a series of black annular
bands on the base, concentric to the axis of the vase.
Their treatment is similar to that of the same class of
vases found at Vulci, except that it is not so careful, the
extremities and outline being executed with less finish*
In many of the vases the presence of white ornaments
and letters, and the circumstance of the eye being pro-
vided with lashes and no longer represented in profile,
show that they belong to the fine style of the art. Inscrip-
tions rarely occur on them, and those that are found
are chiefly exclamations, such as, The boy is handsome !
The girl is fair ! — the names of personages very seldom

1 Jahn, Vasensammlung. liv. Millin., I. 25-26.

SHAPES OF NOLAN VASES. 153

accompanying the figures. The calpis, or water vase, has
rarely more than three figures ; the amphorae generally
one on each side. The cenochoce have generally a single
figure, two sometimes occurring. No law can be laid
down that the subject selected alluded to the use of the
vase, though the inferior figures upon one side show that
they were intended to stand against a wall.

Among the shapes particularly local, is a kind of jug
or cenochoe, better adapted for metallic work than for
clay. The body assumes the shape of a head, generally,
but not always, that of a female. The face is of a warmer
tone than the body of the vase, and is sometimes covered
with a coating of lime or stucco. The hair is painted of
a light colour, and there is sometimes a necklace moulded
in the same material round the neck, which has been
gilded. The upper part of these vases, as well as the
handle and foot, are usually glazed with a black colour.
Some are in the shape of a negro's head, the mouth
being small like that of the lecythi, and the whole face
covered with a black glaze.1

The subjects found on the Nolan vases of this class are
the same as on those discovered at Vulci, consisting of Zeus,
Athene, and Apollo, Dionysos, Satyrs and Bacchanals,2 or
Comos and (Enos,3 Ariadne,4 Apollo and Artemis ;5 Nike,6
Linos ;7 the story of Hermes and Herse ;8 Phaedra swing-
ing;9 Aurora and Kephalus ;10 Amazonomachise ;n Eros

1 Gerhard, Berl. Ant. Bild., s. 234, 5 Ibid. 243, s. 837.
235, 236, taf. i. 38. 6 Ibid. s. 242, 833.

2 Gerhard, Berl. Ant. Bild., s. 239, n. ? ibid. s. 248, 855.

806, s. 2, 40, 810 ; B. A. B., xlviii. s. 245, 8 Ibid. s. 248, 854, s. 271, 910.
845, s. 251, 867. 9 Ibid. s. 249, 859.

3 Ibid. B. 246, 848. 10 Ibid. s. 251, 866.

4 Ibid. s. 241, 822. » Ibid. s. 253, 870.

154 GREEK POTTERY.

and female ;l Penelope ; 2 the judgment of Paris ;3 death
of Achilles.4 The prevalence of Attic subjects on vases
found at a town apparently far removed from Athenian
influence, and certainly not an Ionian colony, together
with the difference of style, have been used as argu-
ments in favour of their having been exported from
Athens.5

Many of the subjects, indeed, of these vases are difficult
to explain, and have been supposed to represent inci-
dents of private life, — such as, females in the gynacreum,6
marriages, exercises of the Palestra,7 and the sports
of youth, or the games of Greece.8 There are, however,
marks of the decadence of art, showing that it was passing
from the ideal to the actual — from the poetic to the
prosaic feeling. Future discoveries may clear up some
difficulties ; and to us these remains would have been
more precious had they presented scenes derived from
stirring contemporaneous events. Other vases from this site
have been burnt on the pyre. They are the salicerni of
Italian antiquaries, and much prized by amateurs.9

This city was of great antiquity, as it is mentioned by
Hecatseus, of Miletus, who wrote about A. c. 523 — 500,
the period of its early vases with yellow grounds, and it
was placed by him amongst the Ausonii and Opici.10 It
however, finally placed itself under Roman protection,
A. v. c. 409, A. c. 346. Its most beautiful vases must

1 Ibid. 254, 877. 840. s. 249, 856-57, s. 277, n. 989.

2 De Witte, An. 1841. p. 261. ? B. A. B., s. 248, n. 852, s. 251, n.

3 Ibid. s. 319, 1029 ; Gerhard, Berl. 863.

Ant Bild., taf. xxxiii.-xxxv. 8 B. A. B., s. 243, u. f.834, 869-71.

4 Ibid. s. 239, 809. » Bull., 1829, p. 19.

5 Kramer, Ueber die Herkunft, s. 149. 10 Steph. Byz. voce Nola.

6 B. A. B., s. 242, 831, 243, n. 836-

AGE OF NOLAN VASES. 155

have been made before its final subjection. Its predilec-
tion for Greek art and institutions is well known.1

The existence of Greek potteries at Nola has been
conjectured from the vases there found ; and the Greek
inscriptions on its coins tend to show that a dominant
Greek population was established there. Nola was a
colony of the Chalcidian Greeks, who were invited thither
by the Tyrrhenians, and it is possible they may have
brought with them the art of making vases. The clay of
which their vases were made is said to have been found
in the district.2

Vases of Nolan fabric are distributed far and wide
throughout the peninsula as far as Psestum and Locris.
The age of the beautiful vases of Nola is certainly that of
the apogee of the Greek colonies in Italy. Their age is
placed about Olympiad xc., and they have been attributed
to the potteries of Ionian cities.3

Generally speaking, the Nolan vases have attracted less
attention than those of Vulci and Cervetri, from their
smaller size and their less interesting subjects.4

Other sites in this province, being those of cities once
renowned in Campania, have also produced several vases
of late style, as Acerra,5 Sessa, and Calm, or Gales,
the tombs of which have yielded some of the finest
and largest specimens of modelled terra cotta of the latest
style of art. The vases of Avella, or Abella, were distin-

1 Dionys. Halicarn, Excerpt. Reiske, Rome, who was to have edited them

p. 2315. with an accompanying text. They

, 2 Annali, 1832, p. 76. were engraved in the style of Tischbein,

3 Abeken, Mittel-Italien, pp. 340-341. and had been printed at Naples.

4 A volume of engravings of Nolan 5 Bull., 1829, p. 162; Gargiulo, Cenni,
vases, prepared by Angelini, was in the p. 15.

possession of the late Dr. Braun at

156 GREEK POTTERY.

guished by their bad glaze, the pale colour of their figures,
the fineness of their clay, and occasional good drawing.1

Still more renowned from its vases, being among some
of the first discovered, is the site of St. Agata del Goti,
the ancient Plistia, which at one time gave its name to
all the vases of later style and fabric. Their shapes were
principally craters, their drawing skilful, but careless,
especially in the extremities resembling those of Nola, but
with the introduction of more red and white tints ; their
clay is fine, their glaze black and lustrous.2 It is supposed
that they were made after the occupation of this city by
the Samnites.3 Vases with black figures are rarely found
here.

PBINCIPATO CITEEIOEE.

The vases discovered in the Principato Citeriore come
from Salerno, from Cava, and Nocera del Pat/ani* or
Nuceria Alfaterna. Those from the celebrated Pesto or
Psestum, the ancient Poseidonia, resemble in style those
of the Basilicata, having red figures on a black ground,
but of a better style of art, the varnish dull, the figures
pale, with accessories of various colours.5 One of the
finest vases of this locality is that of the painter Asteas,
in the Louvre, representing the story of Cadmus and
the dragon, the principal figures now have their names
inscribed. Some other vases of this spot, of inferior
style, represent the toilet of Venus, jugglers,6 and similar

1 Bull., 1829, p. 163 ; Gerhard, Berl. 4 Bull., 1829, p. 165.
Ant. Bild., 1. c. $ Ibid. p. 163.

2 Bull, 1829, p. 165. 6 QUaranta, Mystagogue, p. 214.

3 Abeken, Mittel-Italieu, p. 341.

VASES OF THE PRINCIPATI. 157

subjects. They are said to be discovered outside the
sepulchres.1

The vases found at Eboli do not appear to have had any
particular or distinct style, although some had engraved
inscriptions in the Doric dialect, under their handles.
Their subjects were uninteresting.2 Vases had also been
discovered at Battipaglia, in the vicinity.3 No details have
been given of those from the sepulchres of St. Lucia.
Those from the plains of Surrento, the ancient Surrentum,
resembled in style the fabric of St. Agata dei Goti, and had
the ordinary subjects of vases of this class, such as Sirens,
Bacchanalians,4 and triclinia. There were potteries here in
the time of Pliny, celebrated for producing excellent cups.5

PEINCIPATO ULTERIORE.

Avellino and Monte Sarchio, in the Principato Ulteriore,
have also produced vases, probably of later style ; so have
Isernia, in the Contada di Molise, Sansevera, and Lucera
in the Capitanata.6

BASILICATA.

The vases of the Basilicata comprise a large portion of
those of the later style of art, and exhibit the local pecu-
liarities of a native fabric, through the barbaric and other
costumes represented on them. The Alpine countries of
Lucania have produced vases differing in style from those
of the maritime districts of Magna Grsecia. Some, indeed,

1 Bull., 1829, 119. and foil. ; Bull., 1829, p. 164 ; 1842, pp.

2 Bull., 1829, pp. 151, 164; 1836, p. 11-13.

136 ; one was a Siren. 5 N. H., xxxv., s. 46.

3 Bull., 1829, 163. 6 Gargiulo, Cenni, p. 16.

4 Mus. Pourt., pi. xxiii. xxv. p. 73,

158 GREEK POTTERY.

have supposed that a colony of foreign potters, located here,
introduced amongst the Lucanians the art of painting
vases. Their tint is pale, the glaze of leaden hue, their orna-
ments are distinguished by an abundance of white acces-
sories, and their style of art has already been described in
the account of the decadence. The high price which vases
of great beauty or interest obtained in the European
market during the 1 7th century, caused researches to be
carried on in this province with enterprise, and on a
settled plan. Here the earth is still trenched on sites
which appear favourable, and when the original soil has
been disturbed, the excavators continue their labours till
they have arrived at a part where the earth shows decided
proofs of being still intact, and by this means are assured
that nothing remains below. Many of the vases in this
locality are found broken into fragments, either owing to
the roofs and tops of the sepulchres having been destroyed
or burst by the roots of trees. All the vases found in
this province, are of the latest style, with pale red figures
on a dull, leaden, black ground, and subjects chiefly relating
to the Dionysiac orgies.

Many vases of the finest red style have been excavated
from the sepulchres of Anzi, the ancient Anxia, a spot
teeming with the remains of ancient art. It is the prin-
cipal place where the vases of Lucania are found. Their
style much resembles that of Ceglie, and is better than
that of the generality of vases of the Basilicata. A fine
catpis, found at this spot, and now in the Berlin Museum,
represents the subject of Zeus and lo.1 Some of the vases

1 Gerhard, Berl. Ant. Bild., s. 260, n. 1825 ; Avellino, Opuscoli diversi, vol.
902 ; Hirt, Die Brautschau, Berlin, ii. tav. 7, pp. 169, 174.

BASILICATAN VASES. 159

were of the style of Nola, others of that of Apulia, and were
supposed to be made by foreign potters established there.1

At Armento, vases have been found2 with black
figures of the finest style, an example of which will be
seen in a crater now in the British Museum, and others of
an intermediate style, between the latest Nolan and early
Apulian. Other vases of large size, fine style, and heroic
subjects, have been found at Missanello, where a vase of
ancient style, and many of later style, generally with
good, but occasionally of careless drawing, have been
found in the vicinity.3 The other sites of the Basilicata, in
which vases have been exhumed, are Potenza, or Potentia,
Calvello, and Pomarico (distinguished for its well-
painted dishes, with supposed representation of nuptial
ceremonies), Venosa or Yenusia, and Pisticci*

Some vases from Grumento, the ancient Grumentum,
founded by a Greek colony from Thurium, and which
evidently was flourishing at the time of the second Punic
war,5 exhibited the same style as the vases of Puglia. One
had for its subject an Amazonomachia. A magnificent
vase, with the subject of Perseus, but of mediocre drawing,
was found at Missanello, in the vicinity of Grumento,
and is now in the museum of the Cav. St. Angelo.6
Other sites in the same province, as Rocca Nova and St.
Arcangelo, St. Brancato, Ardarea, and Nice, Timpani and
Sodano7 had also produced vases of similar style. At
Marsiconuova was found a vase with an Amazonomachia,

1 Bull., 1829, pp. 162, 169. 5 Livy, xxiii., c. 37; xxvii., c. 4.

2 Gerhard, B. A. B., ss. 139, 234. 6 Bull., 1830, p. 24.

3 Bull., 1829, p. 170. 7 Lombardi, Memorie de 1'Institut.,

4 Gargiulo, Cenni, p. 15; Bull., 1829, p. 195, and foil,
p. 165.

160 GREEK POTTERY.

others of both styles occurred at Castelluccio,1 so also at
Vaglio Oppido, or Velia, and Ruoti 2 Calvetto> Acerenza,
or Aceruntia.3

BAEI.

The vases of Puglia 4 on the coast of the Hadriatic are
described as so much resembling each other in character
and style, as to lead to the inference that they must have
been fabricated about the same period, and almost in one
pottery. Their epoch is probably that of later days of
the potteries, and of the Senatus consultum A. u. c.
564, suppressing the licentiousness of the Bacchic
orgies. They are distinguished from those of Northern
or Southern Italy, by the paler colour of their clay,
the duller tone of their glaze, the size and recherche
character of their shape, the mystic nature of their sub-
jects, the abundance of heroic figures, and their general
resemblance to the vases of the Basilicata. They differ
essentially in the Alpine countries from those of the
cities of the Gulf of Tarentum.5 The most remarkable
of which are a rhyton, with the name of its maker
Didymus, that of the maker Asteas, in the Louvre, and
the vase in the British Museum, with the subject of Mars
and Vulcan contending over Juno, entrapped on the
golden throne.6

Many of the vases of Puglia are the most
beautiful of the later style of art. They have been
found throughout the tract of level country extending

1 Panofka, Hyperbor. Rom. Stud., i., 4 Bull., 1829, pp. 166, 172, 173.
p. 168. 5 Ibid. p. 162.

2 Mem., p. 218, 221, 227. 6 Jahn, Vasensammlung, xxxix.

3 Mem., p. 208.

VASES OF BARI AND CANOSA. 161

from Bitonto to Ruvo, and at Polignano or Neapolis-
Peucetia), Putignano, Alta Mura,1 and Carbonara,2 Terra
di Bari, Canosa, Ceglie, and Ruvo, the vases of which,
from their superior excellence, merit a separate description.
These belong to the district called the Terra di Bari.

The vases of Bari, the ancient Barium, are like those of
Rubastini, Canosa, and St. Agata dei Goti, and have red
figures upon a black ground. Among them was one in
the shape of the head of a female, resembling those of
Nola, and several were deep bell-shaped craters, called
oxybapha, having on them mystic and Dionysiac sub-
jects.3 They have been found in tombs on the sea shore.4

The vases of Canosa (or Canusium, a city supposed to
have been founded by Diomed, and an ^Etolian colony,
which at one time had attained considerable grandeur
and power, probably in the interval before the second
Punic war, and was one of the largest cities of Greek
origin in Italy),5 consist of large craters, decorated with
subjects derived from the mysteries, the drama, arid other
sources which inspired the later artists, and are known
from the work of Millin. They rank as some of the
very finest of the florid style of the decadence of the art,
and bear considerable resemblance to the vases of Ruvo
and Ceglie.6 Lately a magnificent vase, with the
subject of Darius and Hellas, taken from the Persse of
^Eschylus, has been discovered at Canosa.7 One of the

1 Bull., 1829, p. 172 ; Arch. Zeit., 5 Strabo, vi. 284.

1851, s. 81. 6 Millin, Tombeaux de Canosa, fo.

2 Bull., 1829, p. 173. Paris, 1816; Bull., 1829, p. 174; Ger-

3 Abeken, Mittel-Italien, p. 349 ; B. hard, Ant. Bild., SB. 139 and 192, no.
A. B., s. 189, Nos. 729, 742, 753 ; Bull., 604.

1837, p. 33. 7 Gerhard, Monatsbericht. d. K. Akad.

4 Bull., 1829, p. 172. Wissen. zu Berlin, 1857.

VOL. II. M

162 GREEK POTTERY.

tombs opened here, which contained vases, had a Latin
inscription, dated A. c. 67, but the kind of vases found in
it have not been recorded. Some unimportant vases of
the style of black figures of the last decadence, have also
been disinterred at Canosa.1

Close to Bari, at a little distance from the sea, lies
Conversano. Its vases appear in style to resemble those of
other parts of Puglia and those of Nola.2 Putignano, in
the same territory, has also produced vases.3

The vases found at Ruvo, the ancient Ryps or Rubastini,
are of the same style and composition as those of the rest
of Southern Italy, and of some found at Athens.4 This
city, of which so little is known from the ancient autho-
rities, has produced many of the finest vases found in
Southern Italy. Several styles have been found on this site,
showing that it was colonised probably by the Achseans
at an early epoch. Only a single vase with animals
on a yellow ground, of the style called Dorian, Corinthian,
or Phoenician, has been exhumed. The most remarkable
with black figures are two Panathenaic vases with the
usual inscriptions, and a vase with Priam ransoming the
corpse of Hector, of the strong red style ; and of the fine
style like that of Nola, only a few vases have been found.
A polychrome vase, with the figure of a satyr, and the name
of Alcibiades, as a KaXo9, has been discovered at Ruvo ; and
another, in the possession of Sir Woodbine Parish, repre-
sents Aurora. The great proportion of vases, however,
of this ancient city are of the florid style, of large size,
with volute and ornamented handles, with numerous

1 Jahn, Vasensammlung, xlv. Ant. Bild., p. 234 ; Bull., 1829, p. 172.

2 See the cenochoe with the head of a 3 Bull., 1829, p. 172.

Satyr and Bacchante, Gerhard, Berl. 4 Bull., 1829, p. 174; Bull. 1837, p. 97.

VASES OF RUVO. 16&

figures, and arabesque ornaments, sometimes enhanced by
gilding. Of these large vases, the most important for its
subject, the elaboration of its details, is that with the
death of the Cretan giant, Talos, at the hands of the
Argonauts. It would be too long to specify here all
the subjects of the vases of Ruvo. Besides amphorse,
craters, hydrise, and rhyta of fantastical shape are by
no means of uncommon occurrence in the sepulchres.1
They are often of considerable size, and most of
the finest vases of late style have come from this spot.
The celebrated vase of the potter Meidias, in the British
Museum, with the subject of the rape of the Leucippides,
is supposed to have come from thence, on account of its
resemblance to many other beautiful vases known to have
been discovered on the spot. Their details are executed
with great elegance, the hair and also the drapery being
indicated by fine wiry lines,2 while the figures are of more
slender proportions than those of the vases of the Basilicata.
In fact, they resemble the known works of the young
Athenian School, which commenced about the age of Alex-
ander, in the middle of the 4th century B.C., and of which,
in another branch of art, such brilliant examples may
be traced on the coins of Pyrrhus and those of
Tarentum. Vases of the latest style have also been found
here.3

The sepulchres of the comparatively unknown site of
Ceglie, the ancient Cselia, in Apulia, have much enriched
the collections at Berlin.4 In style these vases have the

1 For the Euvo vases, see Jahu, pp. 97, 98; 1840, p. 187.
Vasensammlung, xl.-xlv. 3 Bull., 1834, pp. 164, 228; 1836, p.

2 For the account of the finest Ruvo 114; 1838, p. 162.
vases in the Naples Museum, B., 1837, 4 Bull., 1829, p. 173.

M 2

164 GREEK POTTERY.

general Apulian type, and their art is of the same late
period. They are remarkable for their size. The principal
shapes are cups and amphorae, with volute handles and
gorgon masks. Some have subjects of great interest from
their representing scenes taken from the drama. Among
the subjects are the usual Eros and Aphrodite1 of this style,
Phrixus crossing the Hellespont on the ram,2 Orestes at
Delphi, the sacrifice of the ram of Tantalus,3 Actseon
seized by his dogs, the burial of Chrysippus,4 Bellerophon,
Meleager, and the Calydonian boar, Hercules, and Geryon;5
the judgment of Paris,6 the arming of Penthesilea,7 Europa,
the Centaur, and Amazonomachise,8 Omphale,9 and others
of a similar kind. The finest of these vases represents
the subject of the marriage of Hercules and Hebe.10 These
vases show the prevalence of Greek ideas and civilisation,
and were probably fabricated on the spot by Hellenic
potters.

In the province of Calabria Ulteriore the vases dis-
covered at Locri are perhaps some of the most beautiful
of the South. The Locri, a branch either of the Opun-
tii or Epizephyrii, established themselves at C. Zephyrium,
OL. xxvi., A. c. 673, and appear to have been accompanied
in their emigration by Corinthians and Lacedaemonians,
finally becoming a Dorian colony. Their coins are not
earlier than OL. c., A. c. 374. All these states appear to

1 Gerhard, B. A. B., s. 139, s. 279, n. 6 Ibid. s. 296, no. 1011.
995; Bull., 1834, p. 55. ? ibid. 1019, s. 307.

2 Ibid. s. 279, n. 996. 8 Ibid. 1023, s. 313.

3 Ibid. 1003; Raoul Rochette, Mon. 9 Gerhard, B. A. B.,1024, s. 315.
Ined., pi. xxxv. pp. 192-196. 10 For these vases, see Jahn, Vasen.,

4 Gerhard, B. A. B., 1010, ss. 295, s. xxxviii. ; Gerhard, Apulische Vasen-
296. bilder, fo. Berlin, 1845.

6 Ibid. no. 1222, s. 309.

VASES OP LOCRI. 165

have suffered from the ravages of the Lucanians, who,
OL. xcvi., B. c. 396, advancing rapidly, seized part of the
country and the maritime cities. These were succeeded
by the Brettii, who, forty years later, revolted in OL. cvi.,
A. c. 356, and who issued gold coins of great beauty,
probably struck in the maritime cities, showing the high
state of the arts of the period. The vases are not* found
in covered sepulchres, like those previously described, but
in the cultivated ground, as if scattered by a barbarian and
plundering population. So thoroughly have the vases on
this site been destroyed, that it is almost impossible to dis-
cover all the fragments of any single one. Those in the
Berlin Museum, which formerly belonged to Baron Roller,
were found broken within a sepulchre, and a vase holding
the ashes of the dead was discovered deposited in another
of coarser ware, which served as a kind of case for it,1
much in the same manner as glass vases are found holding
the ashes of the ancient Romans or Britons in this
country. They are of different styles of art, com-
mencing with those of black figures. In the fainter
colour of their paste, and the duller tone of their black
glaze, they differ from those of Vulci, and few of the
earlier kind are known. Among them may be cited a
hydria or calpis with an erotic subject,2 and a lecythus
with a Bacchanalian one.3 The most remarkable of these
with red figures are the hydria or calpis, on which is
represented the last night of Troy, Neoptolemus slaying
Priam on the altar of the Herceian Zeus, the death of
Astyanax, and the rape of Cassandra ; a lecythus with an

1 Gargiulo, Cenni, p. 13 ; Bull., 1834, 2 Gerhard, Berl. Ant. Bild.,8. 231, 721.

p. 166. 3 Ibid. 232, 725.

166 GREEK POTTERY.

erotic scene ;l an cenochoe, with a Bacchanalian one ;2 a
Nolan amphora, with figures of Marsyas and Olympus ;3
a vase with the Dioscuri and their names ;4 a two-handled
vase with Triptolemus,5 and an amphora with Zeus and
Nike.6 Of the later style of art, and resembling the local
style of Lucania is an amphora, with the subject of Venus,
Adonis, and Eros.7 In the Durand collection were also
some lecythi of the late Athenian style, with polychrome
figures on a white ground, and of a coarser kind of drawing
than those of Athens. One vase of this site has a remark-
able inscription.8

In the department of Otranto, Brindisi, the ancient
Brundusium, founded before Tarentum and the arrival
of the Spartan Parthenii, a formidable rival to Taren-
tum, and one of the great ports of Italy, colonised by
the Romans A. v. c. 508, A. c. 246, has produced several
vases. Besides the numerous black glazed plates impressed
with small ornaments stamped from a die, a great crater
in the Naples Museum, painted with the subject of Eros
mounted on a panther,9 came from thence. Vases have
also been found in the vicinity of Oria™ or Hyria, between
Brindisi and Taranto, a town of great antiquity, founded
by the Cretans sent in pursuit of Da3dalus, and which
successfully resisted the people of Tarentum and E-he-
gium. At Torre di Mare (the ancient Metapontium,
supposed to be the Alybas of Homer, but colonised by
Achseans from Sybaris, the great head-quarters of the

1 Gerhard, B. A. B., s. 232, 726. fi Gerhard, B. A. B., s. 259, 898.

2 Ibid. 728. 7 ibid. 332, 1057.

3 Gerhard, 1. c. s. 244, 841. « KAAEAOKE2, Bull., 1829, p. 167.

4 Jahn, Vasensammlung, s. xxxv. 9 Bull., Arch. 1829, p. 172.

5 Gerhard, B. A. B., s. 259, 896 ; w Bull., 1834, p. 55.
Panofka, Mus. Bart., p. 133.

VASES OF TARENTUM. 167

Pythagoreans, and subsequently, during the Peloponnesian
war, in alliance with Athens ; finally subjugated by the
Romans after the retreat of Pyrrhus, but subsequently
revolting to Hannibal), the circumstance of Roman
sepulchres having been constructed over the Greek ones
appears to have been unfavourable to excavations in
search of vases. Some of late style have also been dis-
covered at Castellaneta,1 at the site of the ancient
Salentum in its neighbourhood, and at Fasano? or Gnathia,
at Ceglie, Genosa, and Ostuni, all of late style.

At Taranto, or Tarentum, where it might have been
expected from its ancient renown for luxury that many
vases would have occurred, few have been turned up amidst
its ancient ruins. Those, however, which are met with
maintain the old pre-eminence of the city for its works of
art, especially as manifested in its coins. Their clay is
of a fine glaze like the vases of Pomarico, and often
resembles the finest red figured vases of Nola.3 Vases
with black figures are rarely found ; a fine crater with
an Amazonomachia was discovered here ;4 and on the
fragment of a crater in the British Museum is the
Pallas Athene of the Parthenon, in red upon a black
ground. It is of the best style of this School, probably
not much older than Alexander, B. c. 330, if not over
half a century later, or of the age of Pyrrhus, B. c. 280 ;
although the medallic art of that time is more like the
style of drawing found on the vases of Ruvo. Generally,
the subjects of the vases discovered here are unimportant.

1 Bull., 1836, p. 167. 1849, p. 174.

2 A vase with a siren between two 3 Bull., 1829, p. 171.

owls, was there discovered. See Bull., 4 Due. de Luynes, choix. pi. 43.

168

GREEK POTTERY.

Some objects, supposed to be moulds, have also been dis-
covered on this site,1 and the vases here, as at Locri, are
found broken into fragments. Vases with black figures
are comparatively rare on this site, those with red figures
of a free style, having been principally found. This
agrees with its history, the most flourishing period of the
city having been from B. c. 400, under the government of
Archytas till its final fall to the Romans, during which
time the principal sculptors and painters of Greece embel-
lished the public monuments of Tarentum. Its treasures
of ancient art at the period of its fall were equal to those
of Syracuse ; and there can be no doubt, from the beauty
of its coins, that it not only imported the choicest ce-
ramic products of Greece, but also employed in its city
vase painters and potters of eminence. Other specimens
come from Molto, La Castellaneta, and La Terza, in the
vicinity ; from the latter they are principally dishes.
Vases of Campanian style have also been found at Lecce,
the ancient Lupise,2 at Rugge, or Rudise, and at Rocca
Nova and Valesio.3

At the island of Ischia, ^Enaria, was found a crater
with the subject of the infant Dionysus consigned to the
Nymphs.4

SICILY AKD MALTA.

Sicily, so celebrated for its magnificent works of art,
has not produced a very great number of fictile vases,
and the greater part of those discovered are by no means
pre-eminently distinguished from those of Italy ; some

1 Bull., 1842, p. 120.

2 Reidesel, Reise, 230.

3 Mommsen, Unterital. Dial, 58-60.

4 Schulz, in Bull., 1842, p. 10.

SICILIAN VASES. 169

resembling in style the early vases, with black figures of
Greece Proper ; while others are undistinguishable from
those of Southern Italy. The vases with red figures
especially resemble those found in the Apulian tombs.
Many of the vases from the Peninsula are however car-
ried over to Palermo and sold as Sicilian, so that it is by
no means certain which are really Sicilian vases. This
island was anciently renowned for its potteries, and Aga-
thocles, the celebrated tyrant of this island, was the son
of a potter, and was reported to have dined off earthenware
in his youth. The various sites in which vases have been
found at Syracuse, Palermo, Elima, Himera, and Alicata,
will be found subsequently mentioned. In Sicily the cities
of the southern coast have produced the greatest number
of vases, Agrigentum, the modern Girgenti, abounding in
the treasures of ceramic art. Fine vases have also been
discovered at Gela and Camarina. On the east coast,
south of Syracuse, the cemeteries of the Leontini and
Acrse have produced more vases than the necropolis
of Syracuse, which was probably the first destroyed.
Palermo, Messina, and Catania,1 on the north and east
coast, have produced but a small number of vases. On the
whole, Sicily has produced far fewer ancient vases than
Italy.2

The principal sites where vases have been discovered
are Centorbi, the ancient Centuripse, where a vase was
found, with encaustic painting, the colours having
been prepared with wax, and laid upon a rose-coloured
ground. This vase is ornamented with gilding, and is of

1 Serra di Falco, Bull., 1834. si trovano iii Sicilia, 8vo, Pal., 1829,

2 Avolio, Delle fatture di argilla che p. 6.

170 GEEEK POTTERY.

a late style and period.1 At Lentini, Leontini, vases,
chiefly of the later style of art, have been discovered,
many polychrome, and one or two with red figures of
the strong style.2 The vases found at Syracuse have
both red and black figures, and are of both styles,
but unimportant.3 At Palazzolo, the ancient Acrse,
vases of the ancient Doric or Phoenician style, of the
Archaic style, and some with red figures, have been dis-
covered ; one of the most interesting is that in the British
Museum, representing Dionysos in a car in the shape of a
ship.4 Fine vases have been found at Kamarina ; at
Terranova, the ancient Gela, one of the earliest settle-
ments of the island, vases had been found a century ago,
both with black and red figures,5 and in style like those of
Nola.6 In 1792, a pottery with furnaces and vases ap-
pears to have been discovered in the vicinity.7 Quite
recently vases with black and with red figures, of the
finest style, have been discovered here.

In Selinunte, or Selinus, famous for its two ancient
Doric temples, its archaic sculptures, and for the beauty of
its coins, both of the ancient and finest style, lecythi of
archaic style have come to light.8 Himera has produced
only one vase 9 with red figures, and the single specimen
found at Solus has been doubted.10

1 This mode of painting vases is 1832, p. 177.

alluded to by Athenaeus, v. 200 b. The 4 Judica, Antichita di Acre, fo. Mes-

vase is not unique, similarly painted sina, 1819.

fragments having been discovered in 5 Dorville, Sicula, p. 123 b.

the Biscari Museum in Catania, at 6 Bottiger, Vasen, i. p. 39.

Kertch, and in the Durand Collection : 7 Uhden, Arch. Intell. Bl. 1836, p. 33.

Rochette, Peint. Ant. In., p. 430, taf. xii.; 8 Gerhard, in Arch. Int. Bl., 1834, p. 55.

Bull., 1833, p. 490. 9 B. Romano, Antichita Termitane

2 Jahn, Vasensammlung, s. xxxi. Pal. 1838, p. 139, taf. i. H.

3 Gerhard, Aus. Vas. 68, i. ; Bull., 10 Jahn, Vasensammlung, s. xxxiv.

VASES OF AGRIGENTUM. . 171

Several vases are described in various accounts of these
remains as coming from Sicily. Several of these with
black figures exhibit a style of drawing so rude and pecu-
liar as to entitle them to be considered decidedly of local
fabric, as they are readily to be distinguished from those
of Vulci, Nola, and Campania. Those with red figures
have also certain characteristics, such as defects of shape
and careless style of drawing, which connect them with
the vases of Greece Proper. One of the most interesting
specimens of this class discovered of late years, is a frag-
ment, with the subject of Telegonos, Circe, and Ulysses.1
Most of the vases come from Girgenti, and few from
Palermo.2 The vases of Girgenti, or Agrigentum, with
black figures, resemble those of Vulci in the rigidity and
mechanical finish of their details ; among them may be
cited, a Panathenaic amphora, with Hercules and Cerberus,
Hermes and Bacchanals ;3 a lecytlms, having on it the
destruction of the Lernsean Hydra ;4 another, with a
warrior leaping from his horse ;5 the amphora of the
maker Taleides, with Theseus and the Minotaur, and
a scene of weighing ;6 another with Achilles and Hector,
and Aurora bearing off Memnon.7 A curious vase of the
maker Nicostheries 8 has also been found there. From
these and similar subjects, such as Hercules and Tritons,9

1 Bull., 1843, 82; Arch. Zeit., 1843, Sic. Agr., 8vo, Palermo, 1832.

143. 6 Millin, Peint. d. Vases Ant., pi. i.

2 One, with birth and marriage of Ixvi. ; Explic., ii. p. 88, n. 7.
Dionysos, Bull., 1834, p. 201, 1843, p. 7 Millingen, Anc. Un. Mon., i. pi.
54 ; Arch. Zeit., 1843, 137. 3, 4.

3 Politi, Aufora Panatenaica, 8vo, 8 Panofka, Mus. Blac., pi. Ill ; Ger-
Girgenti, 1840. hard, Lettres, p. 40.

4 Politi, II mostro di Lerna lekitos 9 Politi, Lettera al S. Mellingen su di
Agrigentino, 8vo, Palermo, 1840. una figulina rappresentaute Ercole e

5 Politi, Esposizione di sette vase Gr. Nereo, 8vo, Palermo, 1834.

172 GREEK POTTERY.

Achilles dragging Hector,1 and Bacchanals,2 it will be
seen that they are of the usual class found on the best
and rigid school of vases with red figures. Numerous
examples of this style have been found in Sicily, such as
lecytld with females,3 Hera and her peacock,4 Nike,5 the
Dioscuri, scenes from the Amazonomachia,6 warriors,7
Dionysus,8 and birds.9 Among the finest vases of this style
are the amphorcs of Munich, representing Tityus seizing
Leto, and Mr. Stoddart's crater with an Amazonomachia.10
But that representing the meeting of Alcaeus and Sappho,
now in the Museum of Munich, is the most renowned
of all.11

Most of the vases of Girgenti however are of the shape
of the craters of oxybaphcL and resemble those of the
tombs of Lucania. They have such subjects as the Hyper-
borean Apollo,12 Dionysiac representations,13 the return
of Hephaistos to Heaven,14 the Centauromachia,15 scenes
of leave-taking,16 triclinia,17 and Achilles and Amazon.18

1 Politi, Cenni su di un vaso fittile Greece Siculo rappresentante Nemesi
Greco- Agr. rapp. Achille vincitore di trovato nell antica Agrigento, 8vo,
Ettore, 8vo, Messina, 1828. Palermo, 1826, p. 22, tav. iii.

2 Politi, Esposizione di sette vasi, 1. 13 Politi, Cinque Vasi di Premio, ex-
c. ; Bull. d. Inst., 1834, p. 59. tracted from La Concordia Giornale

3 Politi, Illustr. sul dipiuto in terra- Siciliano, Num. 14-20. Laglio Anno
cotta, 8vo, Girg., 1829. Secundo ; Minervini; Bull. Arch. Nap.,

4 Politi, Esposizione di sette vase i. 14; Gerhard, A. Z., s. 61.

Gr. Sic. Agr., 8vo, Palermo, 1832. 14 Politi, Illustrazione sul dipinto in

5 Ibid. terra cotta, 8vo, Girgenti, 1829, tav. 4.

6 Ibid. 15 Politi, Cinque Vasi di Premio., tav.

7 Politi, Un lekitos, 8vo, Palermo, vi. ; osserv. 8vo, Ven. 1828; Minervini,
1840. Bull. Nap., i. p. 14; Gerhard, A. Z.,

8 Politi, Due parole,8vo, Pal. 1833. 1843, s. 60.

9 Politi, Esposizione di sette vase, 1. c. 16 Politi, Descr. di due Vasi Grseco-

10 Politi, Illustrazione sul dipinto in Sicoli Agrigentino, 8vo, Girgenti, 1831.
terra-cotta, 8vo, Girgenti, 1829. V Politi, lllustraz., tav. 3.

11 Millingen, Anc. Un. Mon., xxxiv. ; 18 Politi, Due parole su tre Vasi fittili,
La borde, Vase de Lamberg, pi. Iii. 8vo, Palermo, 1833. The name of the

12 Politi, Illustrazione d'un vaso Amazon is 2AAE2I2.

VASES OF AGRIGENTUM. 173

Many interesting vases of the shape called celebe also
come from Girgenti, and are of the more perfect
style of art, representing Zeus bearing off ^Egina,1 the
Eleusinian .deities,2 Dionysos confided to the nursing
of Ariadne,3 the departure of Triptolemus, Aurora and
Thetis pleading for their sons,4 Peleus and Thetis,5 and
some general scenes:6 Cups with white ground, and with
subjects in linear outline, have also been discovered there,
and one in the Museum at Munich has the subject of
Bacchanals, Hercules killing Cycnus, or the Amazons.7
The Atticisim of the inscriptions8 has been alleged as a
reason for supposing the vases of this island to have been
imported, but the Ionic colonies, such as Acragas, and
the prevalence of Ionic and Attic Greek as a polite
language, may account for the appearance of this dialect.
Vases of fine style have also been discovered at Catania
and some with black figures at Alicata.9 Vases with
red figures, of good style, have been found at Aderno,
Adranon, at the foot of Etna.10

In the public Museum at Malta are also some vases of
Phoenician and later Greek style, with Bacchanalian sub-
jects. One represents the capture of Midas.11 Another

1 Politi, Cinque Vasi di Premio, tav. 1828 ; Minervini, Bull. Arch. Nap., i.
iv. p. 14 ; Gerhard, A. Z., 1843, 61, Poseidon

2 Politi, Illustr. di un Vaso fittile und Amymone.

rappr. Apollo il citaredo e le pace en 6 Politi, ibid., also Descr. di due Vasi

Girgenti, 8vo, Palermo, 1826. Greco-Sicoli, 8vo, Girg., 1831.

3 Mon., iii. pi. 17; Ann., 1835, p. 82. 7 Politi, Desc. di due Vasi. 1. c.

4 Politi, Cinque Vasi di Premio, 8 Kramer, Ueber die Herkunft, s.
Concord., ii. 14; Bull. Arch. Nap., 119.

ii. p. 16; Gerhard, Arch. Zeit., 1843, 9 Jahn, Vasensamml. s. xxxii.

p. 14. 10 Bull., 1843, p. 129.

5 Politi, Illustr. ad un Vaso rappr. » De Witte, Bull., 1842, p. 43.
Cassandra e Ajace,d'0ileo, 8vo, Palermo,

174 GREEK POTTERY.

has Eros, with his name.1 These vases are said to resemble
those found in Sicily and Campania.

AFKICA.

Passing from Sicily to the coast of Africa, the site of
Bengazi — the old Euhesperis of the Cyrenaica, which
subsequently obtained the name of Berenice from the
queen of Ptolemy Philadelphus — abounds in sepulchres, in
which have been found a very large number of vases of
the • later style of art, like those of Lucania and Apulia.
Of these the most remarkable are the Panathenaic
vases, which have black figures on a red ground, and
the usual inscription of " [I. am] one of the prizes
from Athens," accompanied with the names of the
following archons : — Hegesias and Nicocrates, who were
archons at Athens in the 4th year of cxi. Olympiad,
A. c. 334 ; Cephisodorus, who was archon in the 2nd
year of cxiv. Olympiad, A. c. 323 ; Archippus, who
was archon of the 4th year of the same Olympiad,
A. c. 321 ; and Theophrastus, whose name occurs as
that of archon of the 1st year of ex. Olympiad, A. c.
340, or of cxvi. Olympiad, A. c. 313.2 They are remark-
able for showing the late period at which black figures

1 Reidesel, Reise, p. 74 ; Jahn, Vasen- p. xix. Many of these vases are like
sarumlung, s. xxix. those found at Nola, while others re-

2 Cf. AFA2IA2 APXON TON A0ENE- semble the pottery of Melos, especially
0ENA0AON, R. Rochette, Ann., vi. 287, the coarser fabrics ; while the appear-
n. 2 ; Bbckh, Corp. Inscr. Grsec., ii. p. ance of the head of Jupiter Amrnon on
70, No. 2035 ; P. Lucas, ii. 84. Some of a vase indicates a local fabric; Lenor-
these vases from the Cyreuaica are in mant and De Witte, $lite, Introd.
the Museum of Leyde ; Lenormant and xxiv. and n. 2. Jahn, Vasen sammlung,
De Witte, &lite des Monumens, Introd. 8. xxviii. xxix.

VASES OF BERENICE. 175

were used.1 These vases, from the Atticism of their
inscriptions, are conjectured to have been imported
from Athens. Two other vases of a supposed historical
import have also been found there — one representing a
Persian king attacked by a lion, the other Aristippus
between Arete, his daughter, and Aphrodite.2 These last
have inscriptions in the Doric dialect.

The principal excavations on this site are those recently
made by M. Yattier de Bourville and Mr. Werry.
Besides the prize vases, many small vases and a few large
of later style, some few polychrome, with subjects of little
interest, and resembling the later vases found at Ruvo,
Apulia, and the Basilicata, have been exhumed here, and
at the adjoining spots of Ptolemata, or Ptolemais, and
Tukera. A selection of Mr. Werry 's vases are in the
British Museum.

Of the vases in the Louvre, Mr. Newton, Vice-Consul at
Mytilene observes : " The collection of the vases from the
Cyrenaica is very interesting. The two vases with black
figures, with the names of Athenian archons, are in a
style of complete decadence. The figures have the small
heads and general proportions of the school of Lysippus ;
the drawing is very coarse, and, compared with the
drawing of other vases, may be called cursive. On each
of the two columns, between which Pallas stands, is Nike,
holding an aplustron. Their form is the late Basilicatan
kind of amphora. A number of very interesting vases
and terra-cottas have been brought from the Cyrenaica.

1 Lenormant, Revue Archeologique, Graec., t. ii. p. 70, No. 2035.
1848 p. 230; Paul Lucas, t. ii p. 84, 2 Lenormant, Nouvelles Annales,
ed. Amst., 1714; Bockb, Corp. Inscr. 1847,391.

176 GREEK POTTERY.

The vases seem to be of Athenian manufacture. Among
them are many polychrome, like the pyxis of Mr. Burgon's
collection. They have ornaments in relief, gilt. On one
most curious vase is a mixture of painting and bas relief.
Cupid is seen, seated on a rock, fishing. The rock is raised
in slight relief, the wings of the Cupid are painted red, the
accessories are gilt. Before him are two figures hauling
in a net ; the whole in a very slight relief, on a black
ground. The composition is elegant and graceful, like
the mural paintings of Pompeii. There is also a vase
with a curious caricature of Hercules, after his Libyan
victory, standing in a chariot driven by Victory, to which
four Centaurs are harnessed. The faces are of the
Nubian type ; those of the Centaurs very grotesque, and
full of -comic expression. These are now in the Museum
of the Louvre."

Vases have also been found at Tripolis, on the same
coast. They are also of late style, few with black figures,
the greater portion with red figures, and unimportant
subjects, principally ornaments. A few of like style have
also been discovered at Leptis.1

To the other vases found on the African coast and in
Egypt, allusion has been already made — such as those
of Coptos, famous for being made of an aromatic
earth.2 Naucratis was celebrated for its phialce having
four handles, and a glaze so fine that they passed for
silver. They were not made upon the wheel, but modelled
with the hand.3 In the catacombs of Alexandria, vases
with a pale paste, and painted in the last style of

1 Jahn, Vasensammlung, s. xxix. 3 Brongniart, ibid ; Athenseus, x. c.

2 Brongniart, Trait£, i. p. 582. 61.

VASES OF KERTCH. 177

Greek art, have been discovered, some of which are now
in the Louvre,1 and others in the British Museum. Their
paste occasionally is of a violet colour.2

CEIMEA.

The northernmost point at which vases have been found
is Kertch, the ancient Panticapaum,onQ of the other colonies
of the Milesians, in the Cimmerian Bosphorus, celebrated at
a later period for its commerce, and in A. c. 120, finally
subdued by Mithradates. About 400 vases, scarcely a
fourth of which have subjects of the least importance, have
been found in this locality. Few have black figures, and
their drawing is in the careless and free style of the Greek
potteries. The rest are principally small vases, with red
figures, of the later style of art, and some of these are
polychromatic, and ornamented with gilding. The most
remarkable of these vases is that of the Athenian potter,
Xenophantus, having for its subject a combat of gryphons
and the Arimaspi, a story of local interest. These vases
appear to be about the time of the Bosphoran king Leucon,
who flourished A. c. 393-353. Fragments of a vase of the
artist Epictetus have also been discovered in this vicinity.3
Most of these are now in the Hermitage of St. Petersburg.
They are probably Athenian, most of them ill -preserved.
M. Brongniart describes one from this site, at present in

1 Brongniart, 1. c. 582. p. 105 ; Kohne in the Bulletin de la

2 Mus. de Sevres, i. 18. Soc. Arch. & Num. de St. Peters-

3 For the vases found here see Annali, burg, ii. 7. ; Jahn, Vasensammlung,
1832, p. 6; Dubois de Montpe"reux, s. xxviii. A coin of Leucon was found
Voyage autour du Caucase. Pad. with a vase. Annali. xii. 13. ; Ouvaroff,
1843, PI. 7-15; Ashit, Bosph. Reich. Antiquites du Bosphore Cimmerien,
4to Od. 1848-49, iii. t. 3. 26; Bull. 1841, vol. iii., p. xlvi.-lxviii.

VOL. n. N

178 GREEK POTTERY.

the Bibliotheque Imperiale at Paris, as having a beautiful
black glaze, and a bas-relief in the midst of it.1 The vases
have red figures, and are of the style of the decadence
of the art, the workmanship being coarse, and the subjects
uninteresting ; such as, the Dionysiac thiasos,2 gymnastic
scenes,3 and those of private life.4 Their shapes were the
Tiydria, calpis, pelice, and lecane.5

ENAMELLED WAKE.

In the sepulchres of Greece, the Islands, and Italy,
a class of ware has been found, quite distinct from the
preceding, and resembling the enamelled stone ware of
the Egyptians and Babylonians already described. Many
Egyptian perfume vases have been found in the sepulchres
of Etruria ; and as their hieroglyphs 6 are identical with
those found in Egypt, it is probable that they were
imported into Etruria from that country. There are,
however, some other vases of this class of ancient fayence,
or porcelain, which are not so decidedly Egyptian — such
as certain jars, ornamented with zigzag white ornaments
and maroon petals, on a pale, dull green ground, and

1 Brongniart, Traite, i. 578. En- Bull., 1837, p. 47, 1841, pp. 108, 109;
gravings of these vases will be found in Dubois de Montpe"reux, Voyage autour
Dubois de Montpe>eux, Voyage autour du Caucase, V. Classe at Kertch;
du Caucase, etc., Paris, 1843, 6 vols. these vases exhibit proofs of a local
atlas folio, and Anton Ashik, Bos- fabric; Lenormant and De Witte,
phorische Alterthumer, Odessa, 1848; In trod., xxiii.

Cf. Annali, 1840, p. 6. & Bull., 1841, p. 108. Dubois de

2 Gerhard, 1. c. s. 195; Dubois de Montpe'reux, Atlas, pi. vii. ; Gerhard,
Montpe*reux and Ashik, 1. c. Denkmaler Forschungen und Berichte,

8 Ibid. These principally are draped 1850, s. 193.

and enveloped figures. 6 Micai^ Mon. Inedit., tav. vii.

4 SENO*ANT02 EHOIH2EN A0HN.

ENAMELLED WARE. 179

which may be imitations bj Greek potters of this foreign
ware.1

The specimen here represented was found by Cam-
panari in a tomb at Yulci.
Some very beautiful specimens
have been discovered in the
tombs of southern Italy. A
beautiful small calathus-sh&ped
vase, procured by the late Mr.
Chambers Hall at Naples, and
by him presented to the British
Museum, is of a pale green,
inlaid with blue and white

, 7 No. 171.— Jar of enamelled Ware. Vulci.

ornaments ; and a prochoos,

or bottle, in his possession, is most delicately decorated

with ornaments of the same kind.

Several lecyihi, or little toilet vases, of this ware, have
been discovered in the tombs of Melos and Csere, and at
Vulci. Their shapes show that they had not an origin
purely oriental, having been delivered from moulds, and
then glazed. They are in the shape of a female kneeling,
and holding a jar, the heads of satyrs and nymphs, alec-
tryons and hedgehogs. In the Egyptian grotto of the
Polledrara at Vulci were found scarabsei and beads, also of
this ware. At Athens one was found in the shape of a
double head of Hercules and Omphale,2 and at Melos
another in the form of a hedgehog.3

1 Mus. Etrus. Vatic, ii. iv. 3 Bull., 1831, pp. 184-90.

2 Panofka, Rech., p. 25, pi. iii. 55.

N 2

180 GREEK POTTERY.

IMITATIONS.

The discovery of painted vases, and the general admira-
tion which they excited among the lovers of the fine arts,
gave rise to several imitations. The first of these were
made by Mr. Wedgewood. His paste is, however, heavier,
and his drawings far inferior to the antique in freedom
and spirit. At Naples, chiefly through the researches and
directions of Gargiulo, vases have of late years been pro-
duced, which in their paste and glaze resemble the
antique, although the drawings are vastly inferior, and the
imitation is at once detected by a practised eye. They
are far inferior in all essential respects to the ancient
vases. Even soon after the acquisition of the Hamilton
collection by the public, the taste created for these
novelties caused various imitations to be produced. Some
of the simplest kind were made of wood, covered with
painted paper, the subjects being traced from the vases
themselves, and this was the most obvious mode of
making them. Of late Mr. Battam has made very excel-
lent facsimiles of these vases, but they are produced in a
manner very different from that of the ancient potters,
the black colour for the grounds or figures not being laid
on with a glaze, but merely with a cold pigment which has
not been fired, and their lustre being produced by a polish.
Such a process by no means gives them the extreme beauty
of the better specimens of the ancient potteries, and in
technical details they do not equal the imitations made at
Naples, some of the best of which have occasionally
deceived both archseologists and collectors. Even in the

IMITATIONS AND PRICES. 181

times of antiquity- many counterfeits existed, for the
potters evidently often endeavoured to assume the names
of their rivals, without infringing the laws of their respec-
tive states, by inscribing them on their vases in an illegible
manner. These, however, can scarcely be classed in the
category of ancient forgeries, like the Etruscan painted
vases, imitated from the Greek. These are chiefly found
on Etruscan sites ; but some few from Athens itself show
that they were manufactured at home. They may possibly
have been a particular style of fabric, introduced as a
novelty to attract the popular taste, and subsequently
abandoned.

One of the most remarkable fabricated engravings of
these vases was that issued by Brondsted and Stack-
elberg, in a fit of archaeological jealousy. A modern
archaeologist is seen running after a draped female figure,
called 3>HMH, or " Fame," who flies from him exclaiming,
EKA2 nAI KAAE, " Be off, my fine fellow ! " This vase,
which never existed except upon paper, deceived the
credulous Inghirami, who too late endeavoured to cancel
it from his work. Other vases, evidently false, have also
been published.1

PRICES.

In the ancient times of Rome, these vases bore a high
value, and sold for enormous sums to connoisseurs, which
has also been the case in modern times. Cleopatra spent
daily on the fragrant or flowery ware of Rhossus, a
Syrian town, six minse.2 Of the actual prices paid for

1 Inghirami, Vasi Fittili, i. tav. xiii. ; ii. 84 ; D'Hancarville, ii. 71.
a false vase also is published in Pas- 2 Athen. vi. 229, e.

seri, ccc., and another in D'Hancarville,

182 GREEK POTTERY.

painted vases, no positive mention occurs in classical
authorities, yet it is most probable that vases of the
best class, the products of eminent painters, obtained
considerable prices. Among the Greeks, works of merit
were at all times handsomely remunerated, and it is
probable that vases of excellence shared the general
favour shown to the fine arts. For works of inferior
merit only small sums were paid, as will be seen by
referring to the chapter on inscriptions, which were
incised on their feet, and which mentioned their contem-
porary value. In modern times little is known about the
prices paid for these works of art till quite a recent
period, when their fragile remains have realised con-
siderable sums. In this country the collections of Mr.
Townley, Sir W. Hamilton, Lord Elgin, and Mr. Payne
Knight, all contained painted vases ; yet, as they included
other objects, it is difficult to determine the value placed
on the vases. A sum of 500/. was paid in consideration
of the Athenian vases in Lord Elgin's collection, which
is by no means large when the extraordinary nature of
these vases is considered, as they are the finest in the
world of the old primitive vases of Athens. 8400/. were
paid for the vases of the Hamilton collection, one of the
most remarkable of the time, and consisting of many
beautiful specimens from southern Italy. The great
discoveries of the Prince of Canino, in 1827, and the
subsequent sale of numerous vases, gave them, however,
a definite market value, to which the sale of the collection
of Baron Durand, which consisted almost entirely of
vases, affords some clue. His collection sold in 1836 for
313,160 francs, or about 12,524/. The most valuable

MAXIMUM VALUE. 183

specimen in the collection was the vase representing
the death of Croesus, which was purchased for the Louvre
at the price of 6600 francs, or 264/. The vase with the
subject of Arcesilaus brought 1050 francs. Another
magnificent vase, now in the Louvre, having the subject
of the youthful Hercules strangling the serpents, was
only secured for France after reaching the price of
6000 francs, or 240£ ; another, with the subject of
Hercules, Dejanira, and Hyllus, was purchased for the
sum of 3550 francs, or 142/. A crater, with the subject
of Acamas and Demophon bringing back ^Ethra, was
obtained by M. Magnoncourt for 4250 francs, or 170/. A
Bacchic amphora, of the maker Execias, of the archaic
style, was bought by the British Museum for 3600 francs,
or 142/., in round numbers. Enough has, however, been
said to show the high price attained by the most re-
markable of these works of art. The inferior vases of
course realised much smaller sums, varying from a few
francs to a few pounds ; but high prices continued to be
obtained, and the sale by the Prince of Canino in 1837,
of some of his finest vases, contributed to enrich the
museums of Europe, although, as many of the vases were
bought in, it does not afford a good criterion as to price.
An cenochoe, with Apollo and the Muses, and a liydria,
with the same subject, were bought in for 2000 francs,
or 80/. each. A cylix, with a love scene, and another with
Priam redeeming Hector's corpse, brought 6600 francs,
or 26 4/. An amphora with the subject of Dionysus, and
a cup with that of Hercules, sold for 8000 francs, or
320£, each. Another brought 7000 francs, or 280/. A
vase with the subject of Theseus seizing Helen, another

184

GREEK POTTERY.

with the arming of Paris, and a third with Peleus and
Thetis, sold for 6000 francs, or 240J. Nor can the value
of the finest specimens of the art be considered to have
deteriorated since. The late Mr. Steuart was offered
7500 francs for a large crater, found in southern Italy,
ornamented with the subject of Cadmus and the dragon ;
3000 francs, or 120/., were paid by the British Museum
for a fine crater ornamented with the exploits of Achilles ;
2500 francs, or 100/., for an amphora of Apulian style,
with the subject of Pelops and (Enomaus at the altar of
the Olympian Zeus. For another vase, with the subject of
Musseus, 3000 francs, or 120/. were paid, and 2500 francs,
or 100/., for the Athenian prize vase, the celebrated Vas
Burgonianum, exhumed by Mr. Burgon. At Mr. Beck-
ford's sale, the late Duke of Hamilton gave 200/. for a
small vase, with the subject of the Indian Bacchus.

The passion for possessing fine vases has outstripped
these prices at Naples ; 2400 ducats, or 5001, was given
for the vase with gilded figures discovered at Cumse.
Still more incredible, half a century back, 8000 ducats,
'or 1500/., was paid to Vivenzio for the vase in the Museo
Borbonico representing the last night of Troy ; 6000
ducats, or 1000/., for the one with a Dionysiac feast;
and 4000 ducats, or SOO/., for the vase with the grand
battle of the Amazons, published by Schulz. But such
sums will not be hereafter realized, not that taste is less,
but that fine vases are more common. No sepulchre has
been spared when detected, and no vase neglected when
discovered ; and vases have been exhumed with more
activity than the most of precious relics.

The vases of Athens, with white grounds and polychrome

' MINIMUM VALUE. 185

figures, have also been always much sought after, and
have realised large prices, the best preserved examples
fetching as much as 70/. or 100/. Generally those vases
which are finest in point of art have realised the highest

No. 172.— Lecythus. Triumph of Indian Bacchus.

prices, but in some instances they have been surpassed
in this respect by others of high literary or historical
value. As a general rule, vases with inscriptions have
always been most valuable, the value of these objects
being much enhanced when inscribed with the names of
potters or artists, or with remarkable expressions. The
inferior kinds have fetched prices much more moderate,
the cylices averaging from 5/. to 10/., the amphora from
10/. to 20/., the hydrice about the same, the craters from
5L to 20/., according to their general excellence, the

186

GREEK POTTERY.

cenochoe about 5/., and the miscellaneous shapes from a
few shillings to a few pounds. Of the inferior vases, the
charming glaze and shapes of those discovered at Nola
have obtained the best prices from amateurs. Those of
Greece Proper have also fetched rather a higher price
than those of Italy, on account of the interest attached
to the place of their discovery. Many charming vases of
unglazed terra-cotta have rivalled in their prices even the
best of the painted vases.1 Although there are scarcely
limits to the desire of possessing noble works of art, it
will be seen that vases have never excited the minds of
men so much as the nobler creations of sculpture or of
painting ; nor have they reached the fabulous value of
Sevres porcelain or Dutch tulips. Even at the present
day their price in the scale of public taste has been dis-
puted, if not excelled, by the porcelain of the supposed
barbarian Chinese, and Chelsea may pride itself that its
china in value, if not in merit, has surpassed the choicest
productions of the furnaces of Italy and Athens.

1 Some account of the prices paid for
vases will be found in the " Description
des Antiquity's et Objets d'Art qui
composent le cabinet de feu M. le Chev.
E. Durand," by M. J. De Witte, 8vo, Paris,
1836 ; in the "Supplement a la Descrip-

tion des Antiquites du cabinet de feu
M. le Chev. E. Durand;" and in the
" Description d'une collection des vases
peints et bronzes antiques provenant
des fouilles de 1'Etrurie," 8vo, Paris,
1837; also by M. De Witte.

PART III.

ETRUSCAN POTTERY.

CHAPTER I.

Etruscan Terra-Cottas— Statues — Busts— Bas-reliefs — Sarcophagi — Vases — Brown
Ware— Black Ware— Eed Ware— Yellow Ware— Painted Vases— Imitations
of Greek Vases — Subjects and Mode of Execution — Age — Vases of Orbetello
and Volaterra — Vases with Etruscan [Inscriptions— Latin Inscriptions on
Enamelled Ware — Other sites.

FROM Grecian pottery we naturally pass to the Etruscan,
as that people derived their arts from their Hellenic masters.
Few remains, however, of their productions have reached
the present day with the exception of vases, of which an
immense number has been found, and which convey a very
distinct notion of the Etruscan art. It is not, however, pos-
sible to trace the Etruscan arts in clay in so distinct a
manner as the Greek or Roman, owing to the want of a lite-
rature among the Etruscans. Bricks and tiles they seem to
have seldom employed, most of the public buildings and se-
pulchres having been composed of tufo. Gori has, indeed,
published several tiles, some plain and others with flanges,

188

ETRUSCAN POTTERY.

from the Museum Buccellianum,1 having inscriptions in the
Etruscan language, either engraved or painted upon them,
commemorating the name and titles of the deceased, like
the inscriptions upon the sarcophagi. According to
Buonarotti, tiles were employed for closing the recesses in
the chambers within which were placed the little sarcophagi
which held the ashes of the dead.2 These were principally
found in the sepulchres of Chiusi or Camars. One spe-
cimen had, besides the usual inscription, the figure of the
dead incised upon it.3 At a later period, such tiles were
also used in graves, to cover the body laid at full length.
Some, which bear bilingual inscriptions, in the Etruscan and
Latin languages, show them to be nob much older than the
latter days of the Roman republic, or the commencement
of the empire. According to Strabo, the walls of Arre-
tium, or Arezzo, were made of these tiles, but no traces of
these ancient walls remain.4 Some portions of the archi-
tectural decorations of tombs were made of terra-cotta ;5
and sometimes certain altars, or other embellishment of
sepulchres, decorated with bas-reliefs, were moulded of
the same material. At Cervetri have been found the
antefixal ornaments at the end of the large imbrices or
joint tiles, with representations of the Gorgon's head,
modelled in the style of the earliest vases with yellow
grounds, and painted with colours in engobe. From the
same locality are said to have come the revetment of
the walls of a tomb made of slabs, about four feet high
and one inch thick, having painted on them a series of

1 Gori, Mus. Etrus. torn. III. p. 134 4 Strabo, V. p. 226 ; Denuis, II. p.
and foil. t. xxviii. xxx. 421.

2 Dempst. ii. supp. xxvi. p. 36. 5 Dennis, II. 479.

3 Gori, p. 135.

TILES AND STATUES. 189

mythical representations, treated in an archaic style,
having some resemblance to the figures on the vases with
yellow grounds. The figures on these slabs are prin-
cipally painted in red and black on a cream-coloured
ground, but it is difficult to say whether all the colours
have been burnt in.

STATUES.

Notwithstanding the reputation of the Etruscans for
their works in clay, few statues of importance have
descended to us. Although some of the Greek authors,1
and of the modern Italian writers,2 claim the priority of
the art of making figures in terra-cotta for Italy, there can
be no doubt that the Etruscans, in their modelling, imitated
the Greeks. It must be conceded that the art of model-
ling in clay preceded that of working in metals, in which
last the Etruscans particularly excelled,3 especially in the
mechanical treatment. The arrival of the Corinthian
Demaratus, and of the artists in his train, in Italy, is the
earliest record, that can be referred to, of the art of mo-
delling clay ; working in bronze having been imported
from Greece.

The most remarkable for its size and execution is a
group of a male and female figure, reposing on a couch,
in the Campana collection, of the same style of art as the
early bronzes, and wall paintings of the sepulchres of
Italy, — the figures life-size, of rather slender proportions,
with smiling features, and flat and formal drapery. This
group is made of a clay, mixed with volcanic sand,

1 Tatian. Orat. adv. Grsec. c. i. p. 10.

2 Campana, Ant. op. in Plastica, c. iv. 3 Pliny, xxxv. c. 16-44.

190 ETEUSCAN POTTERY.

resembling the red ware, and is decorated with colour.
It is said to come from Cervetri, where similar figures in
relief, of pale red terra-cotta, have also been discovered,
all probably older than the foundation of Rome.

It is chiefly from the Roman writers that our know-
ledge of Etruscan statues in terra-cotta is derived, as the
Romans, unable themselves to execute such works, were
obliged to employ Etruscan artists for the decoration of
their temples, as will be subsequently seen in the descrip-
tion of Roman statues. Volcanius or Turianus of Fregella3,
at Veii, was employed by Tarquinius Priscus to make the
statue of Jupiter in the Capitol, which was of colossal
proportions.1 The quadriga placed on the acroterium of
the same temple, and a figure of Hercules in the Forum
Boarium, were modelled in the same material.2 Numa
also consecrated a double statue of Janus, or a statue of
the two-headed Janus, of terra-cotta.3

According to Pliny, the art of statuary was so old in
Italy that its origin was unknown.4 There was an export
trade thence even to Greece the greater part of which,
in all probability, consisted of works in metal.5 The art
of working in terra-cotta, according to the same author,
was principally cultivated in Italy, and by the Etruscans.
They may indeed have worked from foreign models, and
perhaps from the statues of the Egyptians, with which they
first became acquainted when Psammetichus I. (A. c. 654)

1 Pliny, N. H. xxxv. xil 45; Cf. 3 Pliny, loc. cit. xxxiv. vii. 16.
Sillig. Diet, of Artists, 8vo, London, 4 Ibid, xxxiv. c. vii. 16 ; xxxv. 44, 1.
1836, p. 137. c. 54 ; Dionysius, III. c. 46 ; Strabo, V.

2 Plutarch, Vit. Poplic. i. 409 ; Pliny, c, 2.

N. H. xxxv. c. 45 ; Cf. also Martial, & Ibid. loc. cit.
xiv. Ep. 178.

STATUES AND BUSTS.

191

threw open Egypt to the commerce of the world, in the
second century of the era of Rome. It was subsequently
that the Romans employed Etruscan artists, and Tar-
quinius Priscus placed in the Capitol a terra-cotta statue
of Jupiter, made by Yolcanius of Veii or Turianus of
Fregenni.1

Besides these, there were numerous fictile statues in the
temples of Rtme called signa Tuscanica, distinguished by
their barbarous rigidity, and resembling in many respects
the works of the JEginetan school. The Etruscans pro-
bably continued to supply Rome with statues till southern
Italy submitted to her arms. The popular legends
invested these fictile statues with a halo of superstition.
The horses in the quadriga on the apex of the temple of
Jupiter Capitolinus were reported to have swollen instead
of contracting in the furnace — a circumstance which was
supposed to prognosticate the future greatness of Rome.2

BUSTS.

No vestiges of any of these statues remain, and remark-
ably few small figures have been found in excavations
made in Etruria, but some singular busts and models of
viscera have been discovered on the sites of the ancient
Gabii and at Vulci. The busts represent the face in
profile and the neck ; the back is flat, to allow of the busts
being attached to the wall, and has in the centre a hole
for a peg to fix it. Models of hands, feet, of the breast

1 Pliny, N. H. xxxv. c. 45 ; Campana
(loc. cit. p. 13), prefers the reading
" Fregenis " to " Fregillis," the Volscian

town. See Sillig's notes to Pliny,
loc.
2 Festus, v. Ratumena.

192 ETRUSCAN POTTERY.

and viscera, have also been found, some having plug-holes l
for fixing them to statues, either made of other materials,

No. 173.— Etruscan Female Bust. Vulci.

or in separate pieces, like the acrolithic statues of Greece.
Some of these may have been charuteria, or thank-offer-
ings, like those at Athens.

BAS-EELIEES.

No bas-reliefs like those employed by the Romans to
decorate the walls of edifices have been discovered in
recent excavations, although it is probable that some of
the temples were decorated with terra-cotta friezes'. In
the tombs, however, a considerable number of sarcophagi
have been discovered, the greater part of small proportions,
ornamented with subjects in bas-relief. The bas-relief
models found at the ancient Gabii have been already men-
tioned ; in connection with which we may advert to some

D'Agincourt, Recueil, PI. xviii. 4-7 ; xxii. 1-5.

TERRA-COTTA SARCOPHAGI. 193

bas-reliefs found in the Sabine territory, and engraved in
the work of D'Agincourt.

SAKCOPHAai.

Although the more important sarcophagi of the Etrus-
cans were made of alabaster, tufo, and peperino, a con-
siderable number, principally of small size, were of
terra-cotta. Some few were large enough to receive a
body laid at full length. The reliefs in the smaller ones
seem to have been moulded. The colour of their paste is
either pale red or pale yellow, and some which were dis-
covered in the tombs of Tarquinii and Volterra contained
traces of pyroxene. Two large sarcophagi, removed from a
tomb at Yulci, are now in the British Museum. The lower
part, which held the body, is shaped like a rectangular
bin or trough, about three feet high and as many wide.
On the covers are recumbent Etruscan females, modelled
at full length. One has both its cover and chest divided
into two portions, probably because it was found that
masses of too large a size failed in the baking. The edges
at the point of division are turned up, like flange tiles.
These have on their fronts either dolphins or branches of
trees, incised with a tool in outline. Some of the same
dimensions are engraved in the works of Inghirami and
Micali, and are imitations of the larger sarcophagi of stone.
Many of the smaller sort, which held the ashes of the dead,
are of the same shape, the body being a small rectangular
chest, while the cover presents a figure of the deceased in
a reclining posture. They generally have in front a com-
position in bas-relief, freely modelled in the later style of

VOL. II.

194 ETRUSCAN POTTERY.

Etruscan art, the subject being of funereal import ; such as
the last farewell to the dead, combats of heroes, especially
one, in which an unarmed hero is fighting with a plough-
share ; l the parting of Admetus and Alcestis in the pre-
sence of Death and Charon,2 and demons appearing at a
repast.3 Some few have a painted roof. All these were
painted in water-colours, upon a white ground, in bright
and vivid tones, producing a gaudy effect. The inscrip-
tions were also traced in paint, and not incised.

A good and elaborate example of taste in the colouring
of terra-cotta occurs on a small sarcophagus, presented by
the Marquis of Northampton to the British Museum, and
obtained by him at Florence. Here the flesh is red, the
eyes blue, the hair red, the wreath green, and the drapery
of the figure is white, with purple limbus, and crimson
border. The pillars are red, with purple and blue stripes.
The beards and hair are bluish purple, the arms blue, the
inside of the shield yellow, with a blue ground ; the
chlamydes yellow, purple, and crimson ; one blue, lined with
purple ; the mitrse red and blue. Even the pilasters are
coloured white, with red flutes ; the festoon of the capital
is green, and the abacus red, the dentals yellow, with a
red boss. The inscription is in brown letters, on a white
ground.

Some specimens of terra-cotta sarcophagi have been
engraved by Dempster 4 and Gori.5 According to Lanzi
and Inghirami 6 they are seldom found at Volterra, while

1 Brongniart, Mus. Cer. I. 3 ; In- 4 De Etruria regali, i. tab. liii.-lv.
ghiraini, Mon. Etrusc. tab. xxxviii. 5 Mus. Etr. III. Prsef. xxii., torn. I.
p. 25. p. 92; Cf. Tab. clvii. clviii cxci.

2 Inghirami, i. p. 324. 6 Mon. Etrusc. i. tav. iii. p. 15.

3 Bull. 1844, p. 87.

ETRUSCAN BROWN WARE. 195

they are frequently discovered in the sepulchres of Chiusi
and of Monte Pulciano.1 They are the prototypes of the
Roman urns, which were ranged in niches round the
columbaria or sepulchral chambers.

VASES.

We will now proceed to the consideration of vases, of
which several, differing in paste and composition, have
been discovered in the different tombs of Etruria. The
principal varieties are, 1, Brown-ware ; 2, Black- ware ; 3,
Red-ware ; 4, Yellow-ware.

BEOWN WAEE.

The brown-wares are apparently the oldest. Their
colour is a grayish brown, probably from their having
been imperfectly baked ; sometimes, however, they are
red in the centre. Some vases of this class, the fabric
of which is exceedingly coarse, and which are orna-
mented with rude decorations, consisting of punctured
or incised lines, spirals, raised zigzags, bosses, and pro-
jecting ornaments applied after they were made, re-
semble in their character the Teutonic vases found on
the banks of the Rhine, and certain Celtic ones that
occur in France and Britain, from which they are often
scarcely to be distinguished.2 They consist of jugs, ceno-
chose, small vases with two handles, and wide cups like the

1 See also Mus. Etr. Ixxiii. xcvi. ; 2 Brongniart, Traite", L p. 417; Dorow,
Gori, I. tab. Ixvii. I. p. 155; tab. clvii. Poteries fitrusques proprement dites,
clviii. clx. 4to. 1829.

o 2

196

ETRUSCAN POTTERY.

cyathos. In the rudeness of their shapes, and peculiar
treatment, they seem to be imitations of vases carved out
of wood, such as we know the cissibion to have been. The
most remarkable and interesting of them are those found
under the volcanic tufo, near the Alban lakes, which are
in the shape of a tugurium or cottage, and must have con-
tained the ashes of the early inhabitants of Latium. Con-
siderable difference of opinion has however prevailed
respecting the age of these vases.1 By some they are
supposed to be relics of the primitive inhabitants of
ancient Rome ; by others, of those of Alba Longa. One
in the British Museum, presented by Mr. W. E. Hamilton,

is filled with the ashes of
the dead, which were in-
troduced by a little door.
This door was secured by
a cord passing through
two rings at its sides, and
tied round the vase. The
cover or roof is vaulted
and apparently intended
to represent the beams
of a house or cottage. The
NO. 174.— Tugurium vase from Aibano. exterior has been oma-

mented with a mseander

in white paint, traces of which still remain. They were
placed inside a large two handled vase which protected

1 Urns in shape of cottages, of brown
Etruscan ware (Bull. 1846, p. 94), sup-
posed to be of the Swiss guards in the
service of the Romans, were found near
Aibano. They were excavated in 1817,

by Guiseppe Carnevali of Aibano, and
illustrated by Sig. Alessandro Visconti,
Sopra alcuni vasi sepolcrali rinvenuti
nelle vicinanze delle antica Alba-Longa.
Roma, 1817.

VASES OF ALBA LONGA.

197

them from the superincumbent mass. Although the fact
of their having been found under beds of lava, origi-
nally led to an exaggerated opinion of the antiquity of
these vases, there can be no doubt that they are of the
earliest period of Etruscan art. The curious contents of
one of them, published by Visconti, confirm their very
primitive use. They have no glaze upon their surface, but
a polish produced by friction. At Ca3re have also been
found some
of the earliest
specimens of
painted va-
ses, evidently
manufactur-
ed upon the
spot by the
native set-
tlers, and
exhibiting
traces of
Greek rather
than of Etrus-
can art. The

paste of which these vases are made is pale reddish brown,
speckled black, with volcanic sand, and gleaming with
particles of mica. Upon the ground of these vases the
subjects have been painted in white upon a coarse black
back-ground, or in the natural colour of the clay. Dental,
helix, herring-bone, and calix patterns abound, some
covering the whole vase, but on some of the vases of this
class are introduced birds, lions, gryphons, and even fish.

No. 175. — Group of vases, one in shape of a hut. From Albano.

198 ETRUSCAN POTTERY.

Some of the figures of animals are small and drawn in
outline like those of the fawn-coloured vases found at
Melos, Thera, and Athens, but many of the others are
large coarse figures, resembling in style and treatment
those of the earliest Greek vases of the style called
Phoenician or Egyptian. None of these early vases have
incised lines scratched on the figures to aid the effect of
the painting, which was an opaque colour, laid on as
fresco, and not burnt in as encaustic on the vases. The
drawing was sketched out in white outline, sometimes
consisting of a line of dots, by the artist, -and the back-
ground subsequently filled in.

The shapes of these vases also differ considerably from
those of the later Hellenic vases, but resemble those of the
fawn-coloured vases.

Similar to these are two other ones, published by Micali,
which were found at the ancient Ca3re or Cervetri. One
in the shape of a Panathenaic amphora has more mica or
tufo in its paste ; — but the other, a hydria or three-handled
water jar, more resembles the paste of the vases just
described, and has a polish on its surface. All these have
had subjects painted upon them in opaque colours, like
those used on the sarcophagi, and in the mural paintings
of the tombs, in blue, white, and vermilion ; one with the
Athenian legend of the destruction of the Minotaur.1

From the remote antiquity of their shape, the absence
of human figures, the tempera character of their drawing,
they are evidently to be referred to the oldest period of
Caere or Agylla, probably to that historically designated
as the age of the Pelasgi and Aborigines, which succeeded

1 Monument! Inediti, PI. iv. v.

ETRUSCAN BLACK WARE. 199

the occupation of the Siculi, during which period Agylla
had maintained an intercourse with Greece Proper.1 The
subsequent conquest of the Etruscans probably introduced
a different style of art,2 that of the black and red
Etruscan stamped and modelled ware —while the Greeks
supplied the city, through the Port of Pyrgi, at a later
period, with vases of all the principal styles of their art.3
• Some objects resembling curling pins
or bilboquets of this ware have also been
found at Vulci.

No. 176.— Cone. Vulci.

BLACK WAKE.

The next class are made of a paste entirely black, though
rather darker on the edges than in the centre,4 — and
when imperfectly baked, the black has sometimes a lustrous
jet-like polish. Some think that this ware is made of a
black bituminous earth found in the Etruscan territory ;
according to others it is of a clay naturally yellow, but
darkened by casting the smoke of the furnace upon it.
Although some have conjectured that it is sundried, yet
an attentive examination shows that it has been baked in
kilns, but at a low temperature.5 There are, however,
several varieties of this ware, dependent upon the place of
manufacture. Sometimes it is thick and heavy, at others
thin and light. It is found only in the sepulchres of
Etruria, and belongs to the subdivision of lustrous vases

1 Lepsius, Ueber die Tyrrhener, p. 39 ; Delphi, Strabo, v. 220, and its consulting
Dennis, ii. p. 58. the oracle, Herodot.i. 167.

2 Brongniart, Traite", 1. c. 4 Brongniart, Traits', i. p. 413-419.

3 Caniua, Cere Antica, p. 16. Cf. 5 Micali, Mou. In. p. 156.
the dedication of treasures to Apollo at

200

ETRUSCAN POTTERY.

with a tender paste. In many specimens the lustrous
appearance is a mere polish, probably produced on the
lathe. This ware was an improvement on the brown
Etruscan sort already described, and exhibits the highest
degree of art attained by the Italian potteries. An ana-
lysis of its paste gives a mean of 63*34 Silica, 14*42
Alumina, 7*9 Ox. Iron and Manganese, 3*25 Garb.
Lime, 2*12 Magnesia, 7*34 Water, 1*83 Carbon.
They are for the most part made with the hand, rarely if
ever turned on the wheel. The ornaments are often incised
with a pointed tool, and in such cases consist of flowers,
resembling the lotus, festoons, rude imitations of waves, or
spirals resembling the springs or armillsB known at a later
period, and very similar to the ornaments on the early vases
of Athens. Sometimes they appear to have been punched
in with a circular stamp, and run round the vase ; while
in other instances figures of horses and other animals are
stamped in the interior.1 Many of these vases have bas-
reliefs, either modelled on the vase, or pressed out from its
mould, which are disposed as a frieze (fa&Lov) running
round its body. These friezes have been produced by
passing a hollow cylinder round the vase, while the clay
was moist, and before it was sent to the furnace, a process
identical with that employed by the Assyrians and Baby-
lonians, in order to prevent the cylinders which they used
for written documents being enlarged after they had been
inscribed.2 The treatment of the subject on the friezes is
peculiar. The conventional arrangement of the hair, the
rigidity of the limbs, the smile playing on the features,3 the

1 Dennis, ii. 352. pinti, in the Dissertazione dalla Ponti-

2 Storia d'ltalia, torn. ii. p. 278, et seq. ficia Accademia Romana di Archeo-

3 Campanari, Intorno i vasi fittili di- logia, torn. vii. 1836, p. 5-7.

ART OF BLACK WARE.

201

rudeness and archaism of the forms, not unmixed, how-
ever, with a certain plumpness and softness of outline,
reminds us of the early schools of Asia Minor and ^Egina,
as well as of the bas-relief of Samothrace, and the coins
of Magna Gra3cia ; all which belong to the style of art
called by some Egyptian. In some instances the rudeness
of the forms seems to be the effect of the material rather
than of the artist's conceptions ; and in this respect their
bas-reliefs may be compared with the rude asses of the
Etruscans, the circulation of which did not extend below
the fourth century B.C. Other specimens exhibit all the
characteristic of Oriental art in the
arrangement and treatment of the
recurved wings, the monstrous ani-
mal combinations, such as the
scrupulous exactitude of detail, and
the ornamental repetition of the
subject. The monotony of the
moulded figures is often relieved by
incised marks by which the minor
details of the dress are indicated.
Those who conceive that they ex-
hibit traces of imitation should
remember that imitative art is the
product of a universal decadence —
the evidence that a nation has ex-
hausted its intellectual capacity :
and that Etruria fell in her meridian, when the arts of her
neighbours bloomed in unrivalled beauty.

The only traces of imitation which they display are
those of other Etruscan works in metal. The bronze

No. 177.— Vase with moulded
figures and cover. Vulci.

202

ETRUSCAN POTTERY.

vases and shields found at Cervetri, Caere, are ornamented
in the same manner with circular friezes chased on the
metal.

The idea of imitation from works in metal is still more
strongly suggested by the detached figures in complete
relief which decorate the covers of these vases — the

rows of animals'
heads — such as
cows, rams, and
lions, which pass
round their lips
— and the pro-
jecting knots
which radiate
from their
sides.1 One most
remarkable vase
of this class is
modelled like a
man standing in
a biga, and the
mouths, which
are at the top
of the horses'
heads, are pro-
vided with bow-
shaped stoppers.2

From the shapes of this class of vases we may draw
some conclusions derived from Egyptian, Chaldsean, or
Phoenician sources, respecting the uses to which they were

1 Mus. Etr. Vat. G. II. xcvi.-xcvii. 2 Mus. Etr. Vat, xcviii.

Nw. 178 — Ocuochoe of Black Ware.

PREVALENT SHAPES.

203

applied. They evidently formed part of the furniture of
the Etruscans.1 We find among them the cantharos, or
two-handled cup ; the cyathus or cissybion, another kind
of drinking vessel somewhat resembling the modern tea-
cup, the cot/ion, or deep cup with two handles ; and a
small cylix. A peculiar kind of goblet, to which the not
very satisfactory name of holcion has been given — as to
judge from the description given by Herodotus of that
made by Glaucus, it is rather a kind of crater — is by no

No. 1Y9. — Tray or table of vases of black ware. Cldusi.

means uncommon.2 The phiale, or saucer, and pinaw, or
trencher, frequently occur ; and the vessel called holmos,
probably a crater for holding wine at a banquet, is also
found. The oenochoe, or wine pitcher, either with the vine-
leaf shaped or the circular mouth, is of frequent occurrence ;
but the lecythus, or oil cruse, is uncommon, and the alabas-
iron altogether unknown. The two-handed vase with a
cover, called lecane is found, which seems to have served
the purpose of a box or basket among the ancients. There
are also vases of unusual shape, and even of grotesque

Dennis, ii. 352.

Ibid. Cf. Brongniart, Traite, PI. xx.

204 ETRUSCAN POTTERY.

appearance ; among them a kind of cubital, the use of
which is utterly unknown. Objects supposed to be braziers,
or trays,1 are also to be found among them ; but these are
probably stands to hold other vases. They often contain
spoons as well as other curious little vases of unknown
use. The celebrated rliyton or drinking cup which could
not be set down, is also found among this ware.2 The
most extraordinary application of it, however, was to
sepulchral purposes. Here the potter has exhausted all
the resources of his art. He has endeavoured to invest
the clay with metallic power, and to work it up into
shape that conveys an idea of metallic strength. One of
the simplest forms of these vases is the canopos or jar
resembling those in which the Egyptians placed the
entrails of their mummies.

The Etruscan canopi are rude representations of the
human figure, the heads which are coifed in the
Egyptian manner forming the covers.3 The eyes
are sometimes inlaid. They have large earrings
which are moveable. They have holes supposed
to be intended to allow the effluvia of the ashes to
escape. When they had received the last remains of
mortality, they were placed in the tombs on chairs of
oak or terra-cotta. In this respect they resemble the
tufo sepulchral figures of early style found at Chiusi,
which separate into two pieces, and have in their lower
part a hollow bowl scooped out to receive the ashes of

1 See Dennis, il 325 ; Inghirami, 2 For vases see Micali, 1. c. xiv.-

Mus. Chius. tav.40, p. 39; Mon. Etrusc. xxvii.

vi. tav. 6, 5; Micali, Antic. Pop. tav. 3 Dennis, 11.356, n. 8; Micali, Mon.

xxvi-xxiii. ; Brongniart, Traite", PI. xx. In. p. 151.
%. 12.

SUBJECT OF BAS-RELIEFS. 205

the dead. This method of placing the mortal remains of
a person within a representation of himself, is peculiarly
Egyptian, and recalls to mind the orientalism of certain
Etruscan remains. The circumstance of burning the
dead cannot be considered as a fatal objection to the
antiquity of these vases ; and although the canopi are
probably not anterior to the 4th century B.C., they are not
to be regarded as modern.1

A vase found at Cervetri is a remarkable instance of
this style. It is a modification of the holcion, and is
supposed to have been used as a thymiaterion. The bowl
or upper part is ornamented with a star and lune, it is
attached to the side, or upper part of the stem by objects
resembling studs rather than columns, and the stem is
divided into two bowls or inverted cups.2

Unfortunately the subjects in the small friezes are
imperfectly defined, especially the attributes ; yet enough
is seen to enable us to draw some general conclusions.3
They seem to be later than the early vases of Athens,
with their elongated animal forms, or than the early
Doric ware with its extraordinary human and animal
figures, as seen on the vase of Civita Vecchia, representing
the battle of the Lapitha? and Centaurs. Yet the
mythology which they present seems obscure and
shadowy, and in a state of transition from its Asiatic
prototypes. It is not Etruscan, for none of the local
divinities appear ; it is rather oriental Greek, with all its
primitive monstrous combinations of human and animal

1 Abeken, Mittel-italien 273 thinks 3 Brongniart, Traite, PL xx. fig. 1,
them modern ; Dennis, 1. c. p. 359. 3, 4, 5, 6, 7, 9, 10, xx. lla. 12.

2 Dennis, ii. p. 58.

206

ETRUSCAN POTTERY.

forms, before it had been refined by the national genius
and taste, and endowed with ideal beauty. It is ante-
Homeric, since the legends are either entirely different
from those of the Epic cycle, or else such as are alluded
to, or borrowed, as antecedent traditions, in the Iliad and

No. 180.— Oenochoe of Black Ware. Perseus and the Gorgons.

Odyssey. The Corinthian legend of Bellerophon repre-
sented on them, has like the Milo terra-cotta an unwinged
Pegasus, the hero and his son Peisander. The grand
exploit of the Perseid has two Gorgons, one with the head

INSCRIPTIONS OF BLACK WARE. 207

0f the horse Pegasus issuing from the neck, and the swan
or Graia. On others are divinities grouped like those on
the Harpy monuments at Xanthus.

The vases of this style have no inscriptions referring
either to the subjects, the artist or the potter. This
is a remarkable fact, and confirms their high antiquity;
for in the middle period the use of inscriptions was com-
mon. When inscriptions do occur they are not essential,
being subsequent to the fabric and scratched in with a point
after it has been made. These subsequent inscriptions
which seem to be the potter's memoranda, are placed at
the bottom of the vases, having blsfck and red figures,
and are generally in the Etruscan language.

Many vases of Etruscan black ware have these inscrip-
tions, and that on a cinerary urn is mi tesan keia tarchu-
menai.1 One jug is known that has an inscription, and
several inscribed slabs have been found. In the tombs of
Cervetri,2 two of these vases, which had probably been
employed as an ink-stand, had a Greek alphabet and
syllabarium scratched on them, but this, like the other
inscriptions, is incidental rather than necessary. All
these vases precede the period when names, whether of
the figures or of the artists, were introduced. As the
arrangement of the alphabet just alluded to differs from
that established by the Alexandrian grammarians it
may be useful to give it here, viz. : B, C, Z, H, Th, M, N,
P, K, S, Kh, Ph, T.

At Bomarzo3 another vase had an Etruscan alphabet

1 Micali, Mon. In. tav. Iv. 7. Ueber die Tyrrhener-Pelasger, p. 39,

2 Dennis, ii. p. 54. 42.

3 Lepsius, Annali, 1836, p. 186, 203,

208

ETRUSCAN POTTERY.

thus arranged : A, C, B, F, Z, H, Th, I, L, M, N, P, S, T,
U, Th, Ch, Ph.

From the form of the letters, especially from the 0 or
aspirate, and the R, it is evident that the inscription is
contemporary with that on the helmet of Hiero I. in the
British Museum ; while the introduction of the double
letters proves it to be of the age of Simonides. Of these the
Archaic H, written 0, is excessively remarkable, and points
out the original form as analogous to the aspirate which is
thus shaped on the early coins of Thebes. On another
vase of this class was found what has been called a Pelasgic
inscription, supposed*to be two hexameters.1

The vases of this class are discovered only in a limited
range of country. They scarcely appear to the south of
the Tibur, and the most northern sepulchres in which
they are found are those of Siena. In the old tombs of
Cervetrf 2 or Caere Vetus, on the site of Yeii, Orte,3 and
Viterbo,4 at Yulci,5 at Palo, the ancient Alsium,6 at Chiusi
or Clusium, Sarteano, Castiglioncel del Trinoro, Chianciano,7
and Cesona,8 six miles to the west of Chiusi ; also at
Magliano,9 Orbetello,10 Orvieto,11 especially at Volaterra,12
and Cortona,13 numbers of these vases are found.

The vases of the different localities are, however, distinct
in style ; those from Chiusi, Yolaterra, Magliano, and
its neighbourhood, have figures in bas-relief, while those

1 Dennis, Cities. 1, 225, v.

2 Dennis, Cem. and Cit. p. 58.

3 Ibid. 164.

4 Ibid. 197.
6 Ibid. 410.

6 Ibid.ii. p. 72-73.

7 Dennis, ii. p. 101, 409 ; Micali,
Ant. Pop. Ital. tav. xxii. xxvi. ; Mon.

In. xxviii.-xxxi. ; Mus. Chius. xii.-xix.
xxi.-xlv- Ixxxii. ; Dennis, ii. 348.

8 Ibid. p. 402, 425.

9 Ibid. ii. 296.

10 Ibid. ii. 265.

11 Ibid. ii. 528.

12 Ibid. ii. 203.

13 Ibid. ii. 442.

ETRUSCAN RED WARE.

209

from Palo and Veii, have the figures incised or engraved.
In many instances, they are entirely plain. The solution
of the question as to their relative antiquity has been
much retarded by the uncritical and careless manner in
which the tombs have been opened. At Palo the incised
vases were found in excavated tunnel tombs, like the
Egyptian speoi, and in these were what have been called
Egyptian remains, as painted ostrich eggs, and beads of
an odorous paste. At Magliano such remains were found
in sepulchres with the scarabsBi. The vases with subjects
in bas-relief, appear to be found in tornbs with the alabaster
sarcophagi, most of which cannot be placed earlier than
the third century, B. c. In none were found coins which
would have been of much service in fixing the age
of the vases of this class. Most
of them appear to be prior to the
circulation of the as grave of
Italy.

There is some reason to believe
that this black ware was that
supposed to have been made by
the corporation of potters in the
days of Numa, B.C. 700 j1 for
Juvenal mentions it as being in
use at that period : "who dared

. ,. , , No. 181.— Painted ostrich egg. Vulci.

then, he says, "to ridicule the

simpuvium and the black saucer of Numa ? " (nigrumque
catinwri) 2, while Persius 3 styles it the Tuscum fictile or
Tuscan pottery ; and it appears from Martial that

1 Pliny, N. H. xxxv. xii. 46.
9 Juvenal, vi. 343.

3 Ibid. ii. 60, Schol. Vet. « Vilem
fictilemque a Thuscis olim factum."

210 ETRUSCAN POTTERY.

Porsenna,1 B.C. 507, had a dinner set of the same ware.
Horace also speaks of the Tyrrhene sigilla, or Tyrrhene
pottery.2

EED WAKE.

The next class of vases to be considered is that of the
red ware, of which there are two or three different kinds.
The first consists of certain large jars resembling the cask
(pithos or Jceramos] in which wine and other things were
stored, and which, long before the time of Diogenes,
afforded a retreat to Eurystheus when he fled at the
sight of the Erymanthian boar. Such a vase also formed
the prison of Ares, when bound by the twin Aloids —
Otus and Ephialtes. The bodies of these vases are reeded,
and there is usually a bold modelling running round the
neck, for which a frieze, with figures of animals, is some-
times substituted, resembling those on some of the black
ware. Sometimes the friezes have hunting scenes of
animals chased by persons in chariots ; at other times they
represent entertainments. These vases often have handles,
thus forming a kind of large amphorae or diotae. They
generally stand in flat circular dishes of a similar ware, but
of finer paste, the broad and flat lips of which have friezes
of similar subjects impressed in bas-relief with a cylinder.
These vases are very old, probably B,c. 700, and are chiefly
found in the old Etruscan cemeteries, in the tunnelled
tombs of Cervetri3 or Caere Vetus, or at Tarquinii,
and on the site of Veii. Their paste is of a dullish red

1 " Lautus erat Thuscis Porsenna fie- 2 Epist. II. 2, v. 180.

tilibus."- 3 Mm Etr> vat. ii. xcix. c.

Martial, Epig. xiv. 98.

GREAT JARS. 211

colour, and of a gritty material, apparently mixed with the
tufo of the soil. Sometimes they are of a pale salmon hue,
mingled with black specks or ashes, probably of a volcanic
nature. The bodies of these vases are too large to have
been turned upon the wheel, and they must consequently
have been modelled.

As they are found in tombs which contain no painted
vases, they evidently belong to the earliest period of the
Etruscan conquest. They are about three feet four inches,
with expanding mouth, and body tapering to a cylindrical
foot. A festoon or zigzag line in relief usually runs
round the neck of these vases, the body of which is
reeded, and a ring or band in bas-relief round the foot.
On the shoulder of these vases is a frieze or zoidion either
impressed from a cylinder and then run in a continuous
repetition round the neck, or else stamped from a mould
about 2^- inches square, depressed like metopes. Their
upper surface is flat like work in ivory, and they seem
moulded from bronze or other metallic work. That
these were separately stamped is evident from some hav-
ing been double struck, and others having been only half
struck, owing to their interfering with the part already
impressed. These latter ornaments or metopes contain
generally only one figure, while the friezes have a subject
successively repeated. The connection of these vases
of Caere with the early metallic works of Egypt
and Assyria will appear from the animals and monsters
represented, which show an acquaintance with Asiatic
art, either derived from the early commerce of the
Etruscans, or introduced to them by other means from
Asia. Such patterns probably passed over to Greece and

p 2

212 ETRUSCAN POTTERY.

Italy from the Western coasts of Asia Minor and from
the Phoenician sea ports in Syria. The most remarkable
of these representations indeed are to be found on the
silver cups and other gold objects discovered in the
tombs of Crere, which show a style of art immediately
derived from Egypt, and such as existed in Egypt during
the reign of the Psammetichi, when the ports of the
Nile were thrown unrestrictedly open to Greek com-
merce, and Egyptian art and even language appears in
the annals of Corinth about the 7th and 8th century
before Christ. At this period the Etruscans had probably
developed a brisk trade in the Mediterranean, and ivory,
ostrich eggs, amber, Egyptian porcelain, and tin found
in the articles of adornment of the oldest sepulchres,
show the extent and activity of the national adventure.
The vases of Greek Proper indeed had not yet been im-
ported, but the great casks or dolia, of which mention is
now made, were manufactured on the spot, probably under
the direction of colonies of Greek and other potters.
This admixture of Hellenic art is visible in the sub-
jects, which, are Sphinxes, centaurs, horsemen, wild birds
perched on the back of the horse, Pegasi, Gorgons, and
Chimseras, winged lions uniting in a common head, man
hunting a stag, lions, birds, and similar subjects. These
so nearly resemble the vases of pale clay with friezes of
animal figures, that they must have immediately preceded
them.

Of a deeper red, but of rather finer paste, and covered
with a coating of red paint, are certain dishes found in
the sepulchres of Vulci and other places, and almost
resembling the Aretine ware. Many jugs or cenochose,

ETRUSCAN YELLOW WARE.

213

phial se or saucers, ascoi or bottles, and a few cups, are also
found of a red paste, more or
less deep in colour and fine
in quality.

The most remarkable vases
of this sort are those which
held the ashes of the dead,
rudely modelled in shape of
the human form, the cover re-
presenting the head, and hav-
ing in front small rude arms
and hands. These were placed
in the tombs in curule chairs,
as if the dead still sat there
in state.

No. 182. — Etruscan Caiiopus of Terra-
cotta.

YELLOW WARE.

Of pale yellow ware of fine quality, but imperfectly
baked, are certain lecythi and perfume vases, found in the
more ancient sepulchres. These very much resemble the
painted vases called Doric, but are not decorated with
figures. They are modelled in the shape of animals, of
Venus holding her dove, &c. ; and some were perhaps
made by the Etruscans. Various unglazed vases of a
light-coloured paste come from the Etruscan sepulchres,
and such may be occasionally contemporary with the
earlier vases, but the general mass of this pale ware
appears referable to a later period.

214 ETRUSCAN POTTERY.

PAINTED VASES.

Although the Etruscans executed such magnificent
works in bronze, exercised with great skill the art of
engraving gems, and produced such refined specimens of
filagree work in gold, they never attained high excellence in
the potter's art. The vases already described belong to
plastic rather than graphic art, and are decided imitations
of works in metal. Their mode of painting certain vases
in opaque colours, in the manner of frescoes, which were
not subjected a second time to the furnace, has been
already described. These were probably their first
attempts at ornamenting vases with subjects, and such
vases are as old as the sixth century B.C.

These vases are quite distinct from the glazed vases of
the Greeks, which, however, the Etruscan potters imitated,
although not at their first introduction into the country.
They subsequently produced imitations of the black and
red monochrome vases, as appears from a few specimens
which have reached the present time, and which are in
the different Museums of Europe. In order to make these
imitations they used different methods. The vases with
black figures upon a red ground were produced, either by
making a vase of pale paste and painting upon it a subject
in a black glaze of leaden hue, or else by painting an
opaque red ground in an ochrous earth over the black
varnish of a vase entirely coloured black, of which an
example may be seen in the hydria now in the British
Museum, representing the subject of a giant attacked by
two gods. In this case the inner engraved lines are

ETRUSCAN PAINTED VASES. 215

usually omitted. This mode was, however, not exclu-
sively Etruscan, for a vase found at Athens by Mr. Burgon
has its subject painted in a similar manner, in red upon a
black ground. Another vase in the Bibliotheque Imperiale,
at Paris, with the subject of Chiron, has been painted
upon the same principle, and this process has been adduced
as a proof that the art of making painted glazed vases
was a mystery to the Etruscans. But there are several
vases of pale clay, painted with a dull leaden glaze, and
of treatment so bad, and drawing showing such remark-
able analogies with other works of Etruscan design, that
their origin is undoubtedly local, and they are called by
Italian antiquaries "national."

The subjects of these vases generally show traces of
Etruscan influence, and often resemble the friezes of the
solid black ware, abounding in winged figures and mon-
strous combinations, not capable of explanation by Hellenic
myths, or else have scenes derived from private life. Many
of these vases are evidently much later than the vases
with black figures, which they attempt to imitate, and
must have been fabricated at a late epoch. To produce
imitations of vases with red figures, the Etruscan potter
adopted the processes already described. In the vases
with black figures he stopped out, with an opaque red
ground, all but the required figures ; but to produce a vase
with red figures, the required figures were painted in an
opaque red, apparently a pulverised clay, on the dull
leaden back ground of the vase. The figures were relieved
by passing a tool, not so sharp as to cut through the
black glaze, through the required details of the opaque
red figure down to the black glaze, thus producing the

216

ETRUSCAN POTTERY.

inner black outlines usually painted on the red figures of
the Greek vases of the more finished style. But they also
manufactured a ware of paler paste, with figures of a
pallid tint, and glaze of a leaden hue, drawn in imitation
of the finer Greek vases. Their drawing is bad, and the
subjects generally unimportant. Sometimes Etruscan
deities, such as Charon with his mace, are represented on
them, which decides their Etruscan origin. The general
mass of the vases of this style and period resemble those
of the later Greek potteries found in the sepulchres of
Puglia, and of the Basilicata. Although their shape is
less elegant, their clay less fine, and their inscriptions
generally more local than those of the Greek vases, yet
their subjects are generally derived from the Greek
mythology, treated in a manner consonant to the Etruscan
taste, and to the local religion, while their drawing is of
the coarsest kind. On a vase of this class (formerly
belonging to Dr. Braun, at Rome, having for its subject
the farewell of Admetus and Alcestis,1 with Etruscan
inscriptions accompanying the figures, and an Etruscan
speech issuing from the mouth of one of them), there is
depicted, behind Admetus, one of the horrid demons of the
Etruscan hell, probably intended for Hades or Thanatos,
girdled in a short tunic, and holding in each hand a snake.
Behind the faithful wife is Charon, with his mace. On a
second vase of the same style and fabric, found at Yulci,
Neoptolemos is represented killing a Trojan prisoner, pro-
bably Polites, also in the presence of the Etruscan Charon ;
while, on the reverse, Penthesilea, or her shade, is seen,

1 Engraved in Dennis, "The Cities and Cemeteries of Etruria," vol. ii.
Frontispiece.

VASES WITH ROMAN INSCRIPTIONS. 217

accompanied by other figures, to which are attached an
undecyphered Etruscan inscription.1 A third vase of the
same class has on it Ajax, designated by his Etruscan name,
committing suicide by throwing himself upon his sword, after
the fatal judgment respecting the armour of Achilles ; while,
on the reverse, is the unfortunate Action, also designated
by his name, killed by his own dogs.2 On another of these
vases, the Etruscan name, Elenai, of " Helen," inscribed
upon an oval object held by a female, and addressing a man,
is supposed to represent Leda showing Tyndareus one of
the eggs from which spring the Dioscuri, Helen, and Cly tem-
nestra.3 The age of these vases is universally referred
to the very latest time of the existence of the potteries,
and those with the opaque red figures are supposed
to have been made between the fall of Veii, A. v, c. 359,
B. c. 395, and the civil wars of Marius and Sylla,
B. c. 90.4

Connected with these vases are certain others of pallid
clay, figures of a light tone, white accessaries, dull glaze,
and coarse shapes, discovered in the sepulchres of Orbetello
and Volaterra, on which are painted figures, armed with
the long oval buckler, and the square Roman scutum.5
These vases are almost the last examples of the glazed
kind produced in Italy, and were succeeded by a class of
excessive interest, of which, however, only a few examples
have been found. Their subjects are painted in opaque
white colour upon a black ground, in drawing of the

1 Raoul Rochette, Sur deux vases 3 Micali, Mon. In. xxxviii.

points du style et de travaille fitrusque, 4 Annali, 1834, p. 81-83; Gerhard,

Annali, 1834,274 ; Campanari, Dissertaz. Rap. Vole. p. 31, n. 177.

1. c. 5 Inghirami, Vas. Fit. ccclviii.

2 R. Rocbette, 1. c.

218 ETKUSCAN POTTERY.

coarsest kind, far inferior to the best examples of this class
of vases found in southern Italy, and consist of figures of
Cupids or Erotes, accompanied with old Latin inscriptions,
such as. Volcani pocolom, Heri pocolom, Belolai Acetai
pocolom, the cup of Vulcan, of Hera, of Bellona or Acetia,
in Latin as old as the age of Ennius and Plautus : why
these inscriptions were placed upon them is uncertain.
Perhaps, as all of them have the names of deities, they
may have been placed before the images of the gods, or at
their lectisternium. The archaic form of the word Poco-
lom, resembling that of Romano-m of the coins of the
Romans struck in Campania, shows that they were
made about the time of the Social War, B.C. 200, at the
earliest, and probably much later. They were found
at Orte.1

INSCRIPTIONS.

The inscriptions which accompany the Etruscan vases
are of two kinds, like those on the Greek, namely, such
as are painted on the glaze of the vase itself, descriptive
of the figures and other circumstances connected with the
subject, and such as are incised. The former are painted
in an opaque colour, white or red, and are in the Etruscan
language, resembling those which accompany similar
figures on the engraved scaraboei, or bronze mirrors.
Such are the names of the deities YADV, Charu[n], or
Charon ; of the Centaur V IDV, Chiru[n], for Chiron ; and
of the heroes AIFAZ, Aivas or Ajax ; ATDESTE, Atreste,
or Adrastus ; AKTAIVN, Actaiun, or Action ; and of the

1 Secchi. Bull. 1837, p. 130, 1843, p. 127; 1843, p. 72.

ETRUSCAN INSCRIPTIONS. 219

females EVINAI, Elinai (of) Helen; AVC STI, Alcestis; and
PENTASIAA, or Penthesilea. Some other of these painted
inscriptions are not equally intelligible, having such words as
HlNOIAA WPMVCAS,Hinthia(l) Turmucas,"the crowds of
shades" which accompany Penthesilea, and EC A : EDSCE :
NAG : Ay DVMi iBLEDODCE, eche : ersche : nac aqrum :
wlerthche, the speech of Charon at the parting of Alcestis
and Admetus. Some few of the inscriptions, painted on the
vases after the baking, seem to refer to the vase itself,
2VAAZ\4A\"\,lmiZarisaaqs AMWU^S AqAI"h2 mi
arathsil guna, which are painted in white and red. On a
deep crater is found ZV\/37O<IANl ,'£3 IBM 31 veneies
Larthoelus, and on another crater ;2HOA:a3!-3W31,
veneies Aphns? As the Etruscan word mi is supposed to
stand for " I am/' it is probable that the. inscriptions refer
to the vases themselves, or to their proprietors.

A still larger class of inscriptions are the incised, or
engraved. They are found on Etruscan vases of all
classes, but more frequently on the solid black ware than
on the painted vases, on which last, however, some
examples occur. Thus, a rliyton, formerly in the collec-
tion of the Prince of Canino, and now in the British
Museum, has under one of its handles, ^3l>KA<Al
:i/!V\/K\/*. lOsl)Nl<l3, Efpupoi ululun plaqies apparently
an address to Ululuns, or the Etruscan Dionysos.4 Gene-
rally, however, the name alludes to the proprietor, as on
the vase found at Tarquinii, republished by Inghirami,
reading, Z3+ZBV £3H-l/\32: ZAA>K4A»1 I*I mi

1 Mus. Etr. Vat. II. xcix. 2. de Vases peints," 8vo, Paris, 1837, no.

2 Ibid. 3. 198. Perhaps " plaqies " is for " places,"

3 Ibid. 3. " thou pleasest."

4 M. De Witte, Descr. d'une Coll.

220

ETRUSCAN POTTERY.

Marqaas Senties Questes, " I am [the dish of] Marcus
Sentius Cestius." l In the numerous examples given in
the work of Micali,2 other inscriptions are unmistakeably
the names of the ancient proprietors, as, ZAMI4VAZ,
Spurinas ; I >l V 1/1 3 "1 , Senuli, or Menuli ; £ A M £ A 4 ,
Lasnas. Some other inscriptions appear to refer to ladies,
and are prefixed by the word, 3 V A ^f , imitated from the
Greek, as AS3OA1I V"13>/ A>l, Kale Mukatliesa, "the
lovely Mukathesa ;" but it is difficult to feel sure about
the meaning of many of these inscriptions, as they
frequently consist of truncated words, whilst others do not
recur elsewhere. A small vase found at Bomarzo, and
another at Cervetri, were incised with the Etruscan
alphabet. The presence of incised inscriptions3 in the
Etruscan language under the feet of vases has been
alleged as a proof that these vases were made in Italy;
but this, of course, turns on the circumstance, whether the
inscriptions have been incised after the clay was baked.4
Even at Nola' a few vases have been found inscribed
with Oscan inscriptions,5 supposed to be the names of
their former possessors, and some terra-cotta tablets
inscribed with Oscan characters were found in the valley
of Gavelli, at a place called La Motte, six miles from
Hadria.6 A few vases of the later style of art, when
pottery had fallen into discredit, have the Latin inscrip-
tions already -mentioned painted in white letters on them,
and intended to describe their use, as KERI : POCOLOM,

1 Inghirami, Mon. Etr. Tav. vi. s. vi. 4 Bull. 1844, p. 13; Berl. Ant. Bild.
T. 0. 3 7. no. 1667.

2 Antichi Monument!, fo. Flor. 1832. 5 Berlins Ant. Bild. no. 1613, 1629.
Tav. ci. e Muratori, dix. 2.

3 Arch. Zeit. 1844, s. 335.

VASES FROM OTHER SITES. 221

the cup of Kerus, or Janus; VOLCANI : POCOLOM,
the cup of Vulcan ; BELOLAI : POCOLOM, the cup of
Bellona ; LAVIIRNAI : POCOLOM, the cup of Laverna;
SALVTES : POCOLOM, the cup of Salus ; AECETIAI :
POCOLOM, the cup of Aecetias.

ENAMELLED WAKE.

The enamelled perfume bottles, and other objects of this
ware, sometimes found in the tombs of Etruria set as
jewels, in frameworks of gold, and considered by Italian
archeologists to be certainly discovered in these sepul-
chres, are products of the Egyptian potteries. The
Etruscans, masters of the seas, imported enamelled ware
from Egypt, glass from Phoenicia, shells from the Red
Sea, and tin from the coast of Spain or Britain. This
ware is generally with a tarnished hue, and often
of a pale grass green colour, resembling that which
was made in Egypt at the time of the 26th dynasty
or the 7th century, B. c. It has been previously
described.

OTHEE ITALIAN SITES.

Many terra-cotta statues, bas-reliefs, have been found
in other cities, the art of modelling and working terra-
cotta having been in activity all over the Italian Peninsula.
Notices of the vases, and other objects in glazed ware will
be found in the chapter on the distribution of the pot-
teries. It would require a long research to describe all

222

ETRUSCAN POTTERY.

the Italian sites where terra-cotta remains have been
found, and in style of art and method of execution they
resemble Greek or Roman terra-cotta, according to the
site where they have been discovered. Those from the
cities of Southern Italy, Magna Graecia, and Lucania,
such as Calvi or Gales, Canosa, Psestum, Tarentum, are
in all respects similar to contemporary productions of
Greece Proper. Some bas-reliefs found at Capua,1 not of
very early work, about B. c. 200, are supposed from their
style and representation to be Samnite, while a consider-
able collection of terra-cotta statues from Ardea, in the
Campana collection at Rome, exhibit the style of Latium
in the days of the Republic, and consist of figures of con-
siderable merit, of rather a severe style of art. They are
important, as this city had a great celebrity for its ancient
fresco or tempera paintings.

1 Riccio, Not. d. scav. d. suol. d. ant. Capua, 4to, Napoli. 1855.

PART IV.

ROMAN POTTERY.

CHAPTER I.

Bricks — Lydia — Tetradora — Pentadora —Size— Paste — Use — Houses — Tombs —
Graves — Tiles — Tegulse — Imbrices — Antefixal ornamentation — Tile-makers
— Flue tiles — Wall tiles— Ornamentations— Drain tiles — Tesserae or tessell98
— Inscriptions on tiles— Stamps— Farms — Manufactories— Legionary tiles
— Devices — Columns — Corbels — Spouts — Friezes.

BEICKS.

IN treating of the Roman pottery it is not necessary
to repeat the description of the technical parts, as they
were the same as among the Greeks. We shall, therefore,
commence with bricks, which were called "Laferes"
" because/' says Isidorus, " they were broad, and made by
placing round them four boards. " 1 Their use was most
extensive, and they were employed as tiles for roofing
houses, as bricks for structures, as slabs for pavements,
and covering graves.

The simplest kind were made of clay merely dried in

1 Origin, xv. 8.

224

ROMAN POTTERY.

the sun, called lateres crudi, or raw bricks, and were used
for building walls. The clay of which they were made
was called argilla or limits ; and they were cemented
together by clay or mud, called lutum.1

According to the Roman writers, bricks were divided
into three classes. " Three kinds of bricks/' says Vitru-
vius, " are made ; one, which the Greeks call Lydion which
our people use, one foot and a half long, and a foot broad.
The Greeks build their edifices with the two other kinds.
One of these is called the pentadoron. For the Greeks
call a palm b<Zpov ; whence the presentation of gifts is
called dor on, for that is always borne in the palm of the
hands. Hence, that which is five palms long every way
is called pentadoron, vcvTabupov, and that which is four,
tetradoron. Now public edifices are built with the penta-
doron, private with the tetradoron" 2 Pliny states nearly
in the same words, " Their sorts [of bricks] are three, the
Lydion, which we use, one foot and a half long, and one
foot broad ; the second, the tetradoron ; the third, the
pentadoron. For the ancient Greeks called a palm a
doron, and hence dora are gifts, which are given with the
hand. Therefore, they are named from their measures
of four and five palms. Their breadth is the same. The
smaller are used in Greece for private buildings, the
larger for the public edifices." 3 There is, indeed, some
discrepancy in the dimensions of bricks, as Palladius
makes them measure two feet long and a foot wide, while
the others give their dimensions as a foot and a half long

1 Pliny, N. H. xxxv. 13, 49. Varro, de
Re Rustica, i. 14 ; Columella, de Re Rus-
tica, ix. i.

2 Vitruvius, ii. 3.

3 Pliny, N. H. xxxv. 14, s.

DIMENSIONS OF BRICKS. 225

by a foot wide and four inches thick, but their dimen-
sions may have been altered in the interval between
these writers. Two dimensions are recorded by the
brick-makers in the numerous inscriptions, bipedales, or
two-foot bricks, and secipedales or sesquipedales, one
and a half, which occur amongst the names of the
makers of the opus doliare. The Lydian^ were probably
so called from their resembling those used in the palace
of Croasus, at Sardis, the dimensions of which were rec-
tangular like the didoron, of which they appear to be
but another name. In their proportions they resemble
our tiles rather than bricks, being very flat and thin in pro-
portion to their size. They are generally square or rec-
tangular, with the exception of the cylindrical hand bricks.
The smallest size, the tetradora, generally measure between
seven and eight inches square. Pentadora are often found
measuring fifteen inches, by seven and a half inches
broad. Some of the larger, which are twenty inches
square, are the bipedales. Their thickness varies from
one and a quarter inches to two inches. They are not
made with mechanical accuracy, the edges being rounded
and the sides not always parallel. In military works they
were often used alternately with flint and stone, and for
turning arches of doorways. For this purpose the two
sizes were sometimes combined, in order to bond the
work, or, the bipedales tegulce, or " two-foot tiles," as
Vitruvius calls them, and the sesquipedales, or " tiles of
one and a half feet." The dimensions of the bricks found
in Sicily varied from two palms six inches to one palm
nine inches in length. Those of Treves were one foot

1 De Re Rustled, vi. 36, 12.

VOL. II. Q

226 ROMAN POTTERY.

three inches broad, one and a quarter inches thick ; others
from Civita Vecchia, in the Museum of Sevres, measured
0-65° long by 0*5° thick.

The general size of the Roman bricks was 15 x 14
inches by two inches thick. The hypocausts had the
pillars of their floors formed of bricks, from seven or
eight inches to ten inches square, bessales, and sometimes
of two semicircular bricks joined at their diameter, and
so forming a circle.1 Occasionally the upper bricks
diminished in size, in order to give greater solidity to the
construction. The upper floor bricks, or tiles, were from
eighteen inches to twenty inches square, and formed
the floor of the laconicum. All these were laid with
mortar.2

The great building at Treves, called the palace of Con-
stantine, is built of pentadora burnt bricks, 15 inches
square and 1^ inches thick.3

Baked bricks, called cocti or coctiles, were in general
use. Clay, which was either whitish or decidedly red,
was preferred ; and, as is evident from inspection, was
well ground and mixed with straw. It was then kneaded
and stamped out from a frame or mould of four boards.
The bricks then went through the usual process of
drying in the brick-field, indeed some of them bear the
marks of the feet of animals and birds, which passed over
them while the clay was yielding and unbaked, and on

1 See Caumont, Cours. D'Antiq. ii. Corinium, p 64 — 66. The bricks of the
PI. xx. figs. 1-5, p. 161-5. pilse were 8 inches square ; the floors

2 Caumont, Cours. PL xx. p. 170-1 ; were made of flange tiles.

cf. Buckman and Newinarch, Illustra- 3 Wyttenbach, Guide to the Roman

tions of the remains of Roman Art in Antiquities of Treves, p. 42.
Cirencester, the site of the ancient

PASTE OF BRICKS. 227

a brick at York are the nails of the shoes of a boy ;
on those in the Museum of Shrewsbury, the imprint of the
feet of a goat. The bricks were then baked — an opera-
tion expressed by the phrase lateres ducere 1 — in kilns
apparently covered as the fornax. They were then ready
for use, but were kept for two years before they were
employed. Much care was taken in their preparation,
and it was generally considered that the spring was the
most favourable time for making them, probably because
they dried more slowly and were less liable to crack during
the operation, in autumn the rain interfered with the
making, and in winter the frost.

The paste of the Roman brick is remarkably hard, and
generally of a fine red colour, although sometimes of a
pale yellow intermingled with fragments of red brick
ground up with it to bind it together. Both kinds
are found even in the same locality.

In the museum of Sevres are fragments of bricks of a
red paste, from different parts of France and Italy, as
the Thermae at Civita Yecchia, the pavement of the
Coliseum, the theatre at Lillebonne, and the Thermae
of Julian2 and Trajan. Among those from Civita
Vecchia, were some similar to the so-called hand bricks,
which are rude conical lumps of red paste, roughly
fashioned with the hand, and supposed to be used for
raining marshy roads, one having been found in the bog of
Mareuil near Abbeville,3 cut in facettes, and with stri-
ated marks. Some from Italy were baked almost to a stone
ware, and others from Byzantium were of a similar red

1 Pliny, N. H. vii. 57. 3 Ibid. 17.

2 Brongniart, Mus^e, p. 16 18.

Q 2

228 ROMAN POTTERY.

paste.1 The bricks formed one of the great staples of the
manufacture in baked earth among the Romans, who appear
to have derived it from their Etruscan ancestors. Baths,2
whether public or private, military towers, and walls were
constructed with bricks, as they were better able to resist
the battering ram than stone ; as well as tanks for holding
water, amphitheatres, palaces, temples, and other public
edifices.3 The tombs of Cumae of the Roman period are
made of brick. Gigantic brick walls erected near Cumae,4
and great arches of brick still remain in the amphitheatre
at Puzzuoli.5 The magnificent aqueducts, the prototypes
of the modern viaduct, broad enough for a horseman to
travel along them, were constructed of the same material.6
The villse, insulaa, and houses of Rome were of brick
during the time of the republic, and Dio mentions how
an inundation of the Tibur destroyed the bricks of the
houses in the time of Pompey. Augustus boasted that
he had found Rome of brick and left it stone,7 and
Vitruvius mentions that brick was no longer adopted for
Roman houses in consequence of the laws which pro-
hibited the thickness of the walls exceeding 2J feet, thus
preventing their being made two or three bricks thick,
which was required for the joists. From the time of
Trajan however the use of bricks revived, and public
edifices were made wholly of them. They were laid in a
manner called the opus reticulatum, or 'network/ A
common mode of construction, especially in the military

1 Brongniart, Mus£e, p. 18. di Pozzuoli, di Gaetano d'Ancora, p. 120.

2 Martial, Epigram vii. Ixxvii. 5 Avolio, p. 35 ; G. d'Ancora, p. 61.

3 Avolio, p. 10. « Avolio, p. 35.

4 Avolio, p. 34 ; Guida Ragiouata per ^ Sueton. Aug. c. 29.
le antichita et per le curiosita natural!

VARIETY OF BRICKWORK. 229

works, was to lay them in double courses horizontally with
stone above and below, which bonded the stone-work and
lessened its monotony by the red veins which they pre-
sented to the eye of the spectator. Sometimes they are
disposed in chevrons or Vandykes.

A hand-brick found in Guernsey is in the collection of
the Museum.1 It is 3f in. long, 2^ in. diameter above,
and 1^ below ; of a coarser and more gritty composition
than the regular tiles.

TILES.

The word tile (tegula) was evidently derived from
tegere, " to cover ; " called " teyula" says Isidorus,2
"because it covers the house." The curved tile was
called imbrex, because it received the showers, imbres ;3
and those which resemble the
French festieres are called by
Pliny 4 " laterculi frontati." The
tile is distinguished from the brick
by its greater thinness in propor-
tion to its superficies, and by its
being employed generally for
roofing houses. Tiles are much
more commonly found than bricks
The margin of the tiles is called

No. 183.— Flange Tile. London.

hamata.5

The most distinctive mark of tiles is the flanges. The

1 Archaeological Journal, vol. vii. p. 3 Ibid. " Imbrex, quod accipiat
70. imbres."

2 Origin, v. 8, " Tegulse, quod sedes 4 N. H. xxxv. 12.
tegat." 5 Vitruv. vii. 4.

230 ROMAN POTTERY.

paste of which they are composed is compact and dense,
very similar to the brick, but generally not so fine.
Their clay when baked is either of a pale salmon or light
straw colour. In some specimens, portions of bricks
appear to have been ground up and mixed with the paste
in order to bind it. Small stones, and fragments of
vegetable remains, are also occasionally seen amidst the
paste.

Tiles, like bricks, appear to have been made by means
of a mould, but two boards were probably sufficient for
the purpose. A hole was then driven through them by a
peg when they were intended for roofing, especially for
the opus pavonaceum, or " peacock's work," in which they
are arranged like scales, being hung by one corner. The
flange tiles were probably made in the same way, and the
flanges subsequently turned up by the hand of the work-
man. They were then dried in the sun, evidently by
being laid flat upon the ground, and subsequently baked
in a kiln. How they were transported, or what they cost,
or were taxed, unfortunately are among the particulars
which have not reached us.

M. Brongniart, in his catalogue of the Museum of
Sevres, has described many of these tiles either of yellow
or of red paste, and turned up at the edges, and showed
that they were used for roofing, from the remains of
Eoman villas and baths in France. Some were for hypo-
causts,1 others for pavements,2 and others for roofs of
houses.3 Similar tiles are found all over England and

1 As the one from Heilenburg, Mus. Laon, p. 17 ; also at Pontchartrain ;
PI. II. 13, p. 17. ibid.

2 From the Tower of Dagobert at 3 From Mt. Ganelon, ibid. 18; at

TILE WORK. 231

Germany, wherever traces of Roman occupation occur,
and were made on the spot.

Tiles having their edges turned up, were principally
employed for roofing, but some were occasionally placed
in the walls when others were not at hand.1 Those found
in France are said to be distinguished by the sand and
stones found in their paste.2 In the ruins of villas they
are found scattered about the floor, the roofs having fallen
in. The flanges are generally about 2j inches higher
than the lower surface of the tile. They are bevelled on
their inner side in order to diminish the diameter of the
imbrex, but have no hole by which to nail them to the
rafters. In order that the lower edge of one tile might
rest on the upper edge of that which came next to it, the
two sides were made to converge downwards, as seen in
the cut. These joints were of course covered by the
semi-cylindrical tiles called imbrices, and the roof was
thus rendered compact.3 The rain flowed down each row
of broad tiles into a gutter ; the end tiles being lapped
up at their outer edge, and provided with a spout, in
shape of a lion's head in bas-relief, for the purpose of
carrying off the water. The imbrices were plain semi-
cylindrical tiles, except the last, which had an upright,
generally semi-oval, and ornamented with antefixal or
other ornaments. The end tiles were always flanged on
their exteriors, and had a mseander or antefixal ornament
painted upon them.4

Blizon, ibid. 18 ; mixed with white '2 Ibid. 184.

quartzose sand at Noyelles-sur-Mer, 3 Xenophon, Memorabilia, III. s. 1,

ibid. c. 7.

1 Caumont, Cours. ii. p. 182. « Diet. Antiq. Tegula, p. 939.

232 ROMAN POTTERY.

The tiles from private houses, as will be seen by the
one found at Ostia, were upon the same plan as those
used for the temples. The use of tiles for the roofs of
private edifices as well as temples is proved by the
ordinary expression of descending from the tiles, being
applied to those who came down from the roof.1

The tiles with two of their parallel edges turned up
called flanged tiles, were principally used for roofing;
but they were also employed for the floors of the laconica
and the hot baths, in which case they were inverted, the
flanges being placed on the pila?, and the stucco floor
was laid on them.2 Several of these tiles, of red and
yellow paste, from the Roman Thermae near Saintes
are in the Museum of Sevres, as well as others from
the ancient potteries at Milhac de Nontron ; also some
tiles of red paste mixed with calcareous remains found
at Palmyra.3 In England in the military castra these
flange tiles are also found of a red or yellow colour, the
latter apparently having fragments of red tiles mixed in
the paste. They are worked in the brick bonding of
the walls.

Of two tiles found at Boxmoor, and now in the British
Museum, the one plain, the other a flange or roof tile,
the dimensions are nearly similar. The plain tile measures
1 foot 4 inches long, by 10^ inches wide, and 1^ inches
thick. The flange tile 1 foot 3J inches long, by 1 foot
wide, and the highest part of a flange 2J inches high.
These are probably the tiles of one foot and a half in

1 Terent. Eun. iii. 5, 60 ; Gellius, x. 3 Brongniart and Riocreux, Mus. de
15 ; St. Luke, v. 18. Sevres, I. 18.

2 Cf. Buckman and Newmarch, p. 64.

FLANGE TILES. 233

length, the sesquipedales of the inscriptions. In the same
collection are two tiles, sub-multiples of the above, mea-
suring 8 i inches square, by li inches long. They are
not quite square, as usual. In the same collection are
several other fragments of flange tiles, which have appa-
rently been of the same dimensions. The flanges, how-
ever, are always bevelled on the inner side.

One of the most interesting facts connected with tiles
is their use in the graves of the ancient Romans. The
large bipedales tiles were set up in a prismatic form, one
forming the floor, and the two others the pointed covering
(en decharge), which protected the body from the superin-
cumbent earth. In some of the graves of Greece,
apparently of the same age, semicircular or vaulted tiles
were used. On these bricks were impressed in large
letters the names of the legions which garrisoned the
various cities. Thus the tiles of the Roman graves at
York * are inscribed with the name of the sixth and ninth
legions which were there quartered, while at Caerleon, the
old Isca Silurum, the bricks bear the name of the second
or Augustan legion.2 The stations of the twenty-second
legion may also be traced by the bricks placed over
the graves of its soldiers in this manner.3 They were
placed at the foot of the sepulchre in order to indicate,
like tomb-stones, who was buried beneath. The inscrip-
tions in most cases are written across the breadth of the
tiles in Greek or Latin.4 The inscriptions given by Gori

1 Wellbeloved, Eburacum, p. 33, 34, 3 Wiener De Legion. Rom. 1838, p.
118. 106-137.

2 Lee, Delineation of Eoman an- 4 See Gori, Mus. Etr. iii. Tab. xxvii.-
tiquities found at Caerleon, PI. xiii. ; xxx.

Gent. Mag. Nov. 1845, p. 490.

234 ROMAN POTTERY.

are of very different age, some apparently as late as the
introduction of Christianity.

At Royston, in a supposed mtrinum, roof tiles either
covered the mouths of the sepulchral urns, or they were
placed around them as a septum.1

The name of the imbrices, as already stated, from their
use in keeping off the showers, imbres, from the joints
of the roof tiles ; and the roof of a bath, found at Ostia,
will illustrate the manner in which they were placed over
them. They were semi-cylindrical, about 3 feet long, and
3 inches in diameter, and 1^ inches thick, made of the
same material as the flange tiles, and apparently with the
hand, but are not stamped like them with potters' names.
The imbrex close to the edge of the roof had a perpen-
dicular semi-elliptical piece, called the antefix. The tiles
were connected at their edges, being laid for that purpose
across the rafters, posies, of the roof, tectum? The~semi-
oval upright plate, or antefixa of the imbrices, was not large
enough to admit of much ornament. The usual one is the
floral antefixal ornament, sometimes, indeed, replaced by
acanthus leaves, accompanied with the mseander. Busts,
from their elongated shape, were peculiarly appropriate
to these plates, and those of Juno,3 Venus, heads of the
Gorgon, and Neptune between two dolphins, and tragic
masks, have been found.4 In this case the bust is
stamped in a mould, and applied to the antefixal
ornament. Two found at Ostia had groups instead of

1 Archseol. xxvi. p. 370. 3 Campana, PL xi. on specimens

2 Bayardi, Catalogo degli Antichi found on the Palatine Hill.
Monumenti di Ercolano, p. 284-285 ; 4 Campana, Tav. vii. at Ostia.
Smetius, Antiq. Neomag. p. 88.

ANTEFIXA— FLUE TILES. 235

busts, — such as Neptune sailing over the sea in his car
drawn by hippocampi, and the statue of Cybele in the
ship drawn by the Vestal Claudia.1 These came from
the ridge of a house, the tiles of which were inscribed
with the names of Consuls in the reign of Hadrian.

Sometimes the antefixa of the imbrex was strengthened
by a band behind, examples of which occur in the roof
tiles at Pompeii. The edge tiles of the roof were
flanged so as to form a gutter, and either externally
decorated with subjects moulded in bas-relief, — such
as antefixal and floral, and floral architectural ornaments,
— or else painted in encaustic with mseanders, and other
patterns. A space was cut out to admit of the insertion
of the antefixal ornament of the imbrex. The ancient
tiles were made by special makers, distinct from the
brick-makers, and called teyularii? tilers, or figuli ab
imbricibus.

FLUE TILES.

For warming the rooms of the baths and other
chambers a peculiar kind of tiles were used. The
manner in which they were placed along the walls of the
room will be seen from a plate of M. Caumont. They
are hollow parallelopipeda, with a hole at one side for the
ejection of the air which traversed them. Sometimes the
whole side of the wall was composed of flue tiles covered
with cement. Their sides are always scored with wavy
or diagonal lines, apparently to make the cement adhere

1 Campana, Tav. vi. at Ostia.

2 Muratori in Mongez ; Brongniart, Trait£, I. 367.

236

ROMAN POTTERY.

better to them. Sometimes these marks assume a more
regular and ornamental appearance,
such as the shapes of lozenges or
chequers, and the fleurettes, as on those
of the Roman villa at Hartlip,1 and the
lower tiles have scores of squares.2
They are generally of the same paste
as the roof tiles, and are found scattered
amongst the desolate Roman houses.
The flue tiles were sixteen and a half
inches long, six and a half inches wide,
five inches deep.3 A similar mode of
constructing walls is found in the build-
ing called the house of Agathocles at
Acradina,4 some of the walls of which
were made of hollow cylinders. The
tepidaria of baths were lined with rect-
angular hollow tiles, with holes for the
introduction of warm air to heat the walls of the chambers-
These tiles were plastered over with stucco.5 Cisterns
for holding water were made of brick, fine examples of
which are found at Taormina or Taurominium6 and
Selinunte or Selinus.7

No. 184.— Flue-tiles, orna-
mented.

1 R. Smith, Collectanea, vol. II. p. I.
p. 21, PL viii. fig. 1, 2.

2 Ibid.

3 Specimens of these tiles will be seen
engraved in Caumont, Cours d'Anti-
quities, t. ii. p. 172, PI. xxii. fig. 3 and 5 ;
and Buckman and Newmarch, Illustra-
tions of the remains of Roman art in

the Ancient Corinium, 4to, 1850, p. 64,
65.

4 Torre Rezzonico, Viaggio di Sicilia e
Malta, torn. v. p. 227 ; Avolio, p. 9.

5 One at Cassibili, near Syracuse;
Avolio, p. 21 ; cf. Avolio, p. 2, 4.

6 Biscari Viaggio, p. 7.

7 Avolio, 8.

WALL AND DRAIN TILES. 237

WALL TILES.

Of the nature of tiles were large thin squares of terra-
cotta, which were often two Roman feet square, and hence
called bipedalis, used for casing or reveting the walls of
rooms. They are found in the different Roman villas,
and are ornamented on one side with various incised
ornaments by the potter, apparently with a tool upon the
wet clay. The decorations of some, found in Essex,1
represent mseanders, the Greek border, rosettes, and other
ornaments. They were often covered with the stucco
with which the rooms were plastered.

DEATN TILES.

Terra-cot ta pipes, tubuli, joined with mortar, were
especially used for draining lands,2 and for drains of
amphitheatres.3 They were eight inches in diameter.

As among ourselves, fragments of brick and tile were
used to the very last, being employed for the second of
the five strata, called the ruderatio, of the road, while the
third, called the nucleus, was formed of bricks and of
large stones.4 The Roman mortar was made of sand,
chalk, and pounded brick.5

1 Archseologia, xiv. 64, 72 ; Brong- Fazzelli, Decad. I. lib. ix.
niart, Traite", I. p. 367. 3 Avolio, p. 21.

2 Some have been found at Terra 4 Avolio, p. 37.
Nuova, Alesa, and Alicata in Sicily, 5 Pitiscus.

ROMAN POTTERY.

TESSEE^E.

The tessons used for Mosaic pavements were made of
marbles, glass, and of a red brick. These pieces were called
by the Greeks psephoi ^-qfyol, or psephides ^(jnbes, pebbles ;
and by the Romans tessella, tessera, lamina. They vary in
size from an inch to almost a quarter of an inch square, and
were made either by fracture and cutting of the ordinary
Roman tile into small squares, or else were stamped in a
small mould. They supplied the red colour for the opus
musivum, or mosaic work, especially for pavements, and
aided in the composition of the various subjects. At the
time of the Byzantine empire such mosaics were intro-
duced into ceilings. The early mention of mosaic pave-
ments in the book of Esther, and the anecdote of
Aristarchus, show that they were in use before the time
of Augustus, although no extant mosaic is earlier than
that age, and most of them are of the period of the
Antonines.

The larger tiles of the tesselated pavements were
called tessera or tessera magna, the smaller spicata
testacea. The word tessella was particularly applied to
the pavements. It evidently comes from the Greek word
tessera, " four " (sided), of which tessella is the diminutive ;J
and thus signifies a diminutive cube or die. The term
testacea spicata was applied to pavements, the tessera of
which were not flat cubes, but packed with their ends
pointed upwards.2

1 " Tesseram a verbo Graeco reo-o-apo 2 Vitruvius, Arch. vii. 1 ; Pliny, 1ST. H.
dictam esseputat." Turnebus, Adv.xix. xxxvi. 25, 63.
26.

STAMPS ON TILES AND BRICKS. 239

INSCRIPTIONS ON TILES.

A considerable number of the Roman tiles are inscribed
with the names of the consuls of the current year in
which they were made, presenting a long and interesting
series, commencing with the consulship of L. Licinius Sura
and C. Sosius Senecio, A.D. 107, and terminating with that
of Alexander Severus, A.D. 222. Many of these consul-
ships, however, do not appear to have been recorded in the
regular fasti consulares, or official lists, and they were
probably the " suffects " whose names were not recorded
after their temporary elevation. Since many of the
potters indifferently inscribed, or omitted, the names of
the consuls upon their ware, it is probable that the tiles
so dated were destined for the public buildings, and were
so marked to prevent their being stolen with impunity.
They are fewer in number than those which have merely
the names of the potteries, or of the farms from which
the clay was procured, but are yet sufficiently numerous
to be an invaluable aid to the chronological inquirer in
tracing the succession of consuls for upwards of sixty years.
Inscriptions of this class belong to the opus doliare only,
and are found on the tiles of Italy alone, and it is pro-
bable that their appearance is owing to some law passed
by the senate, about the reign of Trajan, to regulate the
potteries. It has been, indeed, stated that the law obliged
the brick and tile-makers x to affix their distinctive mark
or emblem upon their bricks. The emblem in the circular
stamps is in the centre, surrounded with the inscription,

1 Cassiodor. I. s. xxv. ; II. s. xxviii.

240 ROMAN POTTERY.

as on medals, and resembling the countermarks or little
adjuncts on the currency of the republic, and the seals or
stamps of the eponymi of Rhodes. On the Roman tiles
these marks are generally circular, with a circular portion
cut out at one part, but they are occasionally oblong or
rectangular. The use of such a mark was to guarantee
the quality of the clay of which the tiles were composed,1
and which, in some instances, is found so remarkably fine,
so compact, and so well baked, that when struck it rings
with a metallic sound. It is of these bricks and tiles that
the greater part of the edifices of ancient Rome were
made, and Theodoric,2 when he repaired the walls, made a
present of 25,000 tiles for that purpose. The boast of
Augustus, that he had found Rome built of brick, and left
it constructed of stone, could only apply to some of the
principal monuments and quarters of the city. The
visitor of the Vatican will remember a great number of
these tile marks inserted in a wall of that magnificent
museum. Such tiles have been removed from the prin-
cipal edifices of ancient Rome ; the Coliseum, Circus
Maximus, the so-called Thermae of Titus, the Thermae of
Caracalla, the Basilica of Constantino, the Pra3torian Camp,
the Cemetery of Priscilla, the Mons Coelius, Mons Viminalis,
Mons Vaticanus, and the Pons Sublicius. Such marks
have also been found on tiles removed from the ancient
edifices, and now placed on the roofs of many of the
churches of modern Rome. Large collections of them
are, and were, in the museums of the Vatican, and in the
Villa Albani. Cortona, Bologna, Tibur, Pagnani, and

1 Seroux d'Agincourt, Recueil, p. 82, 2 Cassiodorus, Variar. i. 25, ii. 23.

PL xxxii.

STAMPS ON TILES. 241

Ostia have also revealed numerous tiles of this class, —
important remains of the golden days of the imperial
city, when the best of the emperors embellished it with
new edifices, or restored those of their predecessors which
exhibited symptoms of decay. To the topographer they
are of the greatest value ; and had the Romans stamped
on them the names of the buildings for which they were
destined, the sites of the great edifices of the city might
have been indisputably fixed. Besides the value of these
tiles in settling the succession of the consuls and the sites
of the monuments, they also throw great light upon the
economy of the Roman farms, and the possessions of the
great landed proprietors. Perhaps from Nero, and cer-
tainly from Domitiau, till the age of Commodus, after
which these marks almost disappear amidst the general
wreck of the fine arts which then ensued, an uninterrupted
series of names of proprietors, potters, and estates, tells
much of the internal condition of Italy, and one of the
sources of revenue to the Roman nobility.1

STAMPS.

Before, however, entering further upon this subject, it
is as well to show the nature of these inscriptions ; and the
accompanying example, taken from a tile removed from
one of the edifices at Rome, will illustrate their nature in
the fullest manner. The whole is in bas-relief, and was
probably made with a stamp or die of bronze,2 wood,

1 Fabretti, Inscr. Antiq. fo. 1699, 502, 153; Caylus, ' III. PI. Ixviii. p. 253,
503 ; Boldetti, Osservazioni sopra cimete- 254.
rij, p. 557; Gori, Inscr. Ant. III. p. 152, * Gori, Inscr. III. 118.

VOL. II. B

242

ROMAN POTTERY.

No. 185.— Stamp on a Tile. British Museum.

stone, or terra-cotta, a bronze stamp of this kind hav-
ing been discovered.1
In the centre of the
circular stamp or
medallion is seen a
figure of Victory
— the mark or sign
that the potter used.
Commencing with
the inscription on
the outer band, the
following words may
be read : — OPVS
DOL[iare] DE
FIGVL[inis] PVB-
LINIANIS. EX PKEDIS AEMILIAES SEYERAES.
" Pot work from the Publinian potteries, from the estate of
^Emilia Severa." The most complete stamps have the
date of the emperor or of the consulship, the name of the
estate which supplied the clay, that of the pottery which
baked it, and of the potter who prepared it ; sometimes
even of the slave who moulded the tile, and the very
dimensions of the tile itself. The earliest stamps look like
the first attempts at a methodical manner of impression,
and the later ones betray a comparative neglect. Not
only are the names of the Emperors and Caesars given at
the beginning and end of the series, without indications
of the consulships, farms, or proprietors, but singular
expressions are also introduced. Thus the tiles of

1 Gori, Inscr. iii. 118.

NAMES OF ESTATES. 243

Theodoric show that his gift excited national or official
enthusiasm, for he is styled upon them the good and
glorious king, with the addition of " Happy is Rome ! "
At all times, indeed, as is shown in the stamp already
figured, the inscriptions were in contraction, and even the
consuls were mentioned only by the initial letters of their
name. Still, by comparing the numerous series, it is
possible to place them in their order. Many tiles, indeed,
have no date, although it is evident that they were made
in the imperial times, but the general impression, on
examining the series of stamps, is that the potteries of
tiles or bricks were in active operation during the reigns
of Trajan and Hadrian, especially in that of the last
mentioned emperor, and continued so till the close of the
reign of Marcus Aurelius. After the twentieth year of
Antoninus, till the eighth year of Alexander Severus, the
inscriptions are few and irregular. Most of the public
edifices had been built or amply repaired. The political
convulsions left no time for architecture ; the law respect-
ing the stamps had probably been abrogated, and estates
had changed hands.

FARMS.

The estates from which the tiles came, or to which some
probably belonged, are called " possessions/' possessiones ;
private property, privata; shares, rationes; blocks, insula;
or more generally estates, pr&dia. There is indeed, some
ambiguity about the expression ex prediis, but it appa-
rently means that the brick or tile was " from the estate/'
the uncertainty being in what sense this is to be taken.

B 2

244 ROMAN POTTERY.

^ indeed, means a property, either in the town
or country ; but the wordfundus, which means a country
farm, is also found impressed upon some bricks. It will
however be seen, from some apparently exceptional in-
stances, that the names of the edifices to which the tiles
belonged are combined with those of the potteries and
potters, so that the expression ex prcediis possibly means
that the tiles or bricks belonged to the houses or other
property in the city of Rome of the person named. The
designation of the place, for example, for which the tiles
were made occurs on those stamped with the name of the
Praetorian Camp, and of the Chapel of the Augusti, and
can hardly refer to potteries established in that quarter.
A critical examination of the series would enable the
enquirer to arrange the entire sequence of the properties
to which the tiles refer, and, on comparing the evidence,
it is probable that the pradia are the estates which pro-
duced the clay. The proprietors of these estates were
the Emperors and Caesars, persons of consular dignity or
equestrian rank, and sometimes imperial freedmen. The
names of the estates are rarely mentioned, although the
Salarian, the Ulpian, and a few others are recorded.
Many of the tiles record merely the imperial estates,
without designating the name of the reigning emperor ;
and at a later period, as on the tiles of the Basilica of
Constantine,1 the stamps record the estates of our Augusti
and our Caesars. Of the family of the Antonines there
are several names. The Empress Plotina was evidently a
large landed proprietor. Annius Verus, and his wife
Domitia Lucilla, the parents of M. Aurelius, have left their

1 Annali, 1848, p. 158.

NAMES OF POTTERIES. 245

names upon many tiles ; so have that emperor himself, j I
Aelius Csesar, the adopted heir-apparent of Hadrian ;
Arria Fadilla, the aunt of M. Aurelius ; Julia Procula,
Cusinia Gratilla, Faustina, and others. It would be
tedious to repeat all the names of inferior proprietors
unknown to fame, such as Q. Servilius Pudens and T.
Tatinius Satrinus. Some belonged to imperial freedmen,
for such names as Umidius Quadratus and Quintus
Agathyrsus are evidently of this description. The most
remarkable fact connected with the history of the pro-
prietors is the prevalence of female names ; and the
quantity of tiles which came from their estates is
enormous. The occasional renunciation by the emperors
of their private fortune in favour of their female relations ;
the extensive proscriptions by which, owing to a defect of
male heirs, estates devolved upon females, as well as the
gradual extinction of great families, consequent on the
corruption of public morals, may be traced on a tile as
readily as in the page of a historian. As to freedmen,
their rise and progress is not in the scope of the present
chapter, but they were alike the ministers of the palace,
the agents of the nobility, and the wealthy proprietors of
Italy.

POTTERIES.

The potteries of the tile makers were of two kinds ; the
figlincB, or " potteries/' and the qfficince, " or manufac-
tories." The fylina are the most numerous, and form a
class by themselves ; the term qfficina, or workshop, being
commonly stamped on lamps and smaller vases. The pot-
teries are mentioned in a subordinate manner to the

246 ROMAN POTTERY.

prcedia, or farms, and, in many instances, the names of
both occur on the same tiles. The prcedia, too, are often
omitted, and only the figlince recorded. Attached to the
term figlina is often an adjective, expressive of some
quality or name. These epithets are sometimes geogra-
phical, as the Corinthian, Macedonian, Rhodian, or Tem-
pesine, and the greater or lesser Ocean potteries. Some-
times their names were derived from the reigning
Emperor, as the Neronian and Domitian potteries, but
the greater number were called by a Gentile or family
name, as the Bucconian, Camillian, Furian, Terentian, and
Voconian potteries. There are, however, many potteries
only distinguished by the names of their proprietors, who
were generally freedmen or slaves. One of the names
which most frequently recurs in the series is that of L.
Brutidius Augustalis, a freedman ; while other tiles are
stamped " from the potteries of Primigenius, the slave of
our Lord " the Emperor. There were many potteries of
imperial slaves ; but there are also numerous tiles from
the potteries of the Emperors and other wealthy pro-
prietors, although undoubtedly under the administration of
of freedmen or slaves,

MANUFACTORIES AND MAKEES.

The qfficin&, which are also recorded upon tiles, served
to distinguish the quality of the different figlince. Thus
tiles are stamped with the title of the officinse of L. Aurelius
Martialis, of Domitius Decembris, and of M. Publicius
Januarius, freedmen, named after the months in which
they were born. The establishment of the last of these

NAMES OF SIZES AND MAKERS. 247

freedmen was called the doliarice qfficince, a term which
will be more fully explained in the sequel. Another
officina is called " Domitian," either after its proprietor,
or out of flattery to the Emperor. Sometimes a second
manufactory of the same proprietor is mentioned. Other
tiles are stamped with the fanciful names given them by
the potters, as Claudians, Domitians, Brutians, &c. A
few tiles are stamped both with the name of the potter
and that of the proprietor of the estate, as the tiles of
C. Cosconius, from the potteries of the celebrated Asinius
Pollio, and the tegulce doliares, or pot-work tiles of Julia
Procula ; the Bipedales, or two-foot tiles of one Crispi-
nianus, and the " Secipedales" or " one foot and half"
tiles of Julia Procula. This expression is distinguished
from the previous one by having after it the name of the
wealthy proprietor, and not of the poor slave who made
the tile, While, indeed, the potteries of private pro-
prietors were under the direction of liberti and libertini,
those of the Imperial estates were chiefly managed by
slaves, from whose labours the Roman nobles derived so
large a portion of their revenue. The work itself was
called opus figlinum, "earthenware/' or opus doliare,
" pot-work ; " and, in the contracted form of either, " opus"
or " doliare" Such work is always found accompanied
with the names of freedmen or slaves. The imperial
slaves have two names, those of private individuals only
one ; but the liberti had three names. Such names as
Arabus, Arestius, Modestus, Tertius, Zosimus, are clearly
servile. In some cases, the form fecit is substituted for opus ;
but in all instances the makers were of inferior condition,
A regent of France might amuse himself with making glass,

248

ROMAN POTTERY.

and a German Emperor with compounding sealing-wax,
without the loss of the respect of their subjects ; but a
Roman historian cites, as an instance of the degraded
taste of Commodus, that in his youth he had amused
himself with making cups of earthenware.1

"Let him who made it, and who belongs to Cneius
Domitius Amandus, prosper/' is stamped on one remark-
able tile. Sometimes the work is stated to come from
particular potteries, without mentioning the potter. Some
of the potters, indeed, impressed mottoes on their tiles, as
utamur felices, " may we use happily," " Fortune who
brings back is to be worshipped," and "the Constantinian
age." But such an inscription as Poppina tails, " what a
tavern," is hardly credible, and probably a joke.

LEGIOISTAET TILES.

Only few of the tiles have inscriptions indicating the
places for which they were destined. This is particularly
the case with those employed for military purposes. These
inscriptions probably had a double use. First, they showed
that they were made by the soldiers, thus indicating that
in the legions, as in modern armies, there were many
soldiers acquainted with handicraft trades ; secondly, they
prevented the tiles being stolen or removed, and were thus
stamped with the Roman broad arrow of the public pro-
perty. At Rome, indeed, there was no necessity for the
legionaries themselves making tiles and bricks ; and,

1 J21. Lampridius, Vit. Commodi, Init. .

LEGIONARY STAMPS. 249

accordingly, one Sextus Attius Silvanus appears to have
supplied the camp. The clay he obtained from the estate
of Umidius Oppius. The actual maker was a freedman,
who bore the name of L. Silvinus Helpidianus. The
sacellum, or shrine, of the Augusti, which held the
standards and eagles of the Praetorians, appears to have
been roofed, or partly constructed of tiles from the
potteries of Paniscus, Hernietianus, and Urbicus. A few
tiles from the Via Salaria, had only on them " Castrum,"
or camp. Some fragments of tiles or bricks, evidently
the semilateres, or half-bricks, of Vitruvius, dug up on
the site of the Post-office in London, were impressed
with the letters P P. BR. LON., denoting the residence
of the Roman proprietor in Britain.1 Still more inter-
esting are the inscriptions stamped on the tiles relating
to the legions and other military divisions stationed
throughout the provinces of the vast empire. These
are chiefly found in their graves, camps, and quarters.
They contain the number and titles of the legions, and
mark the limits of the Roman conquests. The route of
the XXTI. legion has been traced through Germany ; and in
our own country an examination and comparison of these
tiles show the distribution of the military force, and the
change of the quarters of the different legions which held
Britain in subjection. These are seldom circular like those
of the imbrices and flange tiles, but are in shape 2 of a foot,
or oblong, with the letters in relief, sharply impressed, pro-
bably with a metallic die. The principal legions of which

1 Mr. Roach Smith, Collectanea, i. 2 Arneth. Hypocaustum, 4to, Wien,
p. 143. 1856, taf. iii.

250

ROMAN POTTERY.

tiles have been found are the 1st assistant ; the 2nd august ;
the 6th victorious, pious, and fortunate, and 9th Spanish l
legion, stationed at York ; the 8th august, Armenian and
fortunate ; the 10th, called the double, pious, and fortunate ;
the 20th, Valerian and victorious, discovered at Chester ;
and the 22nd and 30th legions, the tiles of which have been
traced throughout Germany.2 Subordinate to the legions are
the cohorts, the tiles of which have been also found, as, for
instance, those discovered at Niederbieber of the 4th
avenging ; 3 and of the 4th of the Breuci, exhumed at Slack,
in Yorkshire. Besides which are the tiles of the " three
standards " of the British fleet or marines, found at Dover
and at Lymne, the ancient Portus Lemanus.4 Sometimes
a maker's name is added to that of the legion.5 Some tiles
appear to have been numbered in the order in which they
were to be built into the public works. Thus, a tile dis-
covered at Nola was inscribed "the water is received in
the chapel, tile 90." Many tiles have only initial letters
of words inscribed upon them, and when so contracted,
it is always difficult, and often impossible, to guess what
the inscriptions were intended to express.

DEVICES.

All that remains to be considered is the devices which
accompany these stamps. The device occupies the centre

1 Wellbeloved, Eburacurn, 8vo,York,
1842, p. 104.

2 See List in the Appendix.

3 R. Smith, ii. 140.

4 R. Smith, Ant. Richborougb, 4to,
Lond. 1850, p. 258.

5 R. Smith, ii. 132.

DEVICES OF TILES. 251

as in a medal, and the inscriptions on the oval stamps are
disposed on the outer circle running round it. A common
ornament, or device, is a plain circle or ball, touching the
inner edge of a larger circle at one point, thus giving the
rest of the stamp a lunated shape. Sometimes the device
is left out altogether. The devices are not numerous, nor
is it always possible to discover the principle upon which
they were adopted. They were, of course, the potter's
seal, and he selected his devices, or coat-of-arms, as it may
be termed, as he chose. Some can, however, be traced
to their origin. One potter, named Aper or Boar, adopts
that animal for his device ; another, called Hermes, or
Mercury, has a caduceus. Other devices represent a
favourite deity, or some idea connected with the estate.
Rome, of course, is found. The Caninian potteries had a
star, in allusion to the dog-star. Divinities, animals, stars,
crescents, palm branches, pine cones, crowns, &c., are among
those found. It was the practice of the ancient world to use
these emblems in various manners. The Rhodian and
Cnidian potters placed them upon their amphorae, the maker
of strigils on the handles of that instrument ; the mint-
masters of Greece and of Rome in the consular times, intro-
duced them upon the area of the coins issued during their
tenure of office, and the potter followed the general rule.
So interwoven was art in the mind of the ancients, and so
dominant was the love of animal form, that the work of
the potter was deemed incomplete unless he impressed his
device upon it. This resume of the information afforded
by the marks on tiles, is drawn up from an examination
of a very great number of inscriptions.

ROMAN POTTERY.

COLUMNS.

The use of terra-cotta in architecture was most exten-
sive for capitals and columns, bases of columns, sills and
frames of windows, the crowning portions of cornices,
gutter spouts, &C.1

COBBELS.

The corbels which supported the cornices were also
made of this material, either moulded or else stamped out
of mould. Indications of the use of terra-cotta corbels
occur in a lararium at the entrance of the house of the Faun,
and in the fragments discovered amidst the ruins of the
buildings at Pompeii. Some of the wall paintings in
which interiors are represented, also show cornices
supported apparently by figures of terra-cotta, which
have been painted entirely in accordance with the mural
decorations.

Between the columns were suspended masks and heads
of terra-cotta, called ctypea, painted and decorated and
suspended by long cords, in the same manner as lamps
are in religious edifices at the present day. On some of
the Greek vases similar objects, oscilla, are seen suspended

1 Seroux D'Agincourt, Recueil, p. 78. valley of the Fountain of Egeria ; Cf.

Some of the columns and windows of also D'Agincourt, Histoire de 1'Arts

this material were found outside the Architect. PI. xii. xx.
gate of St. John Lateran, and in the

SPOUTS AND FRIEZES.

from the boughs of trees, along with tablets or paintings,
pinakes.

SPOUTS.

The gutter spouts under the ridge tiles were a very
decorative and interesting part of terra-cotta architecture.1
The most ordinary form of these spouts was a lion's head,
which is constantly seen in fountains, and which is found on
the walls of the bath at Ostia and at Pompeii, moulded in
salient relief. Sometimes the whole fore-part of a lion is
substituted, with a trough placed below the feet for the
water to flow out.

The head and the fore-parts of dogs,2 and comic and
tragic masks, whose open, shell-shaped mouths (conchce)
were particularly adapted for this purpose, were sometimes
used, and also female heads.3 These objects are generally
of the same piece as the gutter tile, and were stamped out
of moulds. Yet, after all, spouts of this description must
have been a very imperfect contrivance, and disagreeable
beyond measure to pedestrians in the streets.

FKIEZES.

Terra-cotta ornaments were used largely both in the
interior and exterior decoration of houses, a custom which

1 See the one, Due de Luynes, Me- Boni, Lettera, 8vo,1805; Quattani, Mon.
taponte, pi. vii. Ined- 4to; 1805, p. 108.

2 Cf. d'Agincourt, PI. xxix. ; Histoire 3 Three masks of terra-cotta found
de V Art. xx. ; Marquez, Dell' ordine at Musarna, Bull. 1850, p. 44.

Dorico riczerche, 8vo,Rom8e,1803 ; and

254

ROMAN POTTERY.

probably arose from the imperfect knowledge possessed by
the ancients of the uses of gypsum, especially in orna-
mental work ; hence they substituted terra-cotta for such
purposes. Bas-reliefs of terra-cotta, antefixa? formed the
decorations either of the impluvium 2 of the house, or else
went round the exterior. They were formed of flat slabs,
about eighteen inches in length, and nine inches wide,
and were decorated with a variety of subjects. The style
of art is bold and vigorous, and the slabs were evidently
cast in a mould, although in some instances they were
apparently retouched before they were transferred to the
kiln. Circular holes are left in them for the plugs by
which they were attached to the woodwork or to the
masonry. They were painted after they were fixed. No
great variety of subjects occurs ; but the treatment, which
is essentially Roman, exhibits illustrations chiefly borrowed
from mythology, such as the birth of Zeus, who is cradled
by the Corybantes ; the Gigantomachia ; the birth of
Dionysos — his thiasos — especially his being supported by
the satyr Comos ; Pan ; the Tritons and Nereids ;
Neptune, Apollo Musagetes ; the dances of the Spartan
Virgins at the statue of Minerva ; Minerva and Tiphys
fabricating the Argo, the Centauromachia ; Theseus de-
stroying the huge Eurytus ; Perseus, aided by Minerva,
killing Medusa ; ^Eneas consulting the oracle of Apollo ;
Machaon curing Antilochos ; Victory ; sacrifices ; Bar-
barian prisoners, and architectural ornaments. Some few
slabs have been found which, in the false taste of the

1 " Antefixa, quse ex opere figulino
tectis adfiguntur sub stillicidio." —
Festus, voce.

2 Festus, voc. Impluvium. Varro, de
LL. 4.

COLOURING OF FRIEZES. 255

period, represent the land of the Pigmies, hippopotami
browsing on the banks of the Nile, and gigantic cranes
perched on the cottages of the diminutive race, who
are navigating the river in boats. As many of these
slabs went to the formation of a large composition, they
were numbered, in order to assist their arrangement.1
The subjects on these slabs are disposed in bas-reliefs on
the flat surface, and their treatment is of two kinds. In
the first sort the figures are grouped with large flat sur-
faces between them, in accordance with the later style of
Greek art ; in the second, they are introduced as acces-
sories to floral and scroll ornaments, forming centres from
which these ornaments radiate. The slabs are ornamental,
with bands or corniches, in the shape of artificial flowers,
or with the usual egg and tongue moulding above, while
plain moulding and artificial ornaments occur below. The
bas-relief is exceedingly high in the narrow bands and
friezes destined for some of the architectural mouldings, but
in other instances it is flat and scarcely raised a quarter of
an inch above the surface. The treatment, although free,
and in many cases noble, is essentially architectural. These
slabs are by no means choice specimens of ancient art, like
those which decorated public buildings, but were in-
tended merely as ornaments for private dwellings, or for
sepulchres.

All these ornaments, even when used externally, were
coloured generally with pure colours, such as red, blue,
and black ; while, in some instances, as in the decoration
of the antifixse, green and yellow were used. In Greek

1 Campana, Antiche opere in plastica, fo. Roma, 1842.

256

ROMAN POTTERY.

edifices, it is probable that the painting was in wax, as
mentioned by the pseudo-Dicaearchus ; and some, indeed,
of the Pompeian buildings appear to have been coloured
in encaustic. These ornaments were probably not much
later than the time of Severus. In some instances the
name of the potter occurs upon them, as those of Annia
Arescusa, and Antonius Epaphras. Some late examples of
this style are in the Museum at Sevres, and exhibit Vulcan
standing between Apollo and Abundance, Minerva and
Mercury, and Minerva, Vulcan and Mercury, or else
subjects such as Perseus and the Graise.1 Two of these
reliefs bear the names of their makers, Fecirms arid
Verecundus, who were either freedmen or slaves.

The bas-reliefs in the collection of the British Museum
were found in a dry well, near the Porta Latina at Rome.2
In 1761, a subterraneous place, divided into many
chambers, was discovered at Scrofano, about sixteen miles
from Rome. The dome of the largest chamber was
enriched with paintings in fresco, representing animals.
The whole of the frieze below the dome was enriched
with bas-reliefs in terra-cotta, which were fastened to the
wall with leaden nails. Many tombs on the Appian
Road, as well as the temple dedicated to Romulus,
near the Circus of Maxentius, were ornamented in a
similar manner with terra-cottas ; and there are several
ancient chambers still visible in the neighbourhood of
Rome, in which, though the bas-reliefs have been long
since removed, the places which they occupied are per-

1 Brongniart and Riocreux, Mus. de
Sevres, p. 16. One of these was 0'33 o
0'45 b. One has " Fecinus fecit" —

the other, " Verecundus f [ecit]."

2 Taylor Combe, Descr. of Ancient
Terra Cottas,4to, London, 1810, p. vi. vii.

ARRANGEMENT OF FRIEZES. 257

fectlj distinguishable. Similar slabs were discovered,
forming a frieze round the four sides of a chamber of the
house of the Csecilii, at Tusculum.1

Some found between the Porta Salaria and Pinciana
were used for roofs, and stood considerably raised above
the height of the roof, with a narrow gutter and a ridge,
over which was placed an imbrex.2

1 Campana, p. 31. 2 D'Agincourt, Recueil, pi. vii.

258

ROMAN POTTERY.

CHAPTER II.

Statues — Signa Tuscanica — Volcanius — Numa — Gorgasus — Cato — Possis and
Arcesilas — Size — Models — Sigillaria — Festival of Sigillaria — Fabric —
Potters — Miscellaneous uses of pottery — Coiners' moulds — Crucibles —
Toys — Lamps — Names — Parts — Shape — Age — Powers — Subjects — Great
Gods — Marine deities — Hercules — Fortune— Victory — Foreign deities —
Emblems— Poetical subjects — Fables — Historical subjects — Real life —
Games of Circus — Gladiators — Animals — Miscellaneous subjects — Christian
lamps — Inscriptions — Names of Makers — Of places — Of pottery — Of pro-
prietors— Date of manufactures— Dedication to deities — Acclamations —
Illuminations — Superstitions.

STATUES.

MOST of the ancient statues of the Romans are of terra-
cotta,1 a fact which is constantly alluded to by their writers.2
In the early days of the republic the fine arts were at the
lowest ebb, all objects coming under this denomination
being either imported from Greece, or procured from their
more refined neighbours the Etruscans who cultivated the
glyptic and plastic arts with complete success. Hence the
Romans purchased such statues as they required ; and
these which appear to have been terra-cotta and called
signa Tuscanica,3 adorned all the principal temples of their

1 Pliny, N. H. xxv. 12, 46.

2 Pliny, N. H. xxxv. 12, 46 ; Muratori
Thesaur. torn. ii. p. 237.

" Jupiter angusta vix stabat in

sede,
Inque Jovis dextra fictile fulmen erat."

—Ovid, Fasti, 1, 201-202.
" Fictilibus crevere diis haec aurea

templa."
— Propertius, Eleg. lib. iv. 1, 5.

" Fictilis et nullo violatus Jupiter

auro."

— Juvenal, Satyr, xi. 1, 16.
"Cogita illos [deos] cum propitii essent
fictiles fuisse.

— Seneca, Epistol. xxxi. a fin.
" Tune per fictiles deos religio jura-
batur."
— Consolat: ad Helv. c. 10,2.

ETRUSCAN AND GREEK SCULPTORS. 259

gods. The most celebrated works of republican Rome
were made by the artists of Veii, and those of the
Volscian Fregellse or the Etruscan Fregense. The
celebrated quadriga made by Yolcanius of Fregellse,
which surmounted the pediment of the temple of Jupiter
Capitolinus, which was treated with superstitious awe and
considered one of the safe-guards of the Imperial city,
shows the low state of the arts among the Romans.1
Numa, however, ever attentive to the Roman arts and insti-
tutions, is said to have founded a corporation of potters.2

In A.C. 491, Gorgasus and Demophilus ornamented
with bas-reliefs and terra-cotta figures the temple of
Ceres at Rome. They were natives of Himera in Sicily,
and their labours were probably rather of Greek, than
Etruscan style, which was previous to them. In the reign
of Augustus the temple was burnt, and so great was
the esteem in which the works of these old masters were
held, that they were taken out of the walls and framed in
wood. They were of the ^Eginetan style of art.3 It has
been conjectured that the want of white marble in Italy,
none being discovered till the Imperial times, caused the
extensive use of terra-cotta.4 The gradual conquest of
Campania and of Greece Proper, which supervened after
the fall of Etruria, unfolded to the eyes of the Romans a
new school of art, and after the siege of Corinth the old
terra-cottas fell into contempt and neglect. From this time
the temples of the gods and the houses of the nobility
became enriched and beautified with the spoils of Grecian

1 Pliny, N. H. x. xxv. c. xiL 3 Tacit. Annal. ii. 49 ; Dio Cassius,
45. 50, 10.

2 Servius ad Virgil, ^Eneid, vii. 4 Hirt, Gesch. d. Bild. Kunst. s. 117,
188. 123.

s 2

260

ROMAN POTTERY.

art, in stone, marble, bronze, and terra-cotta. The artists
of Greece hastened to pay their court to their new masters,
and received great encouragement, in spite of the protests
of the old conservative party of the aristocracy led by
Cato. On the occasion of the attempt to abolish the
Oppian law, which was in fact a sumptuary one for women,
Cato, who was then consul, inveighed against the increasing
luxury of the state, and especially against the statues
which conquest had brought in its train. "Hateful,
believe me/' says he, " are the statues brought from Syra-
cuse into this city. Already do I hear too many who
praise and admire the ornaments of Corinth and Athens,
and deride the terra-cotta figures, antefiwa,1 of the Roman
gods. For my part, I prefer these propitious gods, and hope
they will continue to be so if we allow them to remain in
their places." 2

Towards the close of the republic, great works con-
tinued to be executed in terra-cotta, and were much
esteemed. The modellers, Possis and Arcesilaus, are cited
by Varro,3 and the former made for Julius Caesar a statue
of Venus, which was highly prized, although the artist
had not completed it. Virgil's father was a potter in the
neighbourhood of Mantua ; and some of the remains of
terra-cotta, extant in the Museums of Europe, can be safely
referred to the first century of our era.4

1 " In sede Concordise, Victoria, quae in
culmine erat icta decussaque ad Vic-
torias quse in antefixis erant." — Livy,
lib. xxvi. ; Vitruvius, iii. c. 2.

2 Livy, xxxiv. c. 4.

3 Pliny, xxxv. c. 12, 45.

4 Seroux D'Agincourt, Recueil, p. 7.

SIZE OF TERRA-COTTA STATUES. 261

SIZE.

Few statues of any size in this material have escaped
the injuries of time. In the regal days of Rome, Numa
prohibited all statues above three feet high, a regulation
probably agreeable to the practice of the neighbouring
nations, and by no means favourable to the arts. At least
there are no large Etruscan figures. Of the few large
figures known, one is the Torso in the British Museum, the
arms, legs, head, and extremities of which were mortised
to it in another material in separate pieces. That such
was the practice appears from the fable of Phsedrus
about Prometheus, who after he had made the human
race out of clay, in separate pieces, having been invited
to supper by Bacchus, on his return home applied the
wrong limbs to the bodies.1

Four figures in this material found at Pompei are larger
than life. They represent an ^Esculapius and Hygieia,
and a male and female comedian. There is also a bust of
Pallas, rather larger than life, with a buckler at the right
side. Figures however of this size are of great rarity,2
one of the latest of these terra-cotta figures, mentioned in
ancient authors, is that of Calpurnia, wife of Titus, one
of the thirty tyrants, " whose statue," says Trebellius
Pollio,3 " made of clay, but gilded, we still see in the
temple of Venus."

In the Vatican is a figure of Mercury of this material,

1 Phsedrus, lib. iv. Fab. xiv. auratam." Triller, (Ob Crit. I. 4 c. 6,

2 Winckelmann, Stor. ii. p. 273. p. 328) reads " Argillaceain." Winckel-

3 Vita Titi, " Cujus statuam in templo mann, Hist, de 1'Art. iii. p. 256.
Veneris adhuc videmus Argolicam sed

262 EOMAN POTTERY.

about the size of life. Some figures, about three feet high,
representing Muses, and some terminal busts of Bacchus,
almost the size of life, used to decorate gardens, were found
in the same well as the friezes near the Porta Latina. These
were of the same coarse red material as the friezes. They
are in the British Museum.1

MODELS.

It appears that the artist was obliged to make first a
model in clay of the statues in bronze or marble, which
he intended to execute. This process was however not
very ancient, as Pliny states that it was first used by
Lysistratus, the brother of Lysippus. Pasiteles, an artist
of the time of Augustus, is stated by Pliny never to have
made a statue except in this manner ; but the custom was
by no means general. These sketches, called proplasniata,
were often much sought after, as they exhibited the full
freedom of the artist's conception and style, and those of
Arcesilaus, an artist of the period, fetched a high price.2

SiaiLLAEIA.

The majority of figures were of small size, called sigilla,
or sigillaria, and were used for votive purposes, or as toys,
presents, and for the lararia. They represent all kinds of
figures of gods, actors, aurigse, moriones or buffoons, dwarfs,
portraits of Imperial personages, and philosophers, like
those of Greece, but of coarser execution, and are found
throughout the Roman Empire. Few specimens, indeed,

1 Ancient terra-cottas in the British 2 Clarac, i. p. 25.
Mus. PI. 1, et seq.

FEAST OF FIGURES, 263

have been discovered in Britain, and those found are of
a coarse red clay.1 Some were found in the rubbish pits
of Eichborough.2 More than 200 at a time have been
discovered in France.3 A very common type is a nude
figure of a female seated in a chair, sucked by two children,
supposed to represent the Dese Matronae, or Matres. A
manufactory of them was discovered some years ago at
Heiligenberg, near Mutzig, on the Brusche. Many of
these figures, in the British Museum, found in the neigh-
bourhood of Lyons, are of a very white paste, and represent
Mercury, Venus Anadyomene, and other figures.

A great number of figures were probably prepared for
the festival of the Sigillaria. This is particularly described
by Macrobius, and like all the Roman fetes was supposed
to have had a mythic origin. Hercules, after the death
of Geryon, and the capture of his cattle, was stated by
tradition to have thrown from the Pons Sublicius, into the
Tiber, the images of the companions whom he had lost in
his wanderings, in order that they should be carried by
the sea to their native shores. The hypothesis of Macro-
bius is equally fanciful, for he thinks that candles were used
by the Pelasgi, because the word $cos, or 0<os signified both
man and light, and that oscilla, or masks of terra-cotta,4
were substituted instead of human heads around the
altar. "They keep," says Ausonius, "the festivals so
called from the figures." 5 Macrobius thus touches on the
Saturnalia. " The Saturnalia were [originally] celebrated

1 Cf. that of Lidney Park, Lysons, 3 Caumont, Cours. xxxviii. p. 222.
Reliq. Britann. Rom. ii. xxix. 6. 4 Macrobius, Saturn, i. c. 11.

2 Wright, The Celt, Roman, and Sax- 5 " Festa sigillorum nomine dicta
on, 12nio. London, p. 224. colunt." — Idyll, xxv. 32.

264

ROMAN POTTERY.

for only one day, on the fourteenth of the Kalends, but
were afterwards prolonged to three. The celebration of
the Sigillaria, which was added, extended the public
pastime' and the joy of the f£te till the seventh day. It
was called the Sigillaria because sigilla, or little images,1
and other trifling gifts were sent about." Martial 2 alludes
to many of these being of terra-cotta, which were either
bought for joke, or by parents for their children in honour
of Saturn. They probably alluded to the stone or image
which Rhea gave the god to devour instead of his
children. The Saturnalia commenced on the 14th or
16th of the Kalends of January, and were continued for
three days. On the 12th of the Kalends of January,
the feast of the Sigillaria commenced.3 All classes of
society indulged in this festival. Hadrian, says his bio-
grapher, sent the Saturnalian and Sigillarian gifts eyen
to those who did not expect them, or had no right to do
so.4 Commodus, when a child, gave them to his tutors as
a mark of great condescension. The whole feast reminds
us of Twelfth Night.

Although it is not possible to trace a succession of
these small figures in the Imperial times, yet the age of
the greater part of them is of the middle period of the
Empire. Some representing the Dese Matres just cited,
are of the latest time of Paganism, when taste and
knowledge had declined.

Some were actual portraits of deceased persons.5 One

1 Saturn, lib. i. c. 10.

2 Lib. xiv. clxiv. clxvi.

3 Rosinus, Antiq. Rom. p. 295.

4 Spartianus, in vita, Lugd. Bat.

1632, p. 23.

5 Seroux D'Agincourt, Recueil, PI.
xvi. fig. 1. One of these heads was in
Mr. Hertz's collection.

FABRIC. 265

of the most interesting of this nature is the small head
discovered in the sepulchral chambers of the Cornelian
family near the urn of Scipio Barbatus. It is at present
in the collection of Mr. Mayer, and is an excellent speci-
men of the art of the time.

A few notices of terra-cotta figures l are found in the
Latin authors. Martial speaks of a deformed indecent
figure of a man, perhaps Clesippus, which was so horrid
that he thought Prometheus must have made it when
intoxicated during the Saturnalia,2 and of a mask of a
red-haired Batavian, the conceit of the potter.3 The
makers of Sigillaria do not appear to have deemed them
of such importance as to place their names upon them.

FABEIC.

The Roman artists followed the same process as the
Greeks. The figures were made upon a stick (crux et
stipes4), with moist clay, and afterwards baked. "You
will imitate/' says Horace,5 "in wet clay whatever you
choose." From these figures moulds were taken in a
more porous clay, which produced a succession of other
figures.6 The torso was often a separate piece.

D'Agincourt finds some difficulty in accounting for the
mode in which the terra-cotta figures were hollowed. "Si
ces statues ont ete moules," he observes, "elles sont ete

1 For eigillaria, D'Agincourt, PI. x. mulacrum non prius argilla deformat
; xiii. 1, 2, 3 xiv. 1, 3 ; xv. 14 ; xvi. 3. cruci et stipiti nuper structa."

2 Epig., xiv. 176. 5 Horace, lib. ii. Ep. 1, 8, " Argilla

3 Ibid., 182. quid vis imitaberis uda."

4 Tertullian, Apologet. 12. "Quodei- 6 Festus, in Kutumena, 6.

266 ROMAN POTTERY.

dechargees adroitement et a mesure de leur formation,
de Tepasseur interieure de la terre. Quelques ouver-
tures plus ou moins grandes pratiquees au dos et m£me
dans le bas des figures donnent la preuve de cette ope*ra-
tion ; elles laissent aper^evoir la traces des doigts ou de
de Febauchoir de Fartiste qui a pris le soin de les evider." l
This is however evidently not quite correct, as the figures
were made by pressing the crust into the mould with the
fingers.

POTTEES.

Although the names of makers are constantly found
upon all kinds of lamps, vases, tiles, friezes, and mouldings,
especially those of terra-cotta, the sigillaria are not found
marked by them. Passeri 2 indeed has engraved a figure
of Minerva, on which is stamped or impressed the name
YLPIANI, " of Ulpianus," probably the name of its maker —
but as this figure has two wings or handles behind, it
probably belonged to a lamp — and might even have been
put on by its possessor. An account of the potters will
be found attached to the respective classes of ware.

Although among the Greeks, the potter as a manufac-
turer and often an artist, held a respectable position, the
social condition of the Roman potter was low. He was
generally a slave, sometimes a barbarian, while the
masters of factories or shops were only liberti, or freed-
men. Sometimes the potter appears to have worked on
the estate of a wealtny proprietor, who received through
his name the profits accruing from the establishment.
The fullest account of the potters will be found in the

1 D'Agincourt, PI. xviii. fig. p. 43. 2 m. tab. 84.

MONEY-BOXES AND COINING MOULDS. 267

description of tile and lamp makers, who formed a
numerous class.

MISCELLANEOUS USES.

It is impossible to enumerate all the purposes to which
the Romans applied terra-cotta ; but some are so remark-
able as to deserve a special notice. Such are the cages
employed to fatten dormice,1 called saginaria, gliraria?
in order to prepare them for the palates of Roman epicures ;
and the cones of heated terra-cotta placed before hives?
in order to burn the butterflies, and other insects which
attacked the bees, called milliaria testacea. There are
specimens of both these instruments in the Museum of
Naples.3 Bees, too, seem to have been hived in terra-
cotta amphorae,4 a use of the material peculiar to antiquity.
Toys, as among the Greeks, were also made of this
material, and called crepundia and sigittaria, from their
being stamped in moulds.

Small altars, which have been found, are supposed to
have been dedicated in the lararia to the lares, for the
holding of lamps or the burning of incense.5

Of terra-cotta were also made the little money-boxes
which the successful charioteers or athletes carried about,
to receive the donations of the spectators of the circus.
One of these, found on the Aventine hill, of a conical shape,
like an ancient furnace, is engraved by D'Agincourt.6 On

1 Verde, Guide pour le Muse*e Royal 4 Porphyry, Ant. Nymph, p. 261.

Bourbon, Naples, 1833, p. 114, n., 516- 5 D'Agincourt, Recueil, xxi. 1, 3 ;

518. xxii. 9, p. 63.

3 Varro, lib. iii. c. xiv. 6 Recueil, PI. xx. p. 50-52.

3 Verde, 1. c. no. 4860, p. 140.

268 ROMAN POTTERY.

one side is the victor, in the dress of the auriga of the
third century ; on the other, the words Ael(ia) Max(ima).
A second had a head of Hercules ; and a third, engraved
by Caylus,1 is of an oval form, like a snuff-box, and has
upon it a head of Hercules. It was found upon Mount
Cselius, with another, on which was Ceres. A fourth was
discovered in the baths of Titus, in 1812, filled with coins
of the time of Trajan.2 The three figures on the front of
this were explained as the tutelary gods of the capitol.
It had on the outside a branch and horse.3

A few tickets, or tesseraB, used for admission to the
games of the amphitheatre and the circus, were also
occasionally made of red ware, intermediate between
terra-cotta and stone ware. On them were either im-
pressed or incised the number of the cuneus and the
steps, such as, V mi. : — namely, the 4th division of the
5th row, or cuneus, or else a representation of the animals
exhibited. On the reverse of one with such a representa-
tion is the letter A.

COINEES' MOULDS.

Terra-cotta moulds for making false coins have been
discovered, of a paste composed of fine clay, containing
the fossil infusoria of the genus navicula. Other moulds
are of a dark red clay, and as hard as brick.4 The clay
was first worked up to form a tablet, flat on both sides,
and about one-eighth of an inch thick. A piece of coin

1 Tom. iv. PI. liii. 3, 4, p. 157.

2 Fea, Dissertation sur la Pretendue
Statue de Pornp^e, p. ] 2.

3 A. de Romanis, Terme di Tito, fo.
Romse, 1822, p. 25, 50-51.

4 On the subject of these moulds, see
Caylus, i. 286, cv. ; M. Hiver, Rev. Num.
1837, p. 171 ; Poey d'Avant (de Melle,)
Rev. Num. 1837, p. 165; Rev. J. E.
Reade, Num. Chron. vol. i. p. 161.

MOULDS AND TOYS. 269

was pressed into this pillet on each side, so as to leave an
impression on the clay. The clay was cut round this, and
a triangular notch was made at one side of the clay. The
pillets or moulds intended for the ends were impressed on
one side only. The moulds were then piled in rouleaux
or stacks, one above another, with the obverse and reverse
of the coins adjusted so as to give out proper casts, and
the notches inside, to allow the metal to flow through.
The greatest number of piles or rouleaux placed together
was eight, but there were often not more than three.
The whole was then luted externally, to prevent the liquid
metal from escaping ; and a kind of small basin or funnel
was made at the top of the mould to facilitate the pouring
in and circulation of the liquid mass, which was poured into
a channel of a star-shape, formed by the union of the
triangular notches. How the coins were extracted is not
known : in all probability the external terra-cotta luting
was removed, and the jet of the mould pared ; after
which the coins were washed with tin or silver. Such
is the apparatus for coining found in Roman stations
in France and England. In the former country such an
apparatus was found in an ancient building, close to the
public baths at Fourvieres, near Lyons ; and in another
in the park of the castle of Damery, near Epernay, built
on the ruins of Bibe, the first station on the military road
between Rheims and Beauvais. In the latter place were
found two thousand pieces of base silver coin, three-fourths of
the Emperor Posthumus, and the rest coins of the Emperor
Philip and his successors ; also several of the Constantines,
and of all the principal imperial mints An apparatus and
thirty -nine moulds were found here, comprising the types

270 ROMAN POTTERY.

of Caracalla, the elder Philip, and Posthumus. The dates
of these moulds range from the time of Severus, who first
adulterated the silver currency, till Diocletian, who restored
it. They were thus made when the empire was distracted
with civil dissensions, rapid revolutions, and hostile camps ;
and it is very difficult to decide whether they were the
work of forgers of the public money, or intended for the
issues of usurpers, who, being removed a considerable
distance from the capital, were unable to fill their military
chests except with cast coins. At the Lingwell Gate, in
Yorkshire, where several of these moulds were found, they
were made of the clay and sand belonging to the spot.
A mould from Egypt, in the British Museum, of a deep
brick-red colour, is quite dissimilar from the moulds of
the Lingwell gate, and is probably made of Egyptian
clay.1

TOTS.

In the sepulchres of the Romans, several dolls of terra-
cotta, with movable arms and legs, are found, like those of
bone and ivory which occur more frequently,2 especially in
the cemeteries of a late period, and of Christian children.3
Horace mentions them as made of wood, so also Apuleius,4
and M. Antoninus uses the Greek term of yevpoWaora,5 neu-
rospasts.

Other toys were also made of this material, such as

1 Other of these false dies for coins no. 1, p. 259.

are given in D' A gincourt, Recueil, xxxiv. 3 Boldetti, osservazioni sopra i cime-

p. 90 ; Ficoroni, Piombi Antichi, torn. i. terii, 1720, p. 496.

pi. cv. no. 2. 4 DeMundo, 8vo, Franc. 1621, p. 70;

2 Seroux D'Agincourt, Recueil, p. cf. Aristotle, de Mundo, 1. c.
91 ; Caylus, Recueil, torn. iv. pi. Ixxx. 5 In Vita, lib. vi. c. 2.

INVENTION OF LAMPS. 271

the astragalus, or knuckle bone,1 fruits, carts, animals, and
other objects.

LAMPS.

Lamps, lucernes, are often of terra-cotta. They are made
of a fine clay, and are one of the most interesting pro-
ducts of the art. Several are covered with a thin coating
of slip, or silicious glaze, and consequently belong to M.
Brongniart's sub-order of lustrous pottery composed of a
tender paste. The later lamps are of the red Roman
ware. As the greater number, however, are of terra-cotta,
the general description of their manufacture, subjects, and
epigraphs, will be given here, and the other kinds referred
to in their respective places.2

The Greek name for a lamp was lyclmos (AI^OS), and
for the stand in which the lamp was placed, lychnuchus, or
" lamp holder." The lamp lucerna, says Yarro, was after-
wards invented, so called from lux, light, or beaming, the
Greeks call it A^os.3 The parts of the lamp are the
nozzle, or the nose, nasus, the handle ansa, and the
upper part discus, in which was a hole for pouring in the
oil, anciently plugged with a stopper. The word myxa,

1 Agincourt, Recueil, xxiii. ii. schen Alterthumwissen. 4 Bd. 1846, s.

8 Oct. Ferrarius, de veterum lucernis 1162; F. Licetus, De lucernis anti-

sepulchralibus ; Grsevius, Ant. Rom. quorum, libri vi. fo. Udin. 1652; P.

xii. 998. Veterum lucernae sepul- Santi Bartoli, Le antiche lucerne se-

chrales delineatse a P. S. Bellorio, cum polcrali figurate et designate ed intag-

obBervationibus G. P. Bellori ex liate nelle loro forme, fo. Roma, 1691 ;

Italico, Romse, 1691-1729 ; Gronovius, Lucernse fictiles Musei Passerii, folio,

Thes. t. xii. 1702; Bottiger, Amalthsea, Pisauri, 1739—43-51.; Le Lucerne

Bd.iii.s. 168,aSilenuslamp; kl. Schrift d'Ercolano. fo. Nap. 1792; Seroux

v. III. s. 307, new-year's lamp ; Walz. — D' Agincourt, Recueil, p. 63 et seq.

in Pauly, Real Encyclopedic der classi- 3 L. L. v. 34.

272

ROMAN POTTERY.

the French meche, which was applied to the wick, gave the
name polymyxos to lamps with many nozzles. Lamps are
sometimes circular, with a spout and handle, sometimes
elliptical or shoe-shaped. The Greeks applied to terra-
cotta lamps the term trockelatus,1 or made on the lathe,
although, as already stated, they were obviously made in a
mould. Those used in dining-rooms, tricliniares, gene-
rally hung by chains from the ceiling,2 candelabra being
only used to hold lamps in temples. Those found in
sepulchres, sepulchrales, were placed in a shoe-shaped
stand, fastened with a spike into the wall. The chamber
lamps, cubiculares, burnt all night.3 The invention ! of
lamps is attributed to the Egyptians, who thought
that they were first fabricated by Vulcan, that Minerva
supplied the oil, and that Prometheus lit them.4
Lamps are first mentioned by Pherecrates, the Athenian
poet, who flourished in the reign of Alexander the Great.
We find no further mention of them till the age of
Augustus, and none of the terra-cotta lamps are earlier
than that period. The principal parts of these lamps
are the cup or hollow portion, crater, the upper part,
discus, and the handle, ansa, behind. The discus has
a hole, infundibulum. Round the crater is the limbus,
which is a decorated border of floral or other orna-
ments.5

The infundibulum, or hole, by which the oil was poured
into the lamp had a movable cover, or stopper, which is

1 Aristophanes, Eccl. 1.

2 Virgil, .En. I. 730.

3 Martial, xiv. 39, x. 38. For the
mode of using lamps, see Bb'ttiger, Die
Silenus lampen, Amalthsea, III. p. 168,

&c. ; Becker, Charioles, II. p. 215;
Gallus, II. p. 209.

4 Passeri, Lucernse, folio, Pisauri,
1739, p. 4.

5 Pollux, Onomasticon, x. 27.

SHAPES OF LAMPS. 273

rarely found. This, which was an inch or an inch and a
quarter in diameter, was stamped in a separate mould,
and is generally ornamented with the subject of a head in
full face. A fictile lantern was found in the pyramid of
Cestius.

The wick, myxa, was made either of tow, stuppa, or
rush, scirpus, of amaranth, amarant/ms, or papyrus. The
pin or needle with which the wick was trimmed was some-
times placed in a hole at the side.

SHAPE.

The earliest lamps have an open circular body, with a
curved projecting rim to prevent the oil from spilling,
and occur both in terra-cotta and also in the black glazed
ware found in the sepulchres of Nola. Many have a pro-
jecting hollow pipe in the centre, in order to fix them to
a stick on the top of a candelabrum. These lamps have
no handles. They may have been placed in the sacella or
lararia, and were turned on the potter's wheel.

The shoe-shape is the most usual, with a round body, a
projecting spout or nozzle having a hole for the wick, and
a small annular handle, which is more or less raised.
Some of the larger lamps, and especially the Greek ones,
have a flat triangular handle, which is sometimes elabo-
rately ornamented in bas-relief with figures, the helix
ornaments, dolphins, and other subjects. Another kind of
handle was in the shape of the crescent moon, and was very
common in bronze. In a few instances it was in the form
of the neck of a vessel. The bust of the god Serapis was

VOL. II.

274

ROMAN POTTERY.

a much more unusual form. A singular variety of lamp,

well adapted for a table, was
fitted into a kind of small altar,
the sides of which were orna-
mented with reliefs. Several how-
ever, from their unusual shape, may
be considered as fancy ware, the
upper part, or the whole lamp,
being moulded into the resem-
blance of some object. Such are
the lamps in the British Museum
in the shape of a female head
surmounted by a flower, or of the
head of a negro or Nubian with
open jaws, through which the wick
was inserted. Some elegant little

lamps were in the shape of a foot, or a pair of feet, shod in

No. 186.— Lamp. Crescent-shaped
handle.

No. 187.— Lamp, with bust of Serapis.

the caliga, and studded with nails. A bull's head was a

SIZE— AND PASTE. 275

favourite device. Some lamps in the shape of a pigeon
are of very late fabric. A lamp for two wicks, in the col-
lection just referred to, is in the shape of the wine skin of
old Silenus, whose head is seen above, and through whose
gaping jaws it was fed. Another is also of a comic
nature, having a satyr's head in front. It was for many
wicks.1

No. 188.— Group of lamps— altar-shaped— with many spouts, and ordinary one for one wick.

Some are in the shape of tall jugs, the upper part being
the lamp. In this case the front and sides are ornamented
with figures in bas-relief, such as Apollo,2 or the triform
Hecate — one figure on each side.3

AGE.

Most of these lamps appear to have been made between
the age of Augustus and that of Constantino. The style,
of course best at the earlier period of the empire, de-
generates under the later emperors, such as Philip and
Maximus, and becomes at last Byzantine and bad.

1 Seroux D'Agincourt, Recueil, PL 2 Passeri, i. tav. Ixix.
xxxvii. xxxviii. 3 Passeri, i. tav. xcvii. iii. Ixxvii.

T 2

276 ROMAN POTTERY.

Most lamps had only one wick, but the light they
afforded must have been feeble, and consequently some
have two wicks, the nozzles for which project beyond the
body of the lamp. In the same manner were fabricated
lamps of three, five, and seven wicks. If more were
required the nozzles did not project far beyond the body
of the lamp, which was then moulded in a shape adapted
for the purpose, and especially the favourite one of a
galley. Sometimes a conglomeration of small lamps was
manufactured in a row, or in a serrated shape, which
enabled the purchaser to obtain what light he required ;
still the amount of illumination must have been feeble.
As many as twenty wicks are found in some lamps.

The greater number average from three to four inches
long, and one inch high ; the walls are about one-eighth
of an inch thick, and the circular handles not more than
one inch in diameter. Some of the larger lamps, how-
ever, are about nine inches or a foot long, with handles
eight or nine inches high.

The paste of some is white, chalky, and easily scratched ;
of others, hard and clayey ; of a few, of a bluish-black colour.
Red, is however, the prevalent tone, either owing to the earth
called rubrica, or ruddle, by Pliny, or to the use of bullock's
blood, which washes out.1 The lamps found at Rome on the
Via Nomentana, celebrated for its potteries, are of a white
colour.2 The Neapolitan lamps are of a dingy brown, or
yellow. Those made of earth from the Vatican hill are red.3
The lamps from CumsB are also made of red clay,4 and those

1 Livy, lib. iii. dec. 1. 4 pa8seri, xiv. ; Martial, xiv. Ep.

2 Passeri, p. xiii. xiv. - 112, speaks of the red clay of this

3 The fragiles patellae of the Vatican locality,
are mentioned by Juvenal, Sat. vi. 343.

PASTE AND FABRIC. 277

found at Arretium and Perusia are of the same colour.1
The lamps of Pisani are both red and white clay, from the
fundus accianus. The Etruscan are of black clay, the
Egyptian of red, brown, or black clay, fully baked. Many
of the lamps from the vicinity of Naples are of an ashen
or yellow clay. Those from Greece are remarkably pale
and pure.

PEOCESS.

Lamps were manufactured by means of moulds, which
were modelled from a pattern lamp, in a harder and finer
clay than the squeeze or pattern. The latter was divided
into two parts, adjusted
by mortices and tenons,
the lower part forming
the body of the lamp, the
upper the decorated su-
perficies. The clay was
pressed in with the fin-
gers by a potter Called No. 189.-Mould of alamp (lower part).

ihefyulus sigiUator?' or stamper. The two portions were
joined while the clay was moist, and pared with a tool, and
a small hole was pierced for introducing the oil. They
were then dried and sent to the kiln, and baked carefully
at a not very high temperature. Some moulds were
prepared with considerable taste and good workmanship,
and as the same type was used by different potters, it
appears that they were sold ready made, and that the
potter merely added his name.

1 Passeri, xiv. tobolus, Lucii filius Pyrrhus figulus

2 Passeri, p. x. " Dis manibus Aga- sigillator."

278

ROMAN POTTERY.

BELIEFS.

The simplest kind of lamps, and which may be con-
sidered of the earliest and best style, have their subjects
in the centre, which is concave, like a votive clypeus, which
it appears intended to represent. The subject is only
surrounded with a plain bead or moulding. Such lamps
are probably of the best period of Empire, and may be
traced down to the time of Philip.1 They generally have
simple semi-oval nozzles and moulded handles, and are
distinguished by their simple circular bodies. In some
cases the moulding is divided, leaving a channel to the
neck.2 These lamps have never more than one hole for
the oil. Such specimens as have not handles, generally
have the part for the wick elongated, and ornamented
either with mouldings resembling the Amazonian pelta
(which are sometimes seen combined with architectural
flowers on those with handles), or else the nozzle seems
intended for an ivy leaf, flower, or pelta. On some of the
later lamps, the borders are much more elaborate ; egg
and tongue mouldings, wreaths of laurel, bunches of grapes,
and oak leaves, are distributed round the subject ; or the
acanthus leaf, and antefixal ornament, and a trefoil
flower or leaf, an egg and tongue border, wreaths appear.
The number of figures is generally small, it being con-
trary to the principle of ancient art to crowd a work with
minute figures and accessories. Many lamps have no sub-
ject, the majority only one figure ; and two, three, and more
figures are rare in the ratio of the increasing number.

1 Cf. the one iu Passeri, iii. xxix.

2 Ibid. iii. xxvii.

SUBJECTS. 279

Some of. the largest lamps, indeed, have several figures,
but such are very rare. Nor are lamps impressed with
distinct and well preserved subjects common ; only a few
of this description can be selected out of the hundreds
that are found. Many are of grotesque and humorous
workmanship. Such lamps, when of small size, generally
fetch from a few shillings to a pound ; but there is no
limit to the price that amateurs will pay for extraordinary
specimens. Considering their smallness, they are amongst
the most interesting remains of Roman terra-cottas ; and
it is only to be regretted that the Romans possessed so
little historical taste, as they might by this means have
transmitted to us more interesting information than is
conveyed by the representation of barren myths, the
exploits of gladiators, or the lives of courtesans.

SUBJECTS.

The subjects of these lamps are calculated to convey
the same relative idea of Roman civilisation, as the plates
now made to be sold among the working classes are. of
that of our own day. The lamp-maker sought to gratify
the taste of his customers by ornamenting his ware with
familiar subjects. The purchasers of terra-cotta lamps
were generally persons of inferior condition : he would
therefore copy from memory well-known statues of the
principal gods, or represent incidents in the lives of
heroes whose fame was popular. In Rome the stage
exerted little influence, and the lamp-maker rarely took a
subject from the drama ; but the games of the circus, the
incidents of gladiatorial life, the contest, the pardon, or

280

ROMAN POTTERY.

the death, as well as the tricks of the circulatores or
mountebanks, recalled scenes familiar to every eye.
Under the empire the Romans had become vain and
frivolous, and their masters sought to obliterate from
their minds the cruel scenes of imperial bloodshed and
public rapine by spectacles and diversions. There are
also some subjects taken from fables, which always make
so much impression on uneducated minds ; but a great
number have nothing except ornaments.

DEITIES.

A few only of the great gods are found represented.
A lamp published by *Passeri, has Coelus, surrounded by
Sol, Luna, and the stars.1 Jupiter often occurs, seated on
a throne ; probably a potter's copy of the statue of the
Capitoline Jove ; 2 at other times he is seen in the
company of Juno and Minerva,3 or allied with Cybele, Sol,
and Luna.4 A very common subject is the bust of this
deity, sometimes with his sceptre placed on the eagle,
which is flying upwards.5 His consort Juno seems to have
had but few admirers.6

Of the incidents in the life of Minerva, the lamp
represent her birth, Jupiter being attended by Yulcan
and Lucina.7 Her head 8 or bust is 9 of common
occurrence. She is also seen standing10 as Pacifera,11
having at her side a vase and cista ; 12 advancing as
Promachos,13 having at her side an owl ; u or sacrificing at

1 P. I. vii. In this and the following
pages B. M. stands for the Collection of
the British Museum; B. for Bartoli ; and
L. for Licetus.

2 B. M. 3 B. M. 4 Pass. I, xv.

5 B. M. 6 P. I. xii. 7 p. i. Hi. ix.

8 P. I. liii. * P. I. liv. w p. j.

11 P. I. lix. 12 P. I. Ixii. bdii.; B. ii. 1 8.

» P. I. Ixiv. M P. I. Ixv.

APOLLO AND VENUS. 281

an altar.1 Sometimes only her helmet,2 or her segis is
represented,3 having on it the head of the terrible beauty
Medusa. The lame Vulcan is scarcely ever seen,4 and
his servant, the grim Cyclops, only once.5

Apollo often appears as the Pythian, or the Lycian,6
seated 7 and playing on the lyre ; or as the Hyperborean 8
with the gold-guarding gryphon at his side. Other lamps
have Diana hunting,9 or without her dogs,10 or driving in
her character of the Moon, or Luna.11 Another form of
Diana, as the three-fold Hecate, whose statue was placed
in most of the Roman trivia? is often found.12 Mercury
occurs in various attitudes, with the caduceus and purse,
as the god of commerce,13 with a goat, dog, and cock,14 or
allied with Fortune and Hercules.15 The bust of this god,
with a purse and caduceus as the god of merchandise, or
with the ram 16 is constantly repeated.17 On one lamp, the
exchange of the lyre, which he invented, for the caduceus
of Apollo is represented.18 Mercury was always a popular
Roman god.

Mars, although pre-eminently the deity of Rome, the
Gradivus Pater, is rarely distinguishable from ordinary
heroes. He is represented disarmed by Cupid,19 medita-
ting war,20 and bearing a trophy.21 One lamp, on which
are the busts of Mars, Venus, and Sol, probably refers to
the amours of the god.22 Venus, a favourite goddess of the
Roman people, and consequently of the lamp-makers, is

i B. M. 2 P. I. Ixvi. " P. I. xci. xcii « P. I. xcvii.

a P. I. Ixvi. 13 P. I. ciii. cv.

4 P. II. xxxv. 5 P. II. xxxv. " Passeri, I. ciL; B. ii. 18.

6 P. I. Ixxi. 7 p. I. lxxii..v. i* B. M. is R IIL xcvii>

8 P. I. Ixxv. V B. M. ; P. I. c. w P. I. civ.

9 P. I. xcvl j B. M. 19 B. M. » B. M. ; P. II. xxx.

10 B. M. ; P. i. IxxxviL 21 P. II. xxiv.-xxvi. » P. I. Ixxxix.

ROMAN POTTERY.

seen as Cytherea, or rising from the sea,1 with a star and
crown,2 at the bath,3 as the Coia of Praxiteles,4 as Victrix,

or the vanquisher, and
arming, attended by
Cupids,5 like the Ve-
nus of Capua.

The representations
of marine deities are
limited to those of Nep-
tune,6 Triton, Proteus
wearing the mariner's
cap,7 and Scylla,8 and
the head of Thetis
ornamented with a
crab. Many lamps
have Cupids, who ap-
pear invested with the
attributes and per-
forming the functions
of the gods. Sometimes the merry little deity holds the
club and quiver of Hercules,9 reclines upon a couch,10 sails
over the sea in a galley,11 fishes from a rock, plays on pipes,12
holds a crater and inverted torch,13 gambols with com-
panions,14 holds a bird,15 sounds the lyre like Apollo,16
sacrifices,17 seizes the arms of Mars,18 fills a crater or wine-
bowl out of an amphora, like a Satyr,19 holds grapes,20
shoots a serpent, a parody of Apollo and Python,21 or blows

No. 190. — Lamp. — Mercury, Fortune, and Hercules.

1 P. II. xiv. 2 P. II. xiii.

3 B. M. 4 P. IL xv. 5 B. M.
6 P. Lxlii. 7 B. M.;B. 5.

8 P. L xlvii. 9 B. M. w & M.
nB.M.

13 B. M. u B. M.

15 P. IILxci.

16 P. I. Ixxvii.

* P. I. ci. 18 P. I. Ixvii.

19 B. M. 20 B. Mt 21 B. M.

BACCHUS AND MINOR GODS. 283

Pan's pipe.1 Sometimes his amour with Psyche is
represented, from the tale of the Golden Ass by Lucian
and Lucius Apuleius ; 2 sometimes only his bust is seen,3
or he appears as a terminal statue.4

Bacchus was always a popular god at Rome, and the
edicts against his worship show how deeply it had taken
root in the minds of the people of Italy. On lamps he is
seen holding his cantharus for a panther to lick,5 or with
the cantharus on his head,6 drinking,7 as a boy with
grapes,8 or in his ship.9 Several lamps have Ampelus,10 a
Satyr, with torches11 or with pipes,12 'Comus or Marsyas,
Satyrs pouring wine from the as cos or wine-skin,13 or pound-
ing in a mortar,14 the old Pappo-Silenus,15 Satyrs pursuing
Nymphs,16 Bacchantes tearing a kid over a lighted altar,17
or a Bacchante at an altar,18 and Pan.

The host of minor deities and demi-gods also often
exercised the ingenuity of the modeller of lamps.
Among these is found Sol in a quadriga,19 standing
with Luna,20 Sol or the Colossus of Rhodes, full face,21
and his bust surrounded by the stars and planets ; 22 Nox
or Ariadne also occurs.23 Luna also appears in an infinite
variety of shapes. So many of the lamps were made on the
occasion of the secular games that they seem to allude
to them. Among Roman gods are seen Janus,24 Silvanus
with the falx and basket,25 his bust,26 Yesta, and some
others.27 Pluto,28 Salus, and ^Esculapius rarely occur.29

i B. M. 2 p. in. t. xx. ; B. i. 7. 14 B. M. * B. M. »« B. M. V 3. M.

B. M., P. II. i. 1S B. M. ; B. ii. 22 19 P. L Ixxxv. ; B. ii. 9,

4 P. III. viii.

5 B. M.

20 P. I. Ixxxviii.

21 P. I. Ixxxiv.

e B.M.

7 P. II. xxxix.

22 P. I. xii.

23 P. I. vii. xv.

8 B.M.

9 B.M.

24 P. I. iv.

25 P. I. x.

10 P. II. xxxvi.

11 P. II. xxxviii.

26 P. I. ix.

2? B. M.

12 B. M.

» B.M.

28 B. ii. 6. 8.

29 B. ii. 45.

284

ROMAN POTTERY.

Hercules is seen killing the serpent Ladon, which
guarded the tree of the Hesperides,1 holding the gathered
apples,2 seizing the stag of Mount Cerynitis,3 sacrificing,4 re-
posing,5 holding the cup as Hercules Bibax,6 in the company
of Minerva,7 or as Musagetes playing on the lyre.8 The
Dioscuri, so propitious to the Romans at the lake Regillus,
sometimes appear as busts in full face, as the " lucid stars,
the brothers of Helen ;"9 Castor is seen accompanied by
his horse,10 or with his horse's head and spear.11 Of
the inferior deities there is Rome seated alone,12 or
crowned by Victory ; 13 Fortune having before her a star
and rudder,14 or standing with other gods ; the Dii lares,15
the Genius of the army,16 Hymen,17 the four Seasons,18
and Vesta.19

Victory is beheld holding a shield,20 on which is often
an inscription, invoking a happy new year,21 having in area
the head of Janus and other emblems ; 22 sacrificing at an
altar ; accompanied by the Lares ; 23 holding a shield ; 24
sacrificing a bull, or elevating a trophy high in the air.25

FOKEIOT DEITIES, EMBLEMS, ETC.

The prevalence of exotic religions at Rome is shown by
the representations of Diana of Ephesus,26 Cybele, with her
lions, and the youth Atys,27 Mithras ;28 Serapis supported by

1 B. M. ; P. III. 93. 2 B. M. " B. M. * B. M.

3 P. II. iv. 4 P. II. iii. 16 p. IL xxvi. i? P.Lxxxviii.

5 P. III. xciv. 6 B. M. 18 P. I. xi. 19 P. I. xiii.

* P. II. vii. s P. II. vi. 20 B. M. » B. M.

9 B. M. ; P. I. Ixxxvii. 22 B M. 23 B. M.

10 B. M. ; P. II. xxviii. « p. £ ^ v^ 25 B. M.

11 P. II. xxvi. 26 p. L xcviii< 27 B. M.

12 P. III. L 13 P. HI. fc 28 p. L XCt

FABLES AND HISTORY.

285

two sphinxes1 or alone,2 or on a throne with Isis ;3 Isis,4 with
her son Harpocrates,5 in the company of Anubis ;6 Harpo-
crates alone,7 and other Egyptian gods.8 Some lamps have
an Egyptian hunt,9 a crocodile, and the god Canopus.10

Many lamps have merely the emblems of deities, as the
sword, club, and lion's skin of Hercules ;n the lion's head,
cantharus, and vine leaves of Bacchus ;12 or a cantharus
with wreaths of vine leaves and panthers, of which Passeri
possessed 500 repetitions, made by the lamp maker L.
Csecilius SaBtinus ; 13 the dolphin and lyre of Apollo, allied
with the hippocamp and rudder for Neptune ; 14 the gry-
phon and patera of Apollo ;15 or the raven, laurel, and
caduceus,16 allied with the thunderbolt of Jupiter, the staff
of jEsculapius, the helmet and shield of Mars ;17 the joined
hands and caduceus of the goddess Peace ; 18 a goat, and
armour on a column.19

Few subjects were taken from the old stories of the
cyclic poets and the Iliad, which were familiar only to
the learned public ; yet some appear which Virgil, Ovid,
and the other poets of the Augustan age had rendered
familiar. Among these are Ganymede playing with
the bird of Jove ;20 the amour of Jupiter, under the form
of a swan, with Leda ; 21 the judgment of Paris ; 22 the
combat of Achilles and Hector ;23 the death of Hector, of
Penthesilea,24 and of other Amazons ; 25 Diomed and
Ulysses with the Palladium ; the flight of ^Eneas ; 26

1 P. III. Ixx. 13 P. III. ciii. 14 P. I. 1.

2 P. III. Ixiii. Ixviii. 3 P. HI. 1XX.-1. W p. I. lxx. 16 B. M.

* P. HI. Ixix. 5 B. M. V p. I. iii. is B. M.

6 B. M. I. xxxii. 7 P. I. i. 19 P. I. Ixviii. 20 B. M.

8 P. I. Ixxviii. III. Ixxx. Ixxxi. 21 B. M. 22 B. M.

9 B. M. 10 P. HI. Ixxiv. s3 B. M.; B. i. 10 ; iii. 9. 24 B. M.
" P. II. ix. 13 P. III. civ. 25 B. M. 2R B. M.

286 EOMAN POTTERY.

Ulysses passing the Sirens ; l Polyphemus devouring the
companions of Ulysses ; 2 the same hero escaping under
the Ram ; 3 receiving the wind-bags of ^Eolus ; the cranes
and pigmies ; 4 OEdipus and the Sphinx ; Prometheus ; 5
Perseus and Andromeda ; 6 Meleager ; 7 Actseon ; 8 the
fall of Bellerophon ; 9 and Orestes haunted by the
Furies.10

FABLES.

A few of the fables of popular writers are also repre-
sented. One lamp, found near Naples, and now in the
British Museum, has the well known tale of the fox and
the crow, treated in a peculiar style. The fox has slipped
on a chlamys, and stands erect on his hind legs, holding
up a pair of pipes to the crow, which is perched on the
top of the tree. Another in the same collection represents
a fable taken from an unknown source, perhaps the verit-
able ^Esop, in which a stork holds in its beak a balance,
and weighs in one scale an elephant, while a mouse is seen
in the other. A third lamp has on it the cock that has
found the grain of barley, which he preferred to all the
precious stones on earth. There are also numerous cari-
catured subjects,11 consisting of grotesque heads and
figures, with diabolical countenances, the meaning of which
is very obscure ; but they are supposed by many to be
dwarfs.

1 B. M. 2 Avolio, 116. ' B. i. 31. 8 B. i. 28. 9 B. ii. 24.

3 Lamp in S. W. Parish's collection. 10 P. II. xciv.-ciii.

4 B. M. 5 Bi L if 2, 3. 6 B> i. 9> n P< IIL xx. xxi- 6<

GAMES OF THE CIRCUS. 287

HISTORICAL SUBJECTS.

There are but few historical subjects, and those which
occur are taken from sources more piquant than true.
One lamp represents the celebrated interview of Alexander
the Great and Diogenes, who addresses the hero out of his
jar ;* Romulus found by Faustulus 2 is seen, the twins
Romulus and Remus suckled by the she-wolf,3 and Remus
alone.4 The immolation, perhaps, of Curtius,5 and a few
other events in Roman history are found. Neither are sub-
jects derived from real life numerous, although some may be
cited ; as an Emperor sacrificing, soldiers,6 a battering ram,7
and soldiers fighting ; 8 galleys sailing over the ocean ; 9
fishermen either at the Tiber or at Ostia ; 10 Tityrus n tend-
ing his herds ; a shepherd with a caged animal ; 12 the
rustic chapel of the gods of the countrymen ; 13 persons
pounding in mortars ; u preparing the vintage,15 or bringing
the wine in casks.16 The scenes of love are far too nume-
rous to describe ; neither are they treated in the chaste
style of modern art, but repeat the orgies of the debauched
Tiberius at Capreae.

GAMES OF CIECUS.

Many lamps have bas-reliefs representing the popular
subjects of the games of the circus, and the gladiatorial
exhibitions of the amphitheatre. The finest of these in
the British Museum has a race of quadrigae ;17 the spina,

1 B. M. ; P. III. Iviii. 9 B. M. «> B. M.

2 P. III. iv. 3 P. III. ill » B. M. 12 Avoii0) 120.

4 P. III. v. 5 B. M. w B. M. " B. M. « B. M.

6 P. II. xxii. xxiii ; III. xxxv.-xxxviii. 16 B. M.

7 P. II. xxviii. 8 B. M. v B. M.; B. i. 24-25-27.

288 ROMAN POTTERY.

the metEe, the obelisks, the carceres, from which the
chariots have started, and the seats with the spectators
are represented. Others also occur with chariots,1 some-
times bigse.2 Gladiators3 are very often seen — either
Samnites or mirmillones, — with a palm,4 crowned by Vic-
tory.5

No. 191.— Lamp— Games of the Circus— in the British Museum.

A lamp from Naples, now in the British Museum, has
the names of two gladiators, FVRTVS and CoLVMBVS,6
in bas-relief at their sides. A common subject is the
victor holding up his sword, while the vanquished, fallen
upon one knee, expects his fate. Another lamp in the
same collection has a retiarius, holding his trident and

» B. M. ; P. III. xxvi. xxvii. xxviii. 4 R M. 5 B. M.

2 B. M. 6 Cf. B. i. 22. Sabinus and Popillius.

3 B. M. ; P. III. v. Ix. ; B. 20-21 -22.

ANIMALS.

289

mucro, with his name CAL VISITS, and that of his fallen
opponent MAXIMVS. Combats with beasts are seen,1 also
boxers,2 flute and cymbal players.3 Busts of comedians,4
and comic and tragic masks5 often occur, and several of
those deformed and obscene dwarfs called Moriones, hold-
ing pipes,6 boxing with others,7 wearing the petasus,8 or
the hat of the slave.9

ANIMALS.

Animals form a numerous class of representations, such
are the gryphon,10 pegasus,11 lions, often devouring a stag12
or a bull,13 panther,14 boar15 bitten by a dog,16 bears,17
horses,18 deer couchant,19 dogs, sometimes fighting,20 a
stag chased by dogs,21 sheep22, goats,23 hares or rabbits
devouring grapes,24 sphinxes,25 a crocodile attacking a
lion,26 an eagle,27 a peacock,28 the crow of Apollo,29
snails,30 parrots,31 dolphins, the same entwining an anchor,
a pelamys or tunny,32 a hippocamp,33 scorpion,34 serpents
and lizards,35 toads, scorpions,36 shells,37 locusts devouring
grapes,38 capricorns,39 and marine monsters.

1 P.IIL x. xiii.; B.i. 23.

2 P.m. xxilxxiii.

3 P. III. cvi. « P. III. xxxv.
5 B. M. ; D. 100. 6 P. III. xxi.
7 B.M. 8B.M. 9B.M.

1° P. I. Ixxix ll P. I. Ixxx.

12 B. M. 13 B. M.

" B. M. 15 B. M.

16 B. M. ; P. I. Ixxxvi.

17 B. M. 18 B. M.
19 B. M. 20 B. M.

21 B. M.
23 B. M.
25 B. M.
27 B. M.

22 B.M.
24 B.M.
2« B.M.

28 P.III.XV.XVii.

29 B. M. ; P. I. xlix. *

30 P. III. Iviii. lix.

31 P. III. lxi.-lxxxiii.

32 B. M. 33 B. M.

34 B. M. 35 P. III. li.

86 P. III. CV. 37 B. M.

3* P. I. Xlviii 39 P. I.V.

VOL. II.

290

KOMAN POTTERY.

MISCELLANEOUS SUBJECTS.

There are many subjects which it is difficult to class, such
as the as and its divisions,1 which must have been numisma-
tic curiosities at the time the lamp was made ; the arms
of the salii,2 of foreigners, vases,3 or a cupboard filled with

No. 192. — Lamp. Monogram
of Christ.

No. 193.— Lamp with the Golden
Candlestick.

vases,4 a lectisternium to the infernal gods,5 a lighted altar
and genii,6 serpents,7 the dolphins of Neptune,8 a sepulchral
cippus,9 a Bucraniun,10 two palms,11 a wreath,12 of laurel,
myrtle,13 of oak leaves, the civic crown,14 a curule seat with

1 B.M.
3 B.M.
6 P. III. 1L

* B. M.

2 B.M.

4 P. iii. li.
6 P. III. Iii.

3 P. iii. xlv.

9 P. iii. liv.
11 B. M.
13 B. M. iii. xli.

10 B. M.

12 p. iiie xiiii.

" P. iii. xliii.

CHRISTIAN LAMPS. 291

lictors,1 tombs with genii 2 crowning sepulchral urns,3 urns,4
lustral vases,5 crowns and palm branches.6

One of the most remarkable subjects of the later lamps
is the golden candlestick,7 as it appears upon the arch of
Titus at Rome ; either a copy of that object at the time,
or else in allusion to the Church, as figured in the Reve-
lations. Many lamps indeed occur with Christian sym-
bols— such as crosses, the monogram of Christ,8 the good
shepherd,9 the great dragon, Jonas swallowed by the
whale, and other emblems ; but these are generally of the
bright red ware, of the class called the false Samian,
under which they will be found described.

INSCEIPTIONS.

A considerable number of lamps have inscriptions, dis-
posed in different manners. Those which have reference
to the subject, being impressed in relief along with it,
while those which relate to the lamp itself, or its maker,
are always on the bottom, and consequently out of sight.
These are either in relief, or else incised with a tool in
cursive letters ; on the lamps of Arretium and Cumse
they are in relief in small tablets, on the upper surface.
They were impressed with bronze stamps.

The inscriptions found upon lamps are — 1. marks ;
2. names of makers ; 3. names of places where they were
fabricated ; 4. name of pottery ; 5. name of proprietors ;

1 P. III. xxxix. 5 P. III. xlix., 1.

2 P. III. xliv., xlv., xlvii; 1. 13, 14. 6 P. iii. xlii. xlviii. 7 B. iii. 32.

3 P. iii. xlvi 4 P. III. xlviii s B. iii. 22. <> B. iii. 28, 29.

u 2

292 ROMAN POTTERY.

6. date of manufacture ; V. dedication to deities; 8. ac-
clamations used at the public games ; 9. facts.1

Of the first class are the little marks used by the potter,
either instead of his name, or in conjunction with it
There is no very great variety of symbols, and those found
are of the simplest kind, such as circles, half moons, the
print of a human foot, wheels, palm branches, the colt's
foot, or vine leaf.

Although the inscriptions relating to the fabric of
lamps are by no means so numerous or complete as
those upon tiles, yet they are instructive with regard to
the potteries. A considerable portion only indicate that
they were made by slaves, since they bear single names,
such as Agatho, Attius, Arion, Aquilinus, Cinnamus,
Bassa, Bagradus, Draco, Diogenes, Heraclides, Fabrinus,
Fortis, Faber, Faustus, Inulisuco, Memmius, Monos,
Maximus, Muntripus, Nereus, Oppius, Primus, Priscus,
Pastor, Publius, Probus, Rhodia, Stephanus, Succes-
sivus, Tertullus, and Yibianus. These names generally
occur in the genitive, the word " manufacture," or " fac-
tory," being understood. One rare specimen has "Dio-
genes fecit." Many makers appear to have been freed-
men, and the most remarkable of these was Tindarus,
the freedman of Plotina Augusta, the wife of Trajan.2 It
has been already seen from the inscriptions upon tiles,
that Tindarus was also a tile-maker, many of the tegulse
doliares having been prepared in his potteries. Some
examples of the use of the word officince occur, as the
officinse of Caius Clodius Successivus, the officina3 of Pub-
lius and Titus already mentioned, that of P. Asisus, that

1 Seroux D'Agincourt, Recueil, p. 67. 2 P. i. xxxi.

NAMES OF LAMP MAKERS. 293

of Patricius and Chrestio, and lonis, but the expression is
uncommon. That of Manu, or hand, is still rarer ; only
one potter, L. Muranus, is known to have employed it.
' Another remarkable inscription under a lamp, engraved
by Passeri, runs, "from the manufactory of Publim
and Titus, at the Porta Trigemina." r A considerable
number of the names have a simple prsenomen, such
as Aurelius Xanthus, ^Elius Maximus, Caius Caesar,
Clodius Heliodorus, Caius Memmius, Caius Faber, Caius
Fabricius, Claudius Lupercalis, Egnatius Aprilis, Lucius
Primus, Turcius Sabinus. None of these names is of
historical importance, although it is just possible that the
last may be the Tyro-Sabinus mentioned by Pliny, who
wrote de Hortensibus. They were probably freedmen
who manufactured lamps. Of still higher rank than these
freedmen were the persons who possessed three names,
and who occasionally record their descent. These must
be regarded as Roman citizens. Such were probably
Publius Satrius Camillus, Caius Oppius Restitutus, Caius
Lucius Maurus, Caius Clodius Successivus, Caius Julius
Nicephorus, Caius Pomponius Dicax, Caius Julius Philip-
pus, Caius Iccius Vaticanus, Lucius Fabricius ^Eveius,
Lucius Fabricius Masculus, Lucius Csecilius Ssevus. Whe-
ther they were proprietors of the establishment, or of the
farm from which the clay was procured, is by no means
certain, but none of them are mentioned elsewhere ; which
renders it probable that they were persons of inferior
condition, such as masters of the potteries, who were pro-
bably rich freedmen. A few words occur in a contracted
form which refer to the fabric, such as the Accianian of

• * P. ill vii.

294 ROMAN POTTERY.

Publius Satrius Campestris, son of Caius," on lamps found
at Pesaurmu; "the Caninian," "the thirds (tertia) of
Commodus," and those already mentioned, called " Fla-
vians" and "Domitians;" also "the Heraclians," "the
fourths of Oppius/' and "the thirds of Publius Fabricius."
It is of course uncertain what such expressions mean, as
they may refer either to the officinse or establishments, or
to the names of the lamps themselves. If some may be
interpreted " the Vatican lamps of Caius Iccius," this
would appear to mean the celebrated clay of that hill, and
the word figlina, or " pottery," is to be supplied. In the
appendix will be found a list of the marks borne by other
lamps. Some have the names of certain shops, such as
C. Oppius Rest., Caius Rest., Clodii res., Publii Fabricii
tertia, Oppedi quarta.

A third class may contain the name of the place
where the lamps were made, as, Caii Iccii Vatican(ce)> for
" Vatican (lamps) of C. Iccius," on lamps found at Rome.
The fourth class has the name of the lamps or fabric, as the
Caninian, Flavian, Domitian, Heraclian, Thirds, Fourths.
This expression may refer to the names of thefiglina, or
potteries, similar expressions occurring on the tiles.

The fifth kind is supposed to contain the name of the
Patroni in whose houses the lamp-makers lived. On
these the names of Antoninus, Commodus, Philippus,
Diocletian, and Maximus occur, and one, more distinct
than the rest, has Tindarus, Plotince Augusta libertus,
" Tindarus,1 the freedman of Plotina Augusta." One only
contains the date of the consulship of the Emperor Philip,
during the celebration of the Secular games. These

1 Passeri, xi.

PLACES AND PROPRIETORS.

295

inscriptions observe the usual laws of contraction. The most
contracted form in which the names of emperors appears,
is A A. NN. (Augustorum nostrorum, of our two Augusti);
a phrase which cannot date earlier than the joint reign of
M. Aurelius and L. Verus. It is indeed possible that
the name of Titus, which occurs on one lamp, may be as
old as that of the emperor of that name, for upon several
lamps is found inscribed, "the Flavians of our god and lord ;"
an expression particularly referable to Vespasian or Titus,
both of whom bore that surname ; while other lamps are
inscribed " the Domitians of our god and lord," showing
that they allude to the Emperor Domitian. Much light
is, however, thrown upon this point by the tiles, some of
which, as we have seen, were called " the larger Neronians"
after the Emperor Nero. The name of Trajan is found
upon a lamp, showing either that it came from the imperial
potteries or from others named after that emperor ; while
a large number of lamps are inscribed " of Antoninus," or
" of Antoninus Augustus/' which probably refers to one
of the two Antonines, or else to Caracalla, or Elagabalus.
To this middle period of the Roman empire most lamps
may be referred, as some occur with the name of Severus,
others with that of Maximus, and several l with that of
M. Julius Philippus, some of which have the addition of
his third consulship — thus showing that they were made
during the remarkable epoch of the celebration of the
Secular games, A.D. 247. It is of course impossible to feel
certain that such names as Probus refer to the emperor of
that name, and no Roman lamps bear the name of a later
sovereign, although one Greek one has that of Diocletian,

i P. i. xxix.

296

ROMAN POTTERY.

The inscriptions upon some lamps are votive excla-
mations resembling those of the Decennalia and Secularia,
such as, ANNVM NOVVM FAVSTVM FELICEM,
" a new and propitiously happy year ! " l ANN VM IN
QYO FAYSTVM FELIX TIBI SIT, " a year in which
may all be fortunate and propitious to you;" or ANNVM
NOV VM FAYSTVM FELICEM MIHIC, " may the new
year be happy and propitious to me/' These inscriptions
seem to show that the lamps were given away or sold on
new-year's-day, or on the celebration of the Secular games.
On one is inscribed HAVE,2 ' hail!'; SVTINE, <oh Sutinus/
These inscriptions sometimes occur upon victors' shields,
on which are often found inscriptions relative to victories,
and other subjects. One remarkable lamp has DEO
QVI EST MAXIMVS,3 " to the god
who is greatest." Another, icvi
SERENO SACRUM, " sacred to Serene
Jove." 4 Nor are certain expressions
adapted for funeral purposes less in-
teresting, Such as SIT TIBI TERRA
NO. 194.— Foot of Lamp, with LEVis, " earth lie light on thee :" or

name of the Secular Games.

ANIMA DVLCIS, " 0 sweet soul ! " 5 A
great number are stamped "SAECVL, or SAECVLARIA," in
reference to the games of the period.

USES.

An immense number of lamps must have been used
during the illuminations which seem to have taken place

1 Passeri, i. 6 ; Fabr. vii. 5.

2 Avolio, p. 112. a pa8Seri

* P. i. xxxiii.

5 Passeri, iii. 46.

SUPERSTITIOUS USES. 297

on occasion of triumphs. During the celebration of the
Secular games the city was illuminated for three nights,
and it is probable that some of the subjects found in lamps
have reference to this festive use of them.1 They were
used for illuminations as early as that for the sup^
pression of the Catiline conspiracy.2 Lamps were also
used in the Isiac worship. " Moreover," says Apuleius,
" in the festival of Isis there was a great number
of either sex, with lamps, torches, wax candles, and
another kind of torches, imitating the light of the
celestial stars. The first of them held forth a lamp,
gleaming with a clear light, not much like those which
illuminate our evening entertainments, but a golden boat
or cup, sending forth a very long flame out of the midst of
it." 3 They were also lighted in the lararia and sacilla and
in the therma3,4 which Alexander Severus opened at nights.

They appear, indeed, to have been in general use for
illuminating public buildings. For domestic use they
were employed in the dining room, the study, and the
kitchen.

Several lamps have been found in sepulchres, but these
are chiefly of the Christian period, or connected with
the worship of the Manes, and were not placed there, as
some authors of the preceding century imagined, with the
idea of their burning eternally.5 In an inscription on a
sepulchral cippus in the Museum, the heirs of a deceased
person are enjoined on all the kalends, ides, and nones of

1 Passeri, p. xx. ; Sueton. Vit. Jul. ad fin. ; Martial, x. ep. 6 ; Symmachus,

Caesar c. 37; Dio. Neron.; Xiphilin, i. 1. ii. 2 Plutarch. Cic. c. 22.

xxxiii. ; Sueton. Dom. c. 4 ; Lamprid. 3 Lamprid. vit. c. 24. 4 As. Aur. xi.
Vit. Alex Sev. c. iv. ; Tertull. in 6 Fort. Licetus, de lucernis anti-

Apologet. ; Capitolinus, vita Gordian. quorum reconditis, 1622.

298 ROMAN POTTERY.

each month1 to place a lighted lamp in his sepulchre ; and
the same is enjoined upon alternate months as a condition
on which her slaves received their liberty, in the testament
of Msevia.2 That this was common under the empire
appears from the story of the Matron of Ephesus,3 and from
the following remarkable inscription : " May a golden
shower cover the ashes of whoever places a lighted lamp
in this tumulus." 4

Among other superstitions connected with lamps was
that of choosing the name of a child. Several lamps
were named, and then lighted, and the name of the child
was taken from that of the lamp last extinguished.5 At
the end of the eighteenth century a great number of
lamps were discovered in a furnace, where they had been
baked, together with the moulds and other utensils for
making them.6 Great numbers are found at Rome,
Naples, and on the sites of the principal cities of ancient
Italy, Germany, France, and Britain. Some numbers
also occur in the rubbish heaps of the different cities of
Greece and Africa. According to Avolio seventeen lamps,
placed one upon another, were found close to the mouth
of a reverberating furnace, near Anzi.7 These lamps were
placed in stands, also of pale red coarse terra-cotta.8

1 Brit. Mus. Marbles, pt. v. viiL 4 Gruter, mcxlviii.

2 Digest, i. Ix. 44. 6 j0h. Chrysost. Homelia xii.

8 Petronius, Sat. c. 3, "positumin 6 Avolio, p. 117. 1 P. 123.

tumulo lumen renovabat." » Lysons, iii. PI. xvii. 6.

VASES. 299

CHAPTER III.

Vases — Roman pottery — Paste — Colours — Drying — Wheel or lathe — Modelling —
Moulding — Stamps — Inscriptions — Furnaces — Construction for glazed
ware — Heat — Smoke kilns — Northampton kilns — Colchester kilns — For
Gray ware — Dimensions — Prices — Uses of vases — Transport of
eatables — Feet of tables— Sham viands — Dolia or casks — Hooped with
lead — Repaired — Inscribed — Doliarii — Amphorse — Inscriptions — Memo-
randa — Use of amphorse — Size — Makers — Sarcophagi — Obrendaria
— Early use of terra-cotta vases — Names of sacred vessels — Cadus
— Diota — Paropsis — Patina — Patera — Patella— Trulla — Catinus — Lanx
— Scutula — Gabata — Lagena — Crater — (Enophorum — Urceolus — Pocu-
lum — Calix — Cotyle — Scaphium — Cantharus — Carchesion — Scyphus —
Rhyton — Acetabulum — Ampulla — Guttus — Matella — Olla, Sinus, Obba —
Places where made — Architectural use.

VASES.

THE decorations of lamps are analogous with bas reliefs
used for architectural purposes, and hence they may be
considered as connected with the fine arts, since they
required not merely the technical manipulation of a
potter, but also the skill and taste of an artist to produce
them. They are the last link in the chain of the glyptic
art. Of the unglazed Roman pottery it now only remains
to consider the vases, a class of objects which demanded
for their manufacture no higher skill than that of the
potter. The technical part of Roman pottery is probably
better known than that of the Greek ; kilns, furnaces,
moulds, tools, clays, and other objects connected with it
being distributed all over Europe, and consequently having

3oa ROMAN POTTERY.

attracted the attention of various scientific inquirers.
In point of shape and elegance the Roman vases are far
inferior to the Greek — nor does the paste seem to have
been prepared with the same regard to fineness and com-
pactness. Nevertheless, many shapes and pastes often
possess very superior qualities for useful purposes. The
art was evidently held in lower estimation among the
Romans, and committed to the hands of slaves and
freedmen. The Roman potteries produced useful but
by no means fine or beautiful vases, and they were only
adapted to the necessities of life.

PASTE.

The paste of the Roman vases is by no means so fine
as that of the Greek, except the glazed red ware, which is
of so bright a colour as to resemble coral.1 Since red
clay does not retain this colour in the furnace, either
a peculiar clay must have been used, like some varieties
found in this country, or it must have been heated to a
certain temperature and combined with peculiar earths to
produce the colour. The pipe-clay used was called the
figlina or potter's chalk. Other kinds of paste are of a
pale or deep yellow, with small pebbles intermingled, and
fragments of red bricks worked in. It was generally
fine. Some ancient terra cottas have little pebbles mixed
in their composition, either from the use of ill-prepared
clay, or in order to prevent the contraction of the clay.
Other pastes are black, of a deep thick gray, cream-coloured,
nearly white, light red, pale red, brown, and even of a

1 777 Kcpapfxi}, Geopon. ii. 49.

WHEEL AND MOULDS.

301

yellow colour. The clay was probably ground, trodden out
with the feet, and worked up with the hand.1 The Romans
evidently availed themselves of the earth of the different
localities in which they found themselves ; 2 with the
exception of the Samian ware, the paste and colour of
which is uniform. The vases from different countries
are easily distinguished from one another. There is
also a variety of paste of a pale red colour intermixed
with flakes of mica, of the nature of that of the vases
commonly called chrysendeta.3 There is a great differ-
ence of opinion among the commentators about this paste.
The ancients employed several processes, and paid the
greatest attention in preparing their different clays for use.
An analysis of the fragments found in the excavations at
Rome, Pompeii, and Herculaneum, shows that the clays
were mixed in certain proportions with volcanic earth and
sand, especially pozzolano. Even the time of making
was carefully observed. " Bricks are best made in the
spring,4 for those made at the solstice," says Pliny, " are
full of chinks ;" an observation repeated by Vitruvius,
who says, " Bricks are to be made in spring and autumn,
in order that they may dry equally;"5 and they were
often prepared two years before.

PEOCESS.
In the manufacture of vases the Eomans used the

1 Varro, Ee Kustica, iii. 9 ; Mr. Yates
in Smith's Diet. Antiq. p. 418.

2 Clarac, part. Tech. I. 31.

3 Clarac, Mus. d. Sculpt. P. Tech. p.
30. The Chrysendeta are mentioned
as used by the wealthy ; but some sup-
pose them to have been of inetal.

Mart. xi. 29.

4 " Finguntur optime vere nam sol-
stitio rimosi fiunt." — Pliny, N. H. xxxv.,
xiv. 49.

5 " Ducendi autem sunt per vernum
tempus et autumnale ut uno tenore
siccescant." — Vitruvius. ii. 3.

302 ROMAN POTTERY.

same process as the Greeks. They were made by
the table or wheel, called orbis, or rota figularis. The
mass of clay was placed on this, and worked up with
the hand to the requisite form. Most vases were
made by this process, except the dolia, or casks, which
were made by the same means as the pithoi. The
handles were either modelled with tools or else pressed
out of moulds ; and zones, concentric circles, hatched and
punctured lines, and imitations of thorns were produced
by pressing pointed pieces of stick or bone against the
sides of the vases while revolving. Sometimes ornaments
were modelled upon the moist clay before the vase was
sent to the furnace. Moulds were very extensively used
by the Romans, and the entire vase was often made by
pressing the clay with the fingers into one of the requisite
size. Besides these ornaments, the potter impressed upon
certain vessels an inscription from a metal mould, con-
taining the name of the establishment which manufactured
them. These inscriptions are found upon amphorse, and
the so called mortaria ; but seldom on the smaller vases of
unglazed ware. It appears that under the Lower Empire
the potters were compelled by law to place their names on
their ware.1 The Romans were acquainted with several
ways of perfectly drying their wares before they submitted
them to the action of the fire. As the greatest attention
was paid to the proper manner of preparing tiles, bricks,
and architectural members, it is probable that the clay of
vases was also an object of great attention.2

1 Cassiodorus, Variar. lib. i. form. xxv. 2 Vitruvius ii. c. 3 ; Campana, p.
lib. ii. form, xxiii. 22.

CONSTRUCTION OF FURNACES. 303

PTJENACES.

The furnaces were arched with bricks moulded for the
purpose. The side of the kiln was constructed with curved
bricks set edgeways in a thick slip of the same material,
made into mortar, to the height of two feet. A singular
furnace was discovered, over which had been placed two
circular earthen fire vessels, one close to the furnace, of
about eight gallons contents. The fire passed under both of
these, the smoke escaping by a neatly plastered flue, from
seven to eight inches 'wide. These vessels were suspended
by the rims fitting into a circular rabbit or groove formed
for the purpose. They contained some perfect vessels and
many fragments, and are supposed to have been used for
glazed ware, and probably had covers.1

A uniform heat in firing the kiln is supposed to have
been produced by first packing up the articles which were
required to be fired to the height of the side walls, the
circumference of the bulk was then diminished, and
finished in the shape of a dome. As this arrangement
progressed, it is supposed that an attendant followed the
packer, and thinly covered a layer of pots with coarse
hay or grass. He then took some thin clay, the size of
his hand, and laid it flat on the grass upon the vessels ;
he then placed more grass on the edge of the clay just
laid on, and then more clay, and so on until he had
completed the circle. The packer then raised another
tier of pots, the plasterer followed, hanging the grass
over the top edge of the last layer of plaster until he

1 Brongniart, Trait^, i. p. 426-7.

304

ROMAN POTTERY.

had reached the top, in which a small aperture was left,
and the clay scraped round the edge ; another coating
would be laid on as before described. Gravel or loam
was thrown up against the side wall, where the clay
wrappers were commenced, to secure the bricks and the
clay coating. The kiln was fired with wood.1 In some
kilns, indeed, has been discovered a layer of ashes four or
five inches deep. Other kilns at Sibson, near Wandsford,2
Northamptonshire, exhibited peculiar differences in the
mode of arranging the furnace. Instead of the usual dome
of clay and straw, bricks were modelled and kneaded with
chaff and grain, and made of a wedge shape, interlapping
at the edges, with a sufficient curve to traverse the circum-
ference of the kiln ; the floor had perforated arc-shaped
bricks. These kilns appear to have been used for making
a great quantity of terra- cotta, Samian and stone ware.
The blue ware is supposed to have been produced by
smothering the fire (or rather smoke) of the furnace upon
it when in the kiln, and the colour is so volatile that
it flies when forced a second time in an open kiln.
Mr. Artis has traced these potteries in England for twenty
miles on the gravel banks of the Nen, in Northampton-
shire, and tells us that the kilns generally resemble one
another, consisting of a cylindrical shaft three feet deep,
four feet diameter, walled to the height of two feet.
The length of the furnace, which communicated with the
kiln, was one-third its diameter. In the centre of the
circle formed by the furnace and the kiln was an oval
pedestal, the same height as the side, with the end point-

1 Mr. R. Smith, in the Journal of
the British Archaeological Association,

vol. i. p. 5.

2 Same Journal, li. 165.

KILNS FOR GRAY WARE. 305

ing to the kiln's mouth. Upon this pedestal, and upon
the side wall, the floors of the kilns, formed of perforated
arch-shaped bricks, rested." The furnace itself was arched,
made of moulded bricks to form the arch, and the side
constructed of curved bricks set edgeways.

Mr. R. Smith mentions a kiln at Colchester, and a por-
tion of one of the sun-dried bricks, of which the furnace
was composed, was discovered at Colchester in 1819, with
about thirty vases. The vases stood on circular vents
above the hollow chambers, through which the heat
was conveyed to them. Some of the vases, all of which
were of the same coarse material, and nearly of the same
form and size, were less baked than the rest, and broke
unless handled with great care. l

One of the furnaces, which appears to have been used
for baking the gray Roman ware, was discovered at Caster.
The furnace was quite different from those for the black
and only calculated for a slight degree of baking. It
was a regular oval, and measured 6 feet 4 inches in
breadth. The furnace holes were filled in the lower part
with burnt earth of a red colour, and in the upper part
with peat. The exterior was formed of strong blue clay
6 inches thick, and the interior was lined with peat. The
kiln was intersected by lines of the same, and divisions
of blue clay. Some of the vases were inverted and filled
with a core of white sand.2

The supposed pistilla, or pestles for mortars were also
made of baked clay,3 they were really supports used in
the kilns to steady vases while baking.4

1 R. Smith, Collect, ii. p. 38. 3 Arch. xxiv. p. 199, PI. xliv. 4.

2 Vol. xxii. p. 413, PI. xxxvi. 4 Arch. Journ. vii. 176.
VOL. it. x

306

ROMAN POTTERY,

DIMENSIONS OF VASES.

At all periods specimens of immense vases were
fabricated. The great Roman amphorae were sometimes
as high as two metres, and required two oxen to draw
them. The enormous dish prepared to cook the gigantic
turbot presented to Domitian must have been above
seven feet long ; l arid another dish, called the JEgis of
Minerva,2 composed of tongues, brains, and roes, must
have been of the same size. Ciampini mentions an
ancient Roman vase so large that a man required a
ladder of twelve steps to reach the mouth.

PEICES.

Martial describes the tiresome man as going about the
town, and winding up the day by purchasing two cups
for an as, or penny, but it is not certain whether these
were earthenware or glass.3 They were probably worth
a sesterce or large brass Roman coin, for one of the
amusements of the fast young Lucius Verus, the colleague
of the staid Marcus Aurelius Antoninus, was to break
calices, or cups, with these pieces of money — probably for

1 " Incidit Hadriaci spatium admira-

bile rhombi, ....
Implevitque sinus ....

Sed deerat pisci patinse mensura

.... Montanus ait, testa alta paretur,
Quse tenui muro spatiosum colligat

orbem.
Debetur magnus patinse subitusque

Prometheus.

Argillam, atque rotam citius properate ;

sed ex hoc
Tempore jam, Caesar, figuli tua castra

sequantur."
—Juvenal, Sat. iv. 39-41, 72, 131-135.

2 Pliny, N. H. xxxv. c, xii. 46 ;
Sueton. vit. Vitell. 13.

3 "Asse duos calices emit, et ipse
tulit."— Martial, ix. 60.

PRICES AND USES. 307

two reasons, they were sufficiently heavy to effect their
purpose, and at the same time paid for the damage they
occasioned.1 Juvenal speaks of Plebeian cups purchased
for a few asses.2 Pliny states that some terra-cotta vases
sold for more than the celebrated myrrhine vases ; 3 and
for gigantic proportions of this ware may be cited the
immense plate made by Vitellius, to bake which a furnace
was prepared in the open country. It cost him a million
sesterces, or about 8000/.

USES AJSTD SHAPES.

One of the great uses of earthenware was for the
transport of wine, figs, honey, and other commodities —
being used in the same manner as casks are at the present
day. The lagena, or large bottle, was. used to hold wine
or figs, and articles were imported from the African coast
in the testa. In this manner a preparation from the
blood of the tunny was sent from the Phrygian Antipolis
to Rome.4 Another vessel for transporting and pre-
serving viands was the cadus. Martial speaks of cadi
vaticani,5 which are supposed to refer to the wine ; how-
ever, when he speaks of the yellow honey taken out of
the red pot,6 he also mentions the red cadus pouring out
foreign wine.7 Vases were also used for religious rites,
the operations of metallurgy, chemistry, and medicine ;
but above all for domestic purposes — for the cellar, the
kitchen, and the table.

1 Jaciebat et nummos in popinas 4 Martial, iv. 88.

maximos.quibuscalicesfrangeret. — Jul. 6 Epigram i. xix. 2.

Capit. vit. Veri, 12mo, Lugd. Bat. 1671, 6 Epigram i. 10, " Flavaque de rubra

p. 102. premere mella cado."

;Sat. xi. 145. 7 Ep. iv. 66,
3 N. H. xxxv. c. 12, 46.

x 2

308

ROMAN POTTERY.

The feet of tables were also made of this unglazed
ware,1 and one of the jests of Elagabalus 2 was to place
before his parasitical guests, at a lower table, a course, the
viands of which were made of earthenware, and make
them eat an imaginary dinner.

The gigantic earthenware casks, resembling the Greek
pithoi, were used for holding enormous quantities of wine,
corn, and oil — in fact whole stacks of cellars have been
found at Antium and Tunis, at Gergovia near Clermont,
and at Apt in the department of Yaucluse.3 They bore
marks of the withes by which they were held, or of being
made from moulds. In various caves and other places in
France they are mixed up with fossils,4 the supposed re-
mains of a primitive race.

It appears from the ancient jurists that it was unlawful
to remove the gigantic dolia in which the Romans kept
their stores of wines in the cellar, for fear of endangering
the safety of the house.5 From the dolia, the wine, as
among the Greeks, was put into another vase, probably an
amphora, and decanted off.6 As the amphora had a
pointed base to fix it more securely into the earth of
the cellar, it was when brought up placed in a tripod
stand,7 which among the poor was of wood but
among the rich was made of brass or silver. The dolia
were sunk in the ground, and one of these prodigies
which was supposed to predict the future fortune

1 Fulcitur fagina testa mensa mihi."

— Martial, ii. xliii.

2 Lamprid. vita Heliogab. 12mo
Lugd. 1632, p. 317.

3 Brongniart, Traite", i. 407, 408, 409.
•« Ibid. 409.

5 Paullus Manutius, Comm. in Cic.
Epist. famil. lib. vii, Epist. xxii.

6 Cicero, de Clar. Orat. ; Seneca,
Epist. xxx vi. ; Pliny, xiv. c. 13.

7 Doni, 1. c. p. Ixxxviii.-lxxxix.

VASES FOR THE CELLAR.

309

of the Emperor Antoninus Pius was the discovery
above ground of the dolia in Etruria, which had
been sunk in the earth.1 Juvenal represents them as
deep casks,2 and as being cemented with pitch, gypsum
or mud.3 They held twenty amphorae, or forty-one urns.

The makers of the casks called dolia, and of the larger
amphorae, were called doliarii ; 4 a term, however, appli-
cable to all kinds of coarse ware, since the roof tiles were
also called opus doliare, while the workmen were called
fabriles.5 Makers of smaller vases were styled vascularii?
fictiliarii? or urnamentarii.8

Large dolia, with 'leaden hoops have been found at
Palzano, seven miles from Modena, and at Spilamberto
one was also discovered broken in fragments, with
an inscription containing the name of T. Gavelius and the
numbers XXX and XX, probably its contents ; while
another of thirty-six amphorae capacity had an inscrip-
tion and contained a coin of Augustus.9

" Bind your casks with lead," says Cato,10 in his treatise
upon agriculture, and Pliny speaks of scraping the hoops
or making new ones.11

A few rare inscriptions, recording the names of the
owners or makers of the dolia have been preserved as
" L. Calpurnius Eros," on the mouth of a cask found in the

1 " Etruria dolia, quse defossa fueraut,
supra terrain reperta sunt." — Capitoli-
nus, Vita Anton. Pii. s. 1.

2 Sat. vi. 430, " Alta dolia."

3 Sat. ix. 58.

4 Doni, Inscript. p. 289, tab. xi. no.
iv. ; see the bas-relief with the dolia and
amphora.

5 Ibid. p. Ixxxvi.

« Gruter, Thes. p. dcxliii. 4, 5,, 6, 7.

7 Ibid. p. dcxliii. 1.

8 Spohn. Misoell. s. vi. p. 238.

9 Bull. 1846, p. 35.

10 " Dolia plumbo vincite," R. R. 39.

11 "Dolia quassa sarcire ipsorumque
lamnas scabendo purgare.'' — Pliny, N.
H. xviii. 64.

810

EOMAN POTTERY.

villa Peretta.1 " T. Cocceius Fortunatus," on that of another
discovered in the ruins of Bsebiana.2 Another large
vase had "Stabulum P. Actii,"3 the Stable of P. Actius;
which is, however, certainly not a potter's mark, but pro-
bably incised by the slave of the stable where it was
used. Two of these dolia will also be seen in the
gardens of the Villa Albani. They are
about four feet diameter, and as many
feet high and about three inches thick, of
a coarse gritty earthenware, and of a pale
red colour.

The Roman amphorae were coarser than
those made in Greece ; the body more
globular and less elegant. The clay is
reddish, and sometimes covered externally:
with a siliceous coating like the Egyptian
vases. Amphorae were pitched internally
to retain the wine,4 and the mouth was
closed with clay or else with a bung.
NO. 195.— Terra-eotta When of moderate size, they were made

Amphora.

on the wheel, the larger like the Greek,
were moulded. The name of the maker was in a square
label stamped out of an incuse mould on the handle.
This name is in the genitive, as Maturi " of Maturus," or
" of Maturius ; " the word "officina" or " factory " being
understood.5

Several amphora? have been found at Rome, and 120
were discovered in a subterranean cellar near the baths of

1 L. CALPVENIVS EEOS. F. Fab-
retti, 502.

2 T. COCCEI FOETVNATI. Ibid.
503.

3 STABVLVM P. ACTII. Doni, 98.

4 Horat. Carm. i. 20, 3 ; Pliny, N. H.
xiv. 20, 27 ; Palladius, iii. 24.

5 Seroux D'Agincourt, pi. xix. xxxvi.

INSCRIPTIONS ON AMPHORA. 311

Titus. Doni 1 has engraved a remarkable one, five Roman
palms high, holding eight congii, discovered in the gardens
of the Villa Farnese, amidst the supposed ruins of the
Golden Palace of Nero. On its neck was traced in large
letters ex eel (la) L(ucii) Purelli Gemelli M(amertinum).
" Mamertine wine from the cellar of L. Purellus
Gemellus." Csesenniae, "from the estate of Ca3sennia."
The neck of another found on the Aventine hill, now in
the Kircherian Museum, has inscribed upon it, Fabriles
MarcellcB n(ostrce) ad felicitatem- — " the workmen of our
Marcella to wish her joy." 2 It is supposed to have been
a present during the Saturnalia. On others found in a
house at Pompeii were painted, in red and black ochre,
such words as MES. AM. xvni., "the amphora measures
eighteen3;" BARCAE, 'of Barce/ near Gyrene; FORM.
'Formian' ; KOR. OPT, 'best Corinthian'; RUBR. VET. 'old
red/ which seem to be the names of the wine deposited
in the cellar. Other amphorae were marked LIQVAMEN
OPTIMVM, ' the best dripping,7 or ' grease,' showing for what
purpose the vessel had been used. On one of them was
inscribed TVSCOLANON OFFICINA SCAV[RI] " Tusculanum " or
" Tusculan," OFFICINA SCAURI, " from the manufactory of
Scaurus." Other letters refer to the contents of the
amphorse, its age or number in the cellar.

Several which were found in an excavation close to the
Porta del Popolo, and consequently near the Flaminian
Gate, in a subterranean chamber, supposed by some to be
a cellar, contained various materials and objects, such

1 Inscrip. p. Ixxxii. Antiquities, vol. II. pp. 70, 79 ; Bull

2 Doni ; ibid. p. Ixxxvi. Arch. Nap. ii. 85.

3 Mr. Falkener, Museum of Classical

312 ROMAN POTTERY.

as ivory and bone pins, portions of animals, lamps,
and fragments. On some of these amphorae were let-
ters ; and on a piece of terra cotta, probably a tile, was
stamped,1 "from the establishment of Domitia Lucilla,"
a name already mentioned among the tile makers.

The letters on these amphorae are described by
Plautus and Juvenal.2

The use of amphorse was very various and extensive
among the Romans. They were employed at entertain-
ments, sacrifices, dinners, in cellars and granaries, and
for holding the sand of the bath and gymnasium with
which the body was rubbed,3 as well as for many pur-
poses to which the moderns have applied wood and
iron.

Amphorse and other vases, inscribed with the names of
the consuls under whom they were deposited, were called
(literate?) " lettered,"4 or "fictile letters, "5 and so were the
urns which bore the names of the temples to which they
belonged.6 Two fine glass scyphi, which Nero broke in his
terror when he heard of the revolt of Galba, had on them
some verses of Homer,7 and on the glass amphorse of
Trimalchio was inscribed " the finest Falernian wine one

1 EXOFICFATDOMIT LVC. Seroux Setinis, cujus patriam, titulumque

D'Agincourt, pi. xix., fig. v. senectus

*' Itaque in totis aedibus, Delevit nmtta veteris fuligine testae."

Tenebrse, latebrae : bibitur, estur, quasi — Juvenal, v. 33.

in popina, baud secus, 3 Doni, 1. c. p. Ixxxvii.-xci.

Ibi tu videas literatas fictileis epistolas, 4 Brodseus, Miscell. i, c. 3 ; Turneb.

Pice signatas : nomine ineunt cubitum Advers. i. 1 ; Brisson. de For. viii.

longis literis, 715; Illustr. di un vaso Italo-Grec. d.

Ita vinariorum habemus nostrae R. Mus. Borb. 4to, Napoli, 1822.

delectum domi." — Pcenulus, act. 5 Plautus, Psen. act iv. s. 2, 15.

iv. 8. ll,v. 14. 6 Plautus, Rudens, activ. s. 5, IT.

<c Cras bibet Albania aliquid de monti- 7 Sueton. Nero, 47.
bus, aut de

INSCRIPTIONS AND FABRICS. 313

hundred years old." l A cup of gold had the other names
of Cicero, with a vetch, instead of Cicero.2

They are of various sizes, from about two to four, or
even six feet in height. Their paste varies much in colour,
from a pale red to a cream colour, like the bricks and
tiles. It is compact and heavy, somewhat resembling that
of the mortaria.

Like the mortars, they were made either by slaves or
freedmen ; but the names of the makers of the amphorae
are distinct from those of the makers of mortars. They
have been found throughout the ancient limits of the
Roman empire.

One of the most curious stamps upon these vases is a
square one, having a caduceus and twelve compartments,
with symbols and the following inscription : M(arci)
PETRON(ii) VETERAN(i) LEO SER(vus) FECIT.
" Leo the slave of M. Petronius Yeteranus made it." 3

Sarcophagi, even at a late period were made of the
same paste as the amphorae — such having been found in
the Roman potteries at Saguntum.4 The obr end aria, or
urns in which the ashes of the dead were deposited, were
also of this coarse ware, and globular shaped, and were
used as cases for more precious vases. It will be
remembered that Cato and Cicero are both stated
by Varro to have wished to be buried in terra cotta
vases.

Roman amphorae have been found at London, Kings-
holme, Gloucester, and Woburn.5 One of the large

1 * Falernum Opimianum annomm 4 Brongniart & Riocreux, Musde de
centum."— Petronius, Sat. 34. Sevres, i. 18.

2 Plutarch, Apophthegm, p. 205. 5 Arch. xxv. PI. Ixix. p. 606.

3 D'Agincourt Recueil, xxii. 7.

314

ROMAN POTTERY.

amphorae, containing ashes of the dead and other
objects was found at the Bartlow Hills.1 Another
remarkable vase of this ware found at Littington near
Royston, was apparently a kind of colander, of a cup
shape, and having inside a hollow domed portion,
perforated with holes, which formed the letters IN-

DVLCIVS.2

Vessels of terra cotta were extensively used by the
Roman people, in the earlier days of the republic, for all
purposes of domestic life,3 and the writers under the
Empire often contrast their use with that of the costly
vessels of the precious metals then employed. This ware
appears to have been called " Samian," either because it
was imported from that island, or because it was made in
imitation of the ware procured thence. " For the neces-
sary purposes," says Plautus, "in religious ceremonies
Samian vases are used ; " 4 and Cicero repeats that the
simpuvia and capedines of the priests were of the same
ware.5 It appears indeed to have been discontinued even
for religious rites under the Empire. " Gold," says the
Satirist, " has driven away the vases of Numa and the
brass (vessels) of Saturn — the urns of the Vestals and
Etruscan earthenware." 6 " Who formerly presumed to
laugh at the bowl and black dish of Numa, and fragile
plates from Vatican Hill." 7 And again, " There-

1 Arch. xxv. PI. xxxiii. p. 304.

2 Arch. xxvi. PI. xlv. p. 376.

3 Tibull, I. i.

4 Capt. II. ii 4.

5 De Nat. de Or. III. 17.

6 Persius, Sat. ii. 60.

7 " Aut quis

Simpuvium ridere Numae, nigrumque

catinum,

Et Vaticano fragiles de monte patellas,
Ausus erat." — Juvenal, i. vi. 341-3. Cf.
Juvenal, i. 4, xi. 19 ; Seneca, Epist. 97 ;
Tertullian, ApoL c. 25.

SACRED VESSELS. 315

fore then they placed all their porridge in a Tuscan
bowl."1

The vases used in sacrifices were principally of earth-
enware, and comprised the simpulum 2 or the simpuvium,3
a vessel for pouring out wine, or according to some
the bowl in the shape of a ladle, in which the priests
washed. The capis capedo or capeduncula? the discus
and the catinus 5 or patera, the aquimenarium to wash the
vessels, or amula which held the lustral water. To these
must be added the urna or urnula, which appears the
equivalent term of the Greek hydria, or water pitcher,
and a small earthen vessel called lepesta in use in the
temples of the Sabines.6

For eating and drinking, fictile vases were only used by
poor people. Juvenal speaking of his time says — " no
aconite is quaffed out of fictile vases.7' 7 But this must be
accepted with some reservation, as it is evident that
fine red glazed ware was used by the upper classes.
Thus the celebrated consul Curius is said to have pre-
ferred his earthenware service to the gold of the Sam-
nites.8 " It is a reproach to dine off earthenware," 9
says the Satirist in the days of Domitian. This is
proved by the example of Catus ^Elius whom the
^Etolian ambassador in his consulship found dining off
vessels of earthenware,10 B.C. 169 ; and in the entertahir

1 "Ponebant igitur Tusco farrata 5 Pliny, N". H. xxxiii. 69.

catino 6 Varro, L. L.

Omnia tune." — Sat. xi. 109, 110. ^ " Sed nulla aconita bibuntur

2 Varro, iv. 26; Schol. Juvenal, vi. Fictilibus." — Juvenal, Sat, x. 25,26;
341-3. cf. xi. 20.

3 Isidorus, xx. 4 ; Pliny, N. H. xxxv. 8 Florus, i. 18.

12. 9 "Fictilibus ccenasse pudet." — Juv.

4 Capedines et fictiles urnas Pliny, in. 168.

N. H. xxxv. 12 ; Cicero. Paradox. 1. 10 Pliny, N. H. xxxiii. c. 11, 51.

316

ROMAN POTTERY.

ment given before the Cella of the temple of Jupiter,
Q. Tubero placed fictile vases before the guests.1 At the
entertainment, however, given by Massinissa, the second
course was in the Roman manner, served up on silver,
B.C. 148, which the Greeks had not substituted for earthen-
ware till after the age of Alexander.2

In the early times of the Republic even persons of
wealth used only pottery at their meals, as well as for
other domestic purposes ; but the increase of wealth
caused vessels of bronze to be made for many uses
for which pottery had been formerly deemed sufficient.
Under the empire glass was used even by the poor
for drinking-cups, while the rich disdained meaner
materials than gems, precious metals, moulded or en-
graved glass. Earthenware was left for the service of
the gods, and the tables of the poor. Numerous small
vessels, especially bottles and jars of various shapes, which
are found either in graves or houses, seem to show that
earthenware was employed for the purposes of life.

It is however difficult, if not impossible, to decide
whether the various small flat plates, dishes, and bowls
which are found, were the paropsis, which is known to have
been made of red ware, the patina, the patera, the catinus,
the gabbata, or lanw, mentioned as made of red terra
cotta. The trullce or bowls, were probably made of red
ware. The patella or plate was made of black ware.
Martial speaks of " a green cabbage in a black plate/'3
Some clue might perhaps be obtained to their size from

1 Seneca, Epist. 95, 72.

2 Athenseus, vi. 229, a. It does not
appear quite certain whether Athenseus
refers to his own time or that of the

republic when he cites this fact.
3 « Nigra cauliculus virens patella."
—v. 78, 1. 7.

DINNER SERVICES. 317.

the descriptions of ancient authors. The catinm was
large enough to hold the tail of a tunny,1 the lanx could
hold a crab.2 Another dish was called scutula. Speaking
of the course of a luxurious entertainment, Martial says,
" Thus he fills the gabatse, and the paropsides, the light
scutula3, and the hollow lances/ 3 The patina was flat, and
held soup,4 and was the generic name for a dish, the most
remarkable example of which was that made by Vitellius,
and which has been already mentioned. This was called
the "marsh of dishes," by Mutianus;5 The wretched
emperor, when dragged to death, was insulted by the
epithet of patinarius, or dish maker.6 Small vases called
acetabula, or vinegar cups, which were certainly made of
terra cotta, probably appeared on the table.7

The great vessels for holding the wine in the cellar, the
dolia, and amphorae, have been already fully described.
Besides the amphora3 the cadus held wine in the cellar.
The cadus held more than two quadrantes or six cyathi,8
and it was hung up in the chimney in order to give the wine
a mature flavour, especially that of Marseilles.9 The diota
held wine.10 The wine was transferred from the cadus
into a fictile vase called the hirnea, but its shape is un-
known.11 Another large vase for holding wine was the
sinus, which also held water.

Many bottles are found in the coarser kinds of ware, and

1 "Rubrumque amplexa catinum 6 Suetonius, Vita Vitellii, c. 17.
Cauda natat thynni." — Pers. v. 182. 7 Acetabula fictilia. Tertullian, Apo-

2 Juv. v. 80 ; Martial, ii. 43. log. c. xxv.

3 " Sic complet gabatas, paropsidasque, 8 Quadrantem duplica de seniore cado.
Et leves scutulas, cavasque lances." — — Martial, ix. 94.

Martial, xi. 31, 19. 9 Martial, x. 36.

4 Phsedrus. I. 26. 10 Hor. Car. i. 9,

5 Paludein patinarura, Pliny, N. H., " Varro, L. L.
xxxvi. 12.

318 ROMAN POTTERY.

were probably used even at table for pouring the wine
into the cups of the guests. The lagence, narrow necked
bottles, with one or two handles,1 when destined for the
next day's entertainment were sealed by the master of the
feast with his ring that they should not be changed. No
crater of the Roman times can be identified in terra cotta.
The cenophorum? a large wine pitcher, and the urceus, a
vase with one handle,3 sometimes made of red ware, and
the urceoli, or little pitchers, are of frequent occurrence.
Another vase for holding wine, probably the same as
the cenophorum, was the acratophorum. The ampulla,
a kind of jug, was used for bringing wine to table after
having been duly labelled.4 The wine was mixed into a
crater, and thence transferred into cups.5 These vases
are probably represented by various terra cotta bottles.

There are a great number of little cups found in
different localities, and in all kinds of ware, but chiefly
in the glazed varieties. These were perhaps known under
the generic name of pocula6 "cups/' calices "goblets,"
cotylcB "gills,"7 and scaphia or " boats." 8 The shapes known
under the names of cantharus,9 carchesion,10 scyphus, and
rhyton were rarely if ever made of earthenware ; indeed,
the pride of the wealthy Romans at this period was to
show magnificent cups of metal embossed by Mentor, Mys,
and other celebrated masters of antiquity, and hence
earthenware cups were only used by persons in moderate

1 Symposius; Aenigm. 6 Martial, xiv. 108, refers to Saguntine

2 Juv. Sat. vi. 425 ; Pers. v. 140 ; cups.

Hor. Sat. i. 6, 109. 7 Martial, viii. 71.

3 Martial, xiv. 106. * Plant. Stich. v. 4, 11.

4 Pliny, Epist. iv. 30 ; Suetonius, Vit. 9 Virgil, Eel. vi. 17.
Domit. 21 ; Martial, vi. 35-3, xiv. 110. 10 Macrobius, vi. 41.

Ovid, Fasti, v. 522, of red terra cotta.

DRINKING CUPS. 319

circumstances. There were, however, certain cups pecu-
liarly Roman, their names not like those just mentioned,
derived from the Greek. Such were the ciboria, in shape
of the leaves of the colocasia, or Egyptian bean,1 the
cyrnbia, or milk cups,2 the nasiterna, which had three
handles. Besides these, the guttus, a small bottle used for
conveying oil to the bath, and which is probably the little
long-necked bottle, called by antiquarians the lachryma-
tory, was often made of terra-cotta. The matella 3 or matellio
was also made of earthenware, as well as a large vase
that used to be placed in the highways.4 The bascauda,
imported to Rome from Britain, were probably baskets.

Several obscure names of vases are mentioned by the
etymologists and others, as the pollubrum, a wash-hand
bason, the escaria, or vegetable dishes, the obba, which
was probably a kind of ampulla, being in the shape of
the helmets of the Dioscuri,5 the craticula, a small goblet,
the myobarbum* in shape of a mouse, the galeola and
others. The pelvis, or pan, is probably the so-called
mortarium ; the sinus, which was also used as a wash-hand
bason, may be a vase of similar shape, but there is as
much difficulty in recognising the true names of the
Roman as of the Greek vases. The olla, or jar, was of
sepulchral use, and the urna was also adapted to hold the
ashes of the dead.

1 Porpbyrion in Horat. Ep. II. 7. 4 Persius, v. 148.

2 Pliny, N. H. xxxvii. 8. 6 Auaonius, Ep. iii.

3 Martial, xii. 32 ; xiv. 119. * Pliny, N. H. xxviil 1.

320 ROMAN POTTERY.

PLACES OF THE FABRIC.

It is not to be supposed that all vessels were made at
one place, for different towns excelled in the production
of their respective wares, which were imported in large
quantities into Rome. Anciently this city was supplied
with earthenware by the Etruscans and probably by the
Greeks, as Plautus mentions Samian ware almost as
synonymous with earthenware. Still it cannot be doubted
that extensive manufactories of vases existed at Rome,
although they are only occasionally mentioned. Martial
speaks of the fragile plates of the Vatican Hill, and
Horace of the potter's wheel,1 as though he had seen it
revolving. He also speaks of cups made at Allifee in
Samnium. Yet Rome itself does not appear to have ex-
celled in any of the finer vases, as Pliny, when he mentions
pottery, does not praise its productions,2 although Numa
had instituted a guild of potters.3 He mentions eight
principal places of the manufacture ; Arretium or Arezzo,
famous for its dinner services, which he compares to the
wares of Samos ; Asta ; Pollentia, upon the banks of the
Tanarus ; and Surrentum, upon the eastern coast of the
Bay of Naples, renowned for drinking cups ; Modena and
Rhegium which produced the most durable ones, and
Cuma, already mentioned by Martial. The foreign manu-
factories were Saguntum, in Spain, so often praised by the
same poet ; Pergamus, in Asia ; the island of Samos,
Erythrse, in Ionia, where two amphorae of remarkable
thinness existed ; Tralles, Cos, and Hadria.

1 Sat. ii. 8, 39. 3 ibid< xxxv. 12, 46.

2 N. R, xxxv. xii. 46.

FOREIGN WARES. 321

At a later period the glazed red ware is found dis-
tributed all over the European limits of the old Roman
world, and was evidently manufactured at one place
and exported.

The services used at a Roman entertainment presented
the same spectacle as those of persons possessing wealth
and taste at the present day, to which the potteries of
Staffordshire, of Sevres, Dresden, and China, contribute
their respective portions. The most exquisite enjoyment
was derived from the contemplation of a variety of the
products of the human mind and hand, which please by
their association and improve by their presence.

AKCHITECTURAL USE.

The vaulted top of an oven at Pompeii is formed of
jars, ollcB, fitted one into another. These olla3 are
about a foot high and six inches wide, of the usual
ware. The span of the arch is five feet six inches. The
object of it was to produce extreme lightness and
dryness. A similar construction occurs at Syracuse ; part
of St. Stefano alia Rotonda at Rome, and the dome of the
church of St. Vitale, at Ravenna, built by Justinian, is
constructed of amphorae and tubes on the same plan.2

In the chapter Vitruvius has written on the ' Echea? or
sounding vases, which were distributed in the Greek
theatre, he mentions that they were often for economy
made of earthenware.3 The Greeks seem indeed to have

1 N. H. xxv. c. 12, P. 46, 47. tav. xxii. torn, v, p. 52-6.

2 Seroux D'Agincourt, Storia dell' 3 Vitruvius, v. c. vii. vol. i. p. 284, a
Arte. Tav. xxiii. torn, v., p. 56. See Marinio ; Pliny, N. H. xi. 112.

VOL. II. T

322

ROMAN POTTERY.

employed both pithoi or casks and lagenae to make rooms,1
and they were sometimes nsed as in the case of vaults,
domes, or other elevated erections, for the sake of
diminishing the weight rather than for augmenting the
sound.2 Such, at all events, is supposed to be the case of
the vases found at the top of the wall of the circus of
Maxentius, at Rome. There is a row of amphora arranged
with their necks downwards, and their long axis inclined
obliquely to the top of the wall. All these are now broken,
but they show an ingenious method for rendering lighter
the upper part of the arches which held the wall of the
seats. Vases are also found used in the construction of
the Tor Pignatarra, the Mausoleum of the Empress
Helena.3

1 Seneca, Qusest. Nat. vi. 19 ; Aris-
totle, Probl. xi. 8.

2 Blanconius, Descr. del Circhi, p. 98 ;
Scamotius, Arch. Un. viii. 15; Venutius

Rom. Ant. PL ii. i. ; Winckelmann, Stor.
d. Art. iii. p. 29.

3 Nibby, Analisi della carta di Roma,
8vo. Roma, 1837, III. p. 343.

CLASSES OF ROMAN WAKE. 823

CHAPTER IV.

Division of Roman pottery : Black — Gray — Red — Brown — Yellow ware — Shapes
— Red ware — Paste — Shapes — False Samian — Paste and shapes — Lamps of
Christian period — Ollse — Gray ware — Mortaria — Paste — Pelves — Trull® —
Names of makers — Black ware — Paste — Colour — Mode of ornamentation
— Shapes — Brown ware — Paste — Shapes — Ornamentation.

CLASSES.

GREAT confusion prevails in the classification of Roman
pottery, and each author adopts a system of his own,
owing to the subject not having been yet studied with the
necessary minuteness. Many local circumstances, such as
the clay, firing and manipulation, produced differences in
the ware. As the scope of this work is not so much to
follow the technical march of science as to give the literary
and archaeological results of an examination of ancient
pottery, it will perhaps only be necessary to take colour
for a guide, as it is a distinction easily followed. The
glazed wares, irrespective of their colour, will be reserved
for a subsequent chapter.

Brongiiiart1 groups the Roman pottery in the fol-
lowing manner :—

1 Traite*, p. 381.

ROMAN POTTERY.

1 Division.— Pale yellow paste, almost white.

2 „ Dull reddish paste, passing to a reddish

brown.

3 „ G-ray, or ash-coloured paste.

4 „ Black paste.

The 1st division comprises the jars and amphorae ; the
2nd division, the Roman pottery of the 1st century ; the
3rd division, Roman ware- later than the 1st century ; the
4th division, Gallo-Roman ware, and that of the local
potteries.

The system of Brongniart follows the age of the potteries
more closely than that of Professor Buckman, although
it must he remembered that the different descriptions of
ware are found together, and were consequently employed
simultaneously. Thus, the amphoraa and ollse which filled
the cellar, the bottles in which the wine and other liquids
were carried about, the lagense and cadi were of the first
and second divisions. The so-called mortaria, some bottles,
and other small vases were of the third division. The
jars which covered the ashes of the dead were of the
brown paste of the second division ; and the cups and other
bottles out of which persons drank were of red or black
ware.

Professor Buckman,1 who has more recently examined
the technical qualities of the unglazed ware found in
Britain, divides them as follows : —

1 Division. — Black.

Gray.
Eed.
Brown.
False Samian.

1 Buckman and Newmarch, Corinium, p. 77.

YELLOW WARE. 325

The only objection to this division is that it does not
present the vases according to their relative ages, as that
of Brongniart professes to do.

YELLOW WAKE.

Distinguished by its coarse paste, of a grayish white or
yellow colour, verging more or less to red. It is to this
division that all the larger pieces of wares belong, such as
the remains of amphorae l and dolia, or tubs, casks which
form the Monte Testaceo at Rome. These vases were
made by different processes. Some were turned upon the
wheel ; others, such as the casks, cadi, were modelled
with the hand, and turned from within.2 The globes, in
which the urns and glass vessels holding the ashes of the
dead, were deposited, were of this class. They appear to
have been amphorae with their handles broken off. Mor-
taria were also made of this ware, and it was extensively
used for long narrow necked bottles with one or two
handles, probably lagenae : and trull ae, or deep bowls.

A finer paste of this colour, often of a rosy tint, or
white and micaceous, was used for making the smaller
vases, which are all turned upon the wheel, and are thin
and light.3 They are ornamented with zones, lines,
hatchings, and leaves, slightly indicated by a dull ochre,
laid on and baked at the same time as the paste.4 These
vases are often covered with a white coating of a flat

1 Muse*e Ceramique, PI. iv. fig. 2,3,5. 3 Brongniart, Traite", i. 435; Mus.

2 For various fragments of this ware Cer. viii. 5, 10, 14.

found with other specimens of red 4 Arch. xiv. PI. 14, p. 74.

ware, see Archseologia, viii. PI. 6.

326

ROMAN POTTERY.

colour, harder and more equally laid on than in the
Athenian vases.

Some of this ware has its paste mixed with grains
of quartz.1 A subdivision of it is a very white kind,
which has been occasionally found in England, con-
sisting of little jars ; small bottles, paterse, or dishes,
painted inside with a dull red ornament ; vessels of the
same shape, painted ; a vessel, apparently a dish, orna-
mented with red lines crossing and hooked ; and others
with brown lines. The paste of these is very white, and
by no means adapted for common uses. They must have
formed a fine kind of ware for ornamental purposes, such
as those of the table.

EED WAEE.

The largest division of Roman pottery is the red
ware, as it comprises nearly all the vessels used for
domestic purposes. It varies in colour from a pale
salmon to a deep coral — and in quality from a coarse
gritty and cancellated structure to a fine compact homo-
geneous paste. The greater part of this pottery is red,
and without any glaze, and of it are made a great number
of plates, dishes, bottles, amphorse, dolia, and jars. It is
often distinguished by an engobe or white coating of pipe-
clay, with which the potter has covered the vase, in order
to give it a neater appearance ; but in many specimens
this is completely wanting. Sometimes the paste of this
red ware is mixed with grains of quartz.2

The following are the principal shapes of this ware ;

Caumont, iii. p. 214.

2 Caumont, Cours. i. 214.

RED WARE. 327

the olla or jar for holding the ashes of the dead ; the
amphora ; the urceolus or small jar ; vases in the shape of
a small barrel, one of which was found near Basingstoke,
and presented to the British Museum by Lord Eversley ;
a little bowl, patella, patina, or lanx. Innumerable small
bottles with a long neck, of a very fine red paste, formerly
called lachrymatories, but now supposed to be unguent
vases, are found in the Roman graves all over Europe.

Many illustrations of this ware may be taken from the
vases in the collections of the British Museum,1 consisting
of amphorae, and large open mouthed jars, with two
handles, probably diotce ; conical vases, with a small
mouth, adapted for holding liquids, perhaps the cadus?
which held fruit or honey ; and lagence, or bottles, and
bottles with a female head, probably the guttus, painted
with white ornaments upon a red ground ; a colus, or
colander, of red ware, from Cissbury, curiously moulded
at the sides, pierced for straining. Some of these have
a polish or very thin glaze, and belong to the division of
glazed wares. A jar with six holes at the bottom, was
found at Minchinhampton, Gloucestershire.

Of this pale red ware were' also made the jars or ottce
which held the ashes of the dead, mostly of slaves which
were deposited in the Columbaria. Some singular lamps
of this ware are in the shape of the helmet of a gladiator.3

Specimens of this pale unglazed ware ,were found at
Staples, near Calais, with hatched and wreathed patterns
in a very bad style, and apparently of a late age.4

1 Journal, Brit. Arch. Assoc. i. 238. 3 Journ. Brit. Arch. Assoc. v. 136.

2 Martial, v. 18, 3, " Et acuta senibus 4 Roach Smith, Collectanea, Vol. i.
testa cum dainascenis." PL iii. 3.

328 ROMAN POTTERY.

In the Sevres Museum are the remains of a vase or
cup found at Souaire, near Bourges, made of a reddish
brown paste mixed with a great number of little particles
of mica. The exterior is covered with a perfectly black
coating, with micaceous particles shining through it. The
polish is owing to the friction the potter has given it
while turning it. The interior is flat. Some other speci-
mens in the Sevres Museum, and fragments of cups and
bottles, exhibit the same peculiarities.1 This is, however,
rather a glazed or lustrous ware.

Another division of ware with a red paste is that called
false Samian, made of fine red clay, by no means so
brilliant as the Samian, and covered with a thin coating
of a red colour, produced by dipping the clay into a slip
made of sulphate of iron. The subjects, as in the case
of the Samian ware,2 have been impressed from a mould ;
but they are generally of ruder execution, and more
indistinct than upon the true Samian. The vases with
reliefs are, however, often hollowed on the inner side.
This ware is of a rarer occurrence than the true Samian.
Specimens of it in the shape of dishes, lances, patinse or
patellae, cups, pocula, cyathi or calices, are found in
England, France, Germany, the Peloponnese, and the
Archipelago.

Of the very fine brick-red paste the principal shapes
are the class Called mortaria, the inside having small
black pebbles inserted into it, to grind or pound the
food ; another is probably the urceolus, or cup of some
kind ; a third, a guttus, or oil vase ; others are lagense,
or bottles.

1 Brongniart, Traitd, i. p. 434. 2 Buckman and Newmarch, p. 93, 94.

PAINTED RED WARE. 329

Of this fine red unglazed ware, were made a great
number of lamps in the latter days of the Roman Empire.
They are long and shoe-shaped, having subjects stamped
on a flat bas-relief. These consist of the monogram of
Christ — the great dragon — a fish — alluding to the mono-
gram IX0TC,1 in which was contained " Jesus Christ, son
of God, the Saviour ; " necklaces of crosses, and other
objects and symbols. Such lamps were particularly
common in Egypt, with inscriptions as already cited,
evidently made for ecclesiastics.

The ollse which held the ashes of slaves in the colum-
baria, are also of unglazed terra-cotta. They are tall
jar-shaped vessels, with a moulded rim, and a flat saucer-
shaped cover. They are humble imitations of the glass
or alabaster vessels, in which were deposited the mortal
remains of their wealthier masters. In the Roman
sepulchres of Britain and Gaul, the ashes of the Reguli
or chieftains, were also deposited in olla3, or jars, which
were placed inside a large dolium, or broken amphora,
to protect them from the weight of superincumbent earth.2
Near the urns were often deposited several small vessels
and different instruments. The urns were often placed
in coffins or coverings of different kinds : one of the most
remarkable, which was found- near Lincoln,3 was a sphere
with an orifice sufficiently large to allow the urn
to be introduced. Great numbers of these urns are
found on the sites of the ancient Roman provincial ceme-
teries, as in the Dover Road. Twenty thousand were

1 Avolio, p. 126, lamp from Puzzuoli. 3 Arcbseologia, xii., p. 108, PI. xiv.

2 Wright, Celt, Roman, and Saxon, 7 & 8.
p. 223.

330 ROMAN POTTERY.

found near Bordeaux.1 An amphora of pale red ware,
containing a jar, with a lid of pale gray pottery,2 was
found near Colchester. After the introduction of Chris-
tianity in the third century this practice was abandoned ;
when the body ceased to burnt, similar vases, but of
smaller size, containing charcoal were placed near the
dead.

GKRAY WAKE.

This ware was made of fine clay, and may be divided
into two classes. The first of these was made of a kind
of sandy loam, such as that of the softer bricks made from
clays on the border of the chalk formation. Its colour is
rather light and its texture brittle.3 By many it is
called stone-coloured ware. This ware was chiefly em-
ployed for amphorse, mortaria, and dishes used in cooking,
which were exposed to the heat of the fire. The small
pebbles, which some suppose to have been placed inside
the vessels for the purpose of preventing unequal con-
traction in baking, others regard as intended to grate the
corn, flour, or meat. The mortaria resemble in shape
modern milk-pans, being flat and circular with overlap-
ping edges, and a grooved spout in front, though these
may be the pelvis or trutta. Most of them appear to
have been used for boiling, as appears from holes burnt
through them, or from their having become much thinner.
This may also be the result of the grinding to which the
materials placed in them were subjected. They are of a
hard ware, rather coarse, but compact in texture, and

1 Brongniart, i. p. 437. 3 Mus. Pract. Geol. Cat. p. 88, 89.

2 Journal Brit. Arch. Assoc. i. 239.

GRAY WARE SHAPES. 331

heavy. On the upper portion inside are the remains of
the small stones, which some think were introduced into
the paste in order to render it harder to grind upon.1
Sometimes ground tile was used, apparently to prevent
the vessels from shrinking when they were baked. They
are often impressed with iron scoria. Their colour is
a pale red, bright yellow, or creamy white, resembling
stone ware. Some of them have upon their lips a
square stamp with a potter's name, like those upon
amphora?. These names are generally of persons of
servile condition, such as Albinus, Aprilis, Catulus,
Brixsa, Sollus, Ripanus, and Paulus ; but some are
apparently the work of freedmen, such as those in-
scribed Quintus Valerius, Sextus Valerius, Quintus
Valerius Veranius, Quintus Valerius . Esunertus. The
most remarkable are those which read upon one edge
Ripanus Tiber f(ecit] Lugudu(ni) factus, — " Ripanus
Tiberinus, — made at Lyons/' The names of the potters
are accompanied with the words F or FECIT, he made ; OF.
or Officina, the factory ; M. or Manus, the hand ; as in
the red Samian ware. These mortaria are from 7 to 23
inches across, and 4 inches high.2 They are found in
France,3 England, Switzerland, and Germany. Several
urns were found at Aosta, and amongst them a mortarium
inscribed C. Atesius Sabinus.4

A group, in the Collection of the British Museum,
exhibits some of the principal shapes of this ware.
One is a dish, patera, or patella; others, small bottles,

1 Cf. Buckman and Newmarch, p. p. 166, 167.

79. 3 Caumont, Cours. PI. xxviii. 4.

2 Artis, Journal Brit. Arch. Assoc. ii. < Muratori, i. p. 134, fig. 3.

332 ROMAN" POTTERY.

gutti, for oil or vinegar; an urceus, found in Moor-
gate Street, in the City ; an amphora, the sides of
which are fluted, perhaps to case it with wicker-work
in order that it might be carried about without breaking ;
an olla or jar, of the same ware. A kind of pipkin was
also found of this ware in France 15 inches diameter
7 inches high.1

The second class of gray pottery is a stone ware much
resembling the modern Staffordshire, and is supposed to
have been made out of clays of the same kind. It is
almost of a stone colour, much heavier than the preceding
class, and sonorous when struck. It is principally used
for amphorse 2 and mortars ; one remarkable vase of this
ware found at Castor is in shape of a human head.

Some varieties of this ware are filled with quartzose
sand, and covered on the outside with mica.3

BLACK WAEE.

Brongniart describes a variety of this unglazed pot-
tery, which is not only black on its surface, but the
paste of which is entirely of a grayish black colour, and
often of a fine black, or grayish-red, internally. It has
a coating about a quarter of a millimeter thick upon
the surface, but is without any glaze, however shining it
may be. It is distinguished from the Celtic or Gaulish
pottery, which it much resembles, by the fineness of its
paste, the thinness of its pieces, and the perfect manner
in which it is made, having been well turned on the

1 Caumont, Cours: xxviii. 5, p. 217. fig. 1, 2.

2 Buckman and Newmarch, p. 80 ; 3 Caumont, Cours. i. p. 214.
Caumont, Cours. i. p. 215, 216, xxviii.

BLACK WA.RE— PASTE. 333

lathe.1 This ware varies much in colour, sometimes being
almost of a jet black, at others of a bluish black, or even
running into an ashy-gray colour. It is generally glazed,
but many vessels exhibit no more ornament than a polish
upon the surface, given by the potter when the piece was
upon the lathe.

This ware is distinguished by its colour, which is some-
times of a jet black, at others of a metallic gray, or even
ashy. As it is generally glazed, a fuller description of it
will be found under the glazed ware. Sometimes the
paste is intermingled with micaceous particles, pebbles, or
shells, which gives it a gleamy colour when broken, and it
is often covered externally, or frosted with powdered mica.
The greater number of vases are evidently native ware,
manufactured on the spot by Romans or by Gaulish,
British, and German potters in the Roman settlements.
The shapes much resemble those of the red ware, and it
was chiefly employed for the smaller vases of the table,
although a few of larger size are found made of it.

It was principally used for vases for the table, as shown
in the following shapes : a shallow cylindrical vase, the
patella, perhaps the nigra patella, or " black plate " of
Martial ; the caliw, or a cup ; the small cup, or a jar ;
similar object ; the ciboria and the olla. The mode of
ornamenting these vases is peculiar, and resembles
Gaulish rather than Roman work, consisting of zones,
hatched bands, and rows of dots, made by moulding little
pellets and fixing them in squares and circles, or stamping
hemispherical bosses on the body of the vase. Some
vases of this ware have a peculiar ornament, made by

1 Brongniart, i. p. 434.

334 ROMAN POTTERY.

hollowing small spaces in the sides, and pinching up the
c}ay — giving it the appearance of a series of thorns.
Others have engine-turned patterns. The pattern of an
urn, from York, is like a series of scales, formed by
depressions.

The ornaments indeed are of the rudest character ;
consisting of hatched lines, zones, or indented bands,
raised dots arranged in squares or parallelograms, series of
spurs imitating the pine cones, or rows of thorns, zigzag,
and hatched lines, the herring-bone pattern, diagonal
and crossing bands.

Four little vessels, found at Binsted, in Essex, illustrate
some shapes of this ware. One is a candelabrum, or candle-
stick ; another, a small vase for oil or vinegar, acetabulum ;
a third, a jar, otta ; two others, small cups, calices. They
were all found in a sarcophagus. Cups of a thin and
finely moulded black ware have been found at the
Upchurch marshes. This ware was adapted for useful
purposes only ; and by the absence of all floral or animal
ornamentations shows a late character and local fabric.
It is of the latest period of the Gallo-Roman epoch.

BEOWN WAKE.

Specimens of brown ware of a very coarse style are
often found among other Roman remains of cream-coloured
ware, consisting of amphora, and other vessels for
domestic use. It is, however, much more common in the
Celtic and early Etruscan potteries.

Some * amphora and jugs have their necks decorated

2 Wright, Celt, Roman, and Saxon, p. 223.

BROWN WARE. 335

with the heads of females moulded upon them, like the
bottles of the middle ages. Examples have been found at
Richborough.1 Each is of brown ware, and four and a
half inches in diameter.

Many small vases in shape of ollse or wide-mouthed
jars, some with narrow necks and reeded bodies, small
amphorce, double-handled bottles, lagense, mortars, or pans,
and cups or ciboria ornamented with tool marks, and
lamps of this ware have been found in different parts of
England.2

1 R. Smith, Ant. Richborough, p. 74. 2 Mus. Pract. Geol. Cat. p. 84-91.

336 ROMAN POTTERY.

CHAPTER V.

Glazed Roman pottery — Samian — Proto-Samian — Crustse — Emblemata — Aretine
ware — Glaze — Polish — Slip — Lead — Salt — Moulds — Composed — Separate
figures — Master moulds — Dies — Moulds of cups — Stamps of potters — Fur-
naces and apparatus — Ornamentations — Use — Repairs — Makers — Names —
False Samiau — Black ware — Glaze — Varieties — Inscriptions — Sites.

GLAZED KOMAN POTTERY.

THE Romans manufactured a glazed ware very distinct
in its character from that of the Greeks, and more
resembling that of the Etruscans. It must not, however,
be supposed that all the lustrous wares of Italy were
ornamented with highly finished subjects, as a very large
number were entirely covered with a black glaze, which
was the great characteristic of the pottery of the best
Greek period, and which became more entirely used as
the art of vase-painting decayed. On many of the later
vases too of Southern Italy and other places, modelled
figures in bas-relief were introduced by degrees, an imita-
tion of the metal ware, which was rapidly rising into
fashion ; and these, which are entirely glazed with a black
lustre, are the nearest approach to the Roman ware.

There are also certain vases found in Etruria and
Greece which were apparently made just before the
Samian of the time of the Roman Empire. They are
of a fine earth of a pale red colour, and have a slight

EARLY MOULDED VASES.

337

glaze or polish, but their paste is not of the fine lustrous
red colour of the so-called Samian. They are, however,
made from a mould, and have in bas-relief friezes and
other subjects, which imitated the crmtce or detachable

No. 196.— Proto-Samian Cup, with an Amazonomachia in relief. From Athens.

relief ornaments,1 of the metallic vases, or the emblemata,
fixed reliefs of the celebrated chased goblets and other
vases of the great masters of antiquity.

Some of the vases, too, of the Greek islands, of red
ware, with moulded subjects coloured with red paint,
are prototypes of the Roman ware.

1 Cicero in Verrem, vi. 23, 24 ; Juvenal, v. 40 ; Martial, viii. 51-9.

VOL. II.

338

ROMAN POTTERY.

AEETINE WAKE.

The Roman ware is of one peculiar kind, being of a
bright red, like sealing-wax, and covered, like the Greek
lustrous vases, with a silicated alkaline glaze. As most of
this ware in Italy has been found at Arezzo, the ancient
Aretium, it will be necessary first to consider its manufac-
ture at that place, where it succeeded the black Etruscan
ware found in the sepulchres of the oldest inhabitants.1

The potteries of Aretium were in activity during the
age of the early Csesars, probably closing about B. c. 300.
The ware is fine, red, and often unglazed, in which case
it was formed into hemispherical cups, stamped out of
moulds, with the names of makers placed on raised tesserae
on the exterior.2 Other fragments found at this place
resemble the so-called Samian ware. The pottery of
Aretium is often mentioned in classical authors. " Oh,
Aretine cup, which decorated my father's table, how
sound thou wast before the doctor's hand," says Virgil,3
referring to taking medicine out of it. And Persius
subsequently says of the ware of this town, "Behold^
he believes himself somebody, because supine with Italian
honour, as an sedile, he . has broken the unjust measures
of Aretium/7 4 According to Macrobius, Augustus said
to Maecenas, who was of the Gens Cilnia, and a native

1 Dennis, ii. 425.

2 Archseologia, xxvi. p. 254 ; xxii. p. 8 ;
Dennis, ii. p. 422-428.

3 "Aretine calix, mensis decorate

paternis,

Ante manus medici quam bene sanus
eras." — Virgil.

4 " Sese aliquid credens, Italo quod

honore supinus
Fregerat heminas Areti sedilis iniquas."

—Persius, Sat. i. 144, 145.
Schol. Ann. Cornuti : " Quod merait
dignitatem aedilitiam in aliquo oppido
Italise fracturus insequales mensuras, id
est minora vasa ex Arretio municipio
ubi fiunt Aretina vasa."

NOTICES OF ARETINE WARE. 339

of Arezzo,1 " Fare thee well, oh, honey of families — oh,
little honey pot, Etruscan ivory, Aretine gum, diamond
of above, pearl of the Tiber, emerald of the Cilnians,
jasper of potters, beryll of Porsena, &c.," in which
some see an allusion to the red ware of Arretium,
his native city. We find the vases of Arretium men-
tioned by Martial,2 who flourished from the reign of
Domitian to that of Nerva. " Thus," he says in a meta-
phor, " the vile Champaigne cloak, with its greasy ex-
terior, contaminates the gay scarlet dresses of the city —
thus the ware of Aretium violates the splendour of the
crystal cup, and thus, as when perchance, on the banks
of the Cayster, a black crow is laughed at when wan-
dering amidst the swans, one of which charmed Leda."
Pliny, speaking of this ware, says,3 " In sacrifices amidst
all this wealth libations are not made from myrrhine or
crystalline, but from earthenware simpuvia." " The
greater part of mankind/' says the same author, "uses
earthenware. Samian ware is even now used for food.
Aretium, in Italy, has also the pre-eminence." Isidorus
says,4 "Earthenware vases are said to have been first
invented by Samos, made of clay, and hardened in the
fire. Afterwards it was found out how to add a red

1 " Vale, mel gentium, melcule, ebur Sic Aretinse violant crystallina testae, .

ex Etruria, laser Sic niger in ripis errat cum forte Caystri

Aretinum, adamas supernus, Tiberinum Inter Ledaeos ridetur corvus olores."

margaritum, — Martial, i. 54.

Cilniorum smaragde, jaspis figulorum, "Aretina nimis ne spernas vasa

berylle monemus,

Porsense ; carbunculum habeas." — Lautus erat Thuscis Porsena fictilibus."
Sat. ii. c. 4. — xiv. 98.

2 "Sic interpositus villo contaminat 3 Pliny, E". H. xxxv. c. 12; c. i.

uncto c. 46.

Urbica Lingonicus Tyriantina bardo- 4 Isidorus, xx. 20; A.D. 610.
cucullus,

z 2

340 ROMAN POTTERY.

colour." Are tine vases are so called from a town
in Italy, where they are made. Sedulius says of them,
" the herbs which are brought up served on the red
pottery." These vases are mentioned in a MS. written
by S. Ristori, of Aretium, in A. D. 1282, and also by C.
Villani, in his History of the World.1 Alessi, who lived in
the time of Leo. X., describes the discovery of red vases
of Arezzo about one mile from the city. Vasari 2 states
that in A.D. 1484, his grandfather found in the neigh-
bourhood three vaults of an ancient furnace.3 In A. D.
1 734, Gori,4 who had not seen any of the vases, repub-
lished the lists of Alessi. Rossi, who died A. D. 1796,
had collected more information.5 Fabroni 6 found in A. D.
1779, potteries at Cincelli, or Centum Cellae, with the
different implements used in the art. The clay of the
colour of umber was also found there, and the furnaces
formed of bricks. The clay is supposed to have been
decanted from vat to vat, and the vats were lined with
pottery, and provided with canals for the introduction of
water. According to Rossi the vase was first made upon
the wheel, and before the clay was quite dry the orna-
ments and figures were impressed with metallic stamps.
The vases were made in moulds, which were oiled, and
then had the clay pressed into them. They were com-

1 Libro della composizione del e gli utensili dell* arte. Vidde che le
mondo ; Gori, Difesa dell' Alfabeto fornaci erano construite in quadro su
Etrusco, p. 208, pref. due braccia toscane di lato con pic-

2 I. 9, cap. 47. colissimi mattoni lungi | di braccio

3 Fabroni, Storia degli Antichi Vasi sopra f di larghezza. La creta o argilla
fittili Aretini, 8vo, Arezzo, 1841, p. 18; gli parvi escavata poco piu in basso
Vite dei Pitt. Roma, 1759, t. i. p. 335. delle fabriche ed imitante da cruda il

4 Pref. alia Dif. dell' Alf. Etr. p. 207. colore della" terra d'ombra."— Fabroni,

5 Fabroni, p. 21. p. 22.

6 " Trovo le fornaci i trogoli o vasche,

ARETINE MOULDS AND WHEELS. 341

pleted upon the wheel, and when the inner part had been
thus perfected, are supposed to have been first baked and
then coated with the slip or glaze, and returned a second
time to the furnace. From one of the moulds in the Rossi
Museum having the name of the potter, Antiochus, the
freedman or slave of P. Cornelius, vases have been made
exactly like the ancient ones. The moulds in which the
vases were fabricated were made of the same clay as the
vases themselves, but less baked, without any glaze, and
about one inch thick. They were composed of separate
parts, so as to take to pieces, and had traces of some fat
or unctuous substance employed to prevent the adhesion
of the paste.1 A terra-cotta mould, terminating in a
tragic mask was also found, and some instruments. Part
of a potter's wheel was also discovered, and most resem-
bled that in use at present. It is composed of two discs
or tables, both placed horizontally, of unequal diameter,
having a certain distance between them, and their centre
traversed by a vertical pin, which revolved. The wheel
found was apparently part of one of the discs. It was
made of terra-cotta, about three inches thick and eleven
feet in diameter, circular, with a grove all round the
border. Round this vase a kind of leaden tire, held firm
by six cylindrical spokes of the same metal, placed inside
the discs. These cylinders, about half a foot long, one
foot three inches in diameter, came beyond the circum-
ference of the disc, and gave it the appearance of a plate.2
There was no mark of any pin in the centre, so that it

1 Fabroni, p. 62, 63. Prof. Buckman p. 82-85.

& Mr. Newmarch, Remains of Roman 2 Fabroni, tav. iii. 9, 10; v. 7, 8, 9,

Art in Cirencester, 4to, Cirencester, p. 64.

342 ROMAN POTTERY.

must have formed part of the upper disc, called by
potters the table, which lies upon a support of under
clay, and enables the potter to fix the paste and to
form it with the hands during the revolutions of the
wheel.1 The glaze of these vases, both black and red,
have been found difficult to analyse. It is not, however,
produced by lead, but apparently by a vitreous flux.2 The
vases were baked in furnaces, like those used at present.

GLAZE.

Considerable difference of opinion exists with respect to
the varnish of these vases. By some it is stated to be an
alkaline glaze,3 by others a glaze of a metallic nature, while
water alone is said to be sufficient to produce the polish.
The glaze is not so strong or compact as that of porcelain
or majolica, so as to be incapable of infiltration, yet is
sufficiently strong to resist the action of wine, vinegar,
or oil, although hot, and is not altered by these liquids,
It is said to leave traces of having been produced by a
brush, which looks as if a slip had been laid on. These
vases seem to .have been used for the table to hold fruits
and liquids, and for medicine, and sacrificial purposes.4

FABRIC.

The two collections of Aretine vases at Arezzo are that
of the Museo Rossi Bacci, and the public one of the

1 Fabroni, 1. c. 64. < Fabroni, 1. c. p. 65 ; Cf. Prof. Buck-

2 Fabroni, 1. c. 66. man & Newmarch, Remains of Roman

3 Trait^, i. p. 414. art in Cirenceater, 4to. Cirencester, p. 85.

FABRIC AND SUBJECTS.

343

city. The diacritical marks of this ware are a paste of
a red coralline colour, pale when broken, and of a red-
dish yellow under the fracture, which does not become
redder when subject to a red heat, but falls upon friction
into an orange red calx. The vases are coated with a
very slight glaze, which is levigated and always of a red
coral colour, occasionally black, and verging towards
azure, sometimes iron grey, or with a bright metallic
lustre.1 They are principally of small size and orna-
mented with bas-reliefs, of a decorative nature, not
mythological, and in accordance with the later subjects of

No. 197.— Patina of Aretine Ware. British Museum.

Roman art. They are generally light. The prevalent
form of the vases is that of a tea cup without handles,
apparently the calix of Virgil, and these when ornamented

1 Fabroni, 1. c. ii. p. 32, et seq.

344

ROMAN POTTERY.

with bas-reliefs, have rarely the name of any potter ini^
pressed upon them. When a name does occur it is on
a tessera, and in bas relief.

Flat circular dishes, patellae or lances also appear to
have emanated from this pottery, together with larger
urns, some for cinerary purposes, square tiles, bas-
reliefs, and lamps.1 None of these pieces were, however,
of any size, while the smallness of the furnaces prove
that large vases could not have been baked in them.
The subjects are disposed as friezes, but more often
mixed up with architectural ornaments, such as scrolls,
egg and tongue borders, and columns with spiral shafts
and festoons. The subjects appear to be Hercules and
Hylas, Bacchic orgies, Cupids, combats, chaces, dances,
candelabra, masks, gladiators, females, horses, dolphins,
dogs, goats, serpents, sphinx, lions, and panthers, in a
style resembling the Roman art at the best period of the
empire.

POTTEES.

Many vases have the potter's name impressed in bas-
relief with a metallic stamp in Roman letters, often inter-
laced in ligatures, as on the consular coins. In the plain
ware these are usually inside at the bottom of the vase,
but in vases with bas-reliefs they are more often intro-
duced amidst the foliage and ornaments. The letters are
often surrounded with a mere square or tessera. Some-
times they are impressed in a human foot, probably in
allusion to the treading out of the clay. The inscriptions

, l Fabroni, 1. c. 38.

MAKERS AND LOCALITIES. 345

show that the vases were principally made by slaves, who
placed their names upon their work, sometimes followed by
that of their master, the proprietor of the estate. One
person named Publius seems to have employed several
slaves. Another, Aulus Titius, calls himself an Aretine
potter ; and L. Tettius, stamped L. Tettii Samia, proving
that this ware had been imitated from the Samian.1

Three lists are given by Fabroni, the first of- which,
consisting of names with prsenomens, contains the free
citizens, or freedmen, who were proprietors of estates,
or who worked the potteries ; the second is that of the
slaves whose products were sufficiently good to be im-
pressed upon the ware, or who may have sold it for
masters who were too proud to exercise the craft in their
own name. The last list contains the inscriptions exactly
as they appear on the vases.

Vases of red ware, similar to those found at Arezzo,
have been discovered in the vicinity of Modena, having
the names of the potters Camurus, Eutychius, L. Gellius,
Herennius, Occa, Philadelphus, Sanus, and Villus, and
others. This circumstance has given rise to the hypothesis
that the so-called Aretine vases were made at Modena.2
Similar vases are said to have been found at Vulci, bearing
the inscription Atrane,3 and at Cervetri, with the names
of the Aretine potters, C. Vibianus Faustus, L. Gellius,
Aulus Titius Figulus,4 and another.

In the Gregorian Museum are three cups and one jug,
called in the description of that collection Aretine ware,

1 Fabroni, p. 41. 10 ; 1838, p. 129-131.

2 Cavedoni, Dichiarazione del marmi 3 Bull. 1836, p. 171.

Modenese, 1828; Biographia de Cav. 4 Bull. 1830, p. 238; 1834, p. 102,

Zaumo, 1835, p. 40-41 ; Bull. 1837, p. 149 j 1837, p. 108 ; 1839, p. 20.

346

ROMAN POTTERY.

apparently of the red unglazed terra-cotta ware there
found. On the cups are large acanthus leaves, egg and
tongue ornaments, goats, and a race of dolphins. On the
jug are four bands of fleurettes and festoons, artificial
ornaments, and dolphins and anchors repeated. On one
cup, with Cupid and other ornaments, is the name of the
Roman maker, C. Popilius.1

In the Museo Borbonico, at Naples, are several specimens
of this red ware, which is found in abundance at Capua,
and amidst the ruins of the houses at Pompeii. Some
specimens in Sir Woodbine Parish's collection, procured
at Naples, were of finer make and ware than those found
out of Italy. One had the name of L. Favor.

SAMIAN WARE.

A ware exactly like that of Arezzo, called by some the
red Roman ware, and by others Samian, distinguished by
its close grain composed of a fine clay, and presenting
when broken, edges of an opaque light red colour, whilst
the inner and outer surface are quite smooth, and of a
brighter and darker red, is found in all places of the
ancient world to which the Roman arms or civilisation
reached.2 It is. distinguished from the Aretine by its
darker tone, stronger glaze, and coarser ornamenta-
tion.

Possibly, the whole passage of Pliny,3 in which he
speaks of the earthenware of his day, refers to this

1 Mus. Etr. Vat. it cii.

2 Buckman & Newmarch, p. 84 ;
Roach Smith, Journ. Brit. Arch. Assoc.

iv. p. 1-20.

3 N. H. xxxv. 45.

SAMIAN WARE. 347

red ware. Thus for dishes he praises the Samian, and the
Aretine ware, for cups, that of Surrentum, Asta and
Pollentia, Saguntum and Pergamus. Tralles and Mutina
had their manufactories. Cos was most esteemed,
Hadria produced the hardest ware. That one of these,
that of Saguntum, was a red ware, is clear ; that of
Cumae was also of the same colour. "The chaste
Sibyl has sent thee her own burgess, a red dish of
Cuman earth/' says Martial.1 Cups also were made at
Affifo,

That the red ware is found amidst the dense forests of
Germany and on the distant shores of Britain, is a
remarkable fact in the civilisation of the old world. It
was apparently an importation, being exactly identical
wherever discovered, and is readily distinguishable from
the local pottery.2 No question has excited more contro-
versy among antiquaries than the place where it was
made. Samos, Aretium, Rome, Modena, Ancient Gaul,
and Britain 3 (into which, however, it seems to have been
imported) have been supposed to be the sites of its manu-
facture. It belongs to the class of tender lustrous pot-
tery of Brongniart, consisting of a bright red paste like
sealing-wax, breaking with a close texture, and covered
with a siliceous, or, according to some, a metallic glaze.
This glaze is exceedingly thin, transparent, and equally
laid upon the whole surface, only slightly augmenting the
colour of the clay. The vases made of this ware are
generally of small dimensions, and consist of dishes,
lances or patinae, of an oval or flat circular shape, like

1 Epig. xiv. 114. 3 .Roach Smith, Journ. Brit. Arch.

2 Bronguiart, Trait£, i. p. 420, et seq. Assoc. iv. p. 1, 20.

348

ROMAN POTTERY.

modern salvers, of small bowls, apparently for holding
small quantities of viands, perhaps patera, and generally
hemispherical or cylindrical, and of little cups either of
globular or of conical shape, probably pocula, and of jugs
or larger vessels. The ware is generally plain, and im-
pressed with the name of the potter from whose factory
it emanated, and. it will be seen from the list of potters'
names, that these were slaves, or at best liberti,
that many were of Gaulish or British origin.

No. 198.— Ciborium of Red Samiaii Ware, bearing the name of Divix, a Gaulish potter.

The Samian ware from its peculiar paste was more than
usually brittle. In the Mensechmus l of Plautus, the fol-
lowing dialogue occurs :

" M. Knock gently.

" P. Are you afraid the doors are Samian."

1 Mensechmus, I. i. 65.

PASTE AND GLAZE. 349

In another play, the Bacchides,1 of the same author, the
following passage is found :

" Take care, pr'ythee, lest any heedless one touch that ;
Thou knowest how soon a Samian vase will break."

The most remarkable fact connected with this ware is
the great similarity of its paste in whatever place it may
be found, which renders it probable that the ware was
made upon one spot, and imported throughout the empire.
Brongniart inclines to the idea that the potters did not
import their paste prepared, but levigated a colourless
clay of the locality, and produced the usual red colour by
the introduction of ochre.2

PASTE.

The colour of this ware, which was made of a clay
like the red ware, was owing to the more perfect oxidation
of the iron contained in it, and it was probably baked in
open kilns or fire-pans. The glaze or lustre is supposed
to be owing to a polish given to it when upon the wheel.3
The analysis of Brongniart 4 shows that the paste of these
vases consists of 56 — 64 silica, 25 — 17 alumina, 7 — 10 ox.
iron, 9 — 2 carb. lime, 2 — 0 magnesia, 18 — 2 water, while
the glaze consists of 64 silica, 11*0 ox. iron. Dr. Percy's
analysis is 54'45— 60'67 silica, 22'08 — 20'96 alumina,
7-31—5-95 peroxide of iron, 976— 6*77 lime, 1*67— 1'22
magnesia, 3 '22 potash, and 1*76 soda.5

1 Act II. ii. 22, 23. 4 Brongniart, Trait<$, i. p. 421.

2 Brongniart, Trait£, i. p. 423. 5 Mus. Pract. Geol. Cat. 8vo. Lond.

3 Buckman and Newmarch, p. 78, 79. 1854, p. 59.

350

ROMAN POTTERY.

The glaze of these vases is stated by the French anti-
quaries not to be metallic, but produced by some sub-
stance laid upon them after they were ready for baking.
The portions not covered with reliefs are stated to have
been polished l upon the lathe, and the bas-reliefs them-
selves were in certain instances retouched with a tool,
which left a furrowed line round them.2 The colour of
the vases, however, may have been owing to the introduc-
tion of an oxide of iron, and the difference of the ex-
ternal colour appears to depend mainly upon the paste.
When heated in the fire, they become a deep claret
colour.3

As there are no traces of any pencil being used to
apply the glaze, Brongniart thinks it most probable that
the vases were dipped into a slip which held it in suspen-
sion.4 A similar glaze, however, could probably be ob-
tained by the application of salt thrown into the furnaces
during the baking, in the same way as now practised at
Lambeth for stone ware.

MOULDS.

The pieces of this ware were made upon the wheel by
which the slopes, fillets, mouldings, incised rings, or bands
were produced. Moulds were employed, sometimes of an
entire piece, in which case they were made by punching
the requisite ornaments upon the mould itself from

1 Of. also on this ware, Grivaud
de la Vincelle, Antiquites decouvertes
dans les jardins du palais du Luxem-
bourg.

2 Caumont, Cours. p. 206.

3 Ibid. p. 209.

4 Erongniart, Traite", i. p. 423.

MOULDS AND RELIEFS. 351

matrices, or master moulds. Sometimes many separate
moulds, representing the same or different subjects, were
adjusted together to complete the decoration of the cir-
cumference of a cup. The engrailed lines and smaller
ornaments were made by means of a circular or revolving
mould of terra-cotta or metal,1 but the larger ones, such
as the egg and tongue moulding, were effected by a punch
or seal, with a long handle,2 the part on which the orna-
ment is incised being concave, to correspond with the
convex surface of the vase. The same process was
adopted for the figures in the central groups,3 and the
more salient parts were separately stamped and placed
on the vase while the clay was wet, as is very evident in
some reliefs of vases of Aretine ware. Names of
potters were also impressed from stamps of terra-cotta or
metal.4 The last mode of fabric consisted in laying
upon the general body of the vase some clay in a very
viscous state, technically called larbotine, either with
a pipe or a little spatula in form of a spoon, and with
it following out the contours of the branches of olive or
laurel, animals with thin limbs,5 &c. On some specimens
an ornament had been modelled with a white paste.
Separate figures, crust CB, were also made in moulds,
and then placed on the body of the vase, one of
the finest specimens of which is an Atys, in the York
Museum.6

1 Brongniart, Traite, i. 424, PL xxx. 6 Brongniart, p. 425 ; Golbert &
3, A. Schweighauser, Mem. de la Soc. des

2 Brongniart, 1. c. F. 4. A. B. Antiq. de France, t. vii. PI. Ixxii. :

3 Brongniart, i. p. 424, PI. xxx. F. 2, Caumont, Cours d' Antiq. t. ii. p.
A. 185.

4 Ibid. p. 424 ; Mus^e Ceramique, ix. 6 Welbeloved, Antiquities of York-
fig, xix. shire, Phil. Soc. 1852, p. 50.

352

ROMAN POTTERY.

Another mode of ornamentation visible on some pieces
found in the north of England, consisted in scooping out
wreaths, and cutting out fan-shaped patterns in intaglio,
with a tool on the clay, while moist, the parts dug out
being removed from the plain surface, as shown by the
horizontal stripes.1

A master mould, formerly in Mr. Hertz's possession,
and presented by him to the British
Museum, pyramidal in shape, and convex
at the base, has a slight bas-relief of a youth
standing full face with some drapery thrown
over his left arm. At one side is OFFI
LIBERI, " the pottery of Liber," stamped
incuse, probably as a preservation against
theft or removal from the premises. This
die was apparently arranged with others so
as to form a pattern, and it was then
NMouid9'o7thepot- stamped into the sides of a convex vessel
fashioned like one of the cups or dishes,
but without the foot, which in some instances appears to
have been subsequently added. This original die is of
rather a fine terra-cotta, and was found near Mayence.
A similar mould, presenting a tragic mask, was found at
Arezzo or Aretium.2 Other moulds in the shape of a
hare and of a lion, inscribed with the name of CERE ALIS,
a well-known maker of red ware, are in the Museum of
Sevres, one, in the shape of a wolf standing, baked almost
as hard as stone ware, has on it the name COBENERDVS.3

1 Wellbeloved, Descriptive account
of Antiquities of Yorkshire, Phil. Soc.
8vo. York, p, 52, 1, 2.

2 Fabroui, Tav. v. 4.

3 Brongniart, Traite", 1. c, Musee de
Sevres, p. 16.

MOULDS AND DIES.

353

Some moulds for this purpose of the Roman period
have been found, and the process is of common use at
present. It was particularly desirable in cases where or-
naments in high relief were required for the enrichment
of red or black wares. A fragment with a draped figure
from the mould of Liber, already cited, was found at Ciren-
cester.1 Another mould of a vessel was found near
Mayence. It is
in shape of a
shallow bowl,
with a mould-
ing at the edges
and foot, and
the pattern has
been stamped
but from ma-
trices like those already described ; the pattern is coarse,
and represents a series of animals, consisting of a dog or
wolf, boar, and lion pursuing each other. The paste of the
clay when kneaded to a due consistence, was pressed into
and formed a bowl ; the foot was probably afterwards
formed of a separate piece, and added. This matrix vase
was made of a very fine bright red clay, rather light, and
not glazed. In this respect it differs from the mould of
the lamps already mentioned, whose paste was of a bright
yellow colour. It was very porous, rapidly absorbing the
moisture, and so, easily delivering the clay to the potter like
the plaster of Paris moulds now in use. At Arezzo similar
moulds, for other vessels of the Roman red ware, have also
been found. Those of the lamps are mentioned with the

No. 200.— Fragment of a Mould found near Mayeuce.

Buckman & Newmarch, p. 92.

VOL. IL

A A

354 KOMAN POTTERY.

lamps. Besides these moulds, metal dies or punches were
used for stamping intaglio ornaments, such as fleurettes and
other mouldings, on some rare examples of Samian ware.1

Dies for stamping the potters' names upon these vases
were discovered at Lezoux,2 in Auvergne, and in Luxem^
bourg,3 together with parts of other moulds for festoons
and the tassel pattern,4 and for making vases.5 They
had the names of the potters, Auster and Cobnertus,6 and
another, with a potter's name, was made of metal.7

Modelling tools, styles, punches, and other little instru-
ments of bone or ivory, have been found amidst the
remains of the ancient potteries.8

' '$

FURNACES.

The mode in which these vases were T)aked is shown
by furnaces found at Chatelet, in Auvergne, on the banks
of the Rhine, in the vicinity of Strasburg ; at Heilegen-
berg, near Milz, and also at Ittenweiler. The furnaces near
Heilegenberg were evidently for the baking of red Roman
ware. " The flue/' says Brongniart, " is a long canal,
with vaulted arch, the mouth of which is 8 feet 2^ inches,
from the space where the flame and heat were concentrated
beneath the laboratory. Numerous terra-cotta pipes,
of two different diameters, branched off from the upper
part or floor of that chamber, to distribute the heat :
the smaller ware in the outer wall of the laboratory ; the
larger, twelve or fifteen in number, opened under the floor

1 R. Smith, Ant. RichboroBgh, PI. 5 Roach Smith, Collectanea, vol. i.l 61.
iv. p. 73. 6 Brongniart, Mus^e Ceramique,ix. 19.

2 Brongniart, Traitd, i. p. 424, 7 Brongniart, Traitd, i. p. 424.

3 Grivaud de la Vincelle, 1801. » Brongniart, Mus. de Sfevres, p. 16.

4 Brongniart, Traitd, PI. xxx. 2, 3, 4.

FURNACES OF SAMIAN WARE. 355

of the laboratory, to conduct the heat and flame round
the pieces which were placed there. The mouths of the
pipes were sometimes stopped with terra-cotta stoppers
so as to moderate the heat. The upper part, or dome, is
never found entire, and is supposed to have been destroyed
and replaced by the superincumbent earth. Walls of
strong masonry separated and protected the space between
the mouth of the flue and the walls of the observatory.
The floor of the latter was made of tiles, or large squares
of terra-cotta. Fifteen such furnaces were found at
Rheinzabern, some round and others square, but all con-
structed on the same general plan. These furnaces were
found at the depth of 2 feet 4 inches, under the ancient
soil, and more than 3 feet 3 inches above the modern
transported soil. The floor of the laboratory was nearly
3 feet 3 inches below the upper edge of the walls ; a kind
of tile roof covered it. The brick work was made of masses
of clay, 2 feet 4 inches long and 1 foot 4 inches broad and
thick. The pieces which supported the floor of the
laboratory were in some of these furnaces made of bricks,
covered with a coating of clay.1 The fuel was fir or deal.
The pieces placed in the furnace were carried on sup-
ports or rests of terra-cotta, in shape of a flattened
cylinder, and kept up by pads of a peculiar shape, made
by the person who placed the vases in the furnace, by
rolling up a piece of clay in shape of a rolling-pin, and
squeezing it together. These are the pieces erroneously
called hand-bricks. The pieces have no cases, as they
were not necessary to prevent adhesion.2

1 Brongniart, Trait^, 1. c. p. 429 ; PI. xxx. 7. A. B. C.

2 Brongniart, i. 449 ; Shaw, Pottery, 1839, p. 390, note.

A A2

356

ROMAN POTTERY.

ORNAMENTATION.

The scrolls which ornamented the upper part of the
bowls made of this ware are of exceedingly elegant
device, though clearly architectural in their treatment,
and are generally varieties of the tendrils, flowers, leaves,
and fruit of the grape or ivy.1 Sometimes the upper
parts of the bowls are ornamented with an egg and
tongue moulding, and the scrolls have often figures of
little birds introduced into the composition, in arabesque

ms^m^r^-^rrr^,^ *muj style- Theani"

W mals and other
\2~ figures consist of

isolated groups
introduced at
intervals into
the outer sur^
face of the vase,
They are sepa-
rated by beadi
ings, and are often in niches, formed of pillars with
twisted shafts, surmounted by arches, or in medallions,
These are clearly intended for representations of statues,
and other embellishments of public edifices, as they
appeared at the time. Repetition was the object chiefly
sought, and as, in the decadence of art, the ornaments
occupy much surface in proportion to their importance.
They consist of scenic masks, garlands, rosettes, foliage,
astragal mouldings above and below, the egg and tongue

1 Cf. Brongniart, Traitd, PL xxx. ; Mus. Cer. viii.-ix.

No. 201.— Vase of Samian Ware ornamented with Arabesques.

ORNAMENTS AND SUBJECTS. 357

mouldings above, scrolls of flowers, in which birds are
pecking the foliage and fruit ; friezes of animals, consisting
of lions, goats, hares, rabbits, and deer ; or insects ; among
birds, pigeons, eagles, and crows, medallions and other
architectural ornaments.1 The subjects are not arranged
on a continuous frieze, but generally consist of one or
two friezes, rarely more, repeated several times round the
body, and intermingled with the foliage.2 The subjects
consist of the Gods, Cupids, Genii, Venus, Hercules and
his exploits, Gladiators, the Circensian games, and erotic
representations.3

Some of these fragments are clearly as late as the 4th
century, as the costume and style of art of the subjects
resemble that prevalent at the close of the Roman empire.4
The subjects are taken from the Roman school of art,
from the statues which adorned the Circus, the Forum, the
Triumphal Arches, the Therma?, the Basilicas, and the
houses of the wealthy. They resemble in their treat-
ment the reverses of the Roman medallions,5 except that
they bear indications of being entirely influenced by
architectural considerations.

USE.

It is evident that the ware was for use and not deco-
ration, its solid character and glaze adapting it for that
purpose. Many of the flat dishes were undoubtedly the

1 Brongniart, Traite, PI. xxx. ; Musde Collectanea, i. p. 165.

Ceramique, PI. viil ix. •» Cf. for example, the fragment

2 Caumont, Cours. PI. xxiii. xxiv. xxv. found at Hartlip, R. Smith, Collectanea,
xxvi. xxvii. ; R. Smith, Collectanea, i. vol. ii. p. i. p. 12 ; SABINI. M. -

p. 165. s Janssen, Inscr. 4to, Lugd. 1842.

3 Caumont, Cours. ii.p.200 ; R. Smith, Tab. xxxi. 230.

358 ROMAN POTTERY.

lances or paropsides used at entertainments,1 others are
supposed to have been the mortars used in the kitchen or
at the apothecaries.2 It is not known to have been em-
ployed for cinerary purposes, although often placed in
tombs to contain the objects deposited with the dead.3
The observations made upon the Aretine ware apply also
to this. Yet, however common in Rome, it was a com-
parative luxury in Gaul and Britain, though it is found
in those countries wherever Roman settlements occur.4
That it was common at Rome appears from Martial : " If,"
says he, " ye have enough to eat, a few white beans dressed
in oil, upon a red plate, refuse the entertainments of the
wealthy." 5 The most striking point in the decorations of
these vases is their resemblance in the adoption of arabesque
forms to the mural paintings. When fractured this ware
was repaired with leaden rivets,6 which shows the estimation
in which it was held. It was equivalent to our domestic
porcelain, with a tender paste.

The shapes are few ; all the vases are wide and open-
mouthed, and of small proportions. Those of the largest
dimensions are the dishes, paropsides, lances, or pater &,
ornamented with a tendrilled leaf, intended for that of the
ivy or the vine. These are probably the lances pampi-
natse, or hederatae, dishes with grapes, or ivy leaves, such
as Claudius received from Gallienus. Some rare dishes,
with spouts like the mortaria, and bowls with lion-headed
spouts, are known ; occasionally some of the paterae have

1 Martial, Epig. xL 27. & "Sispumetrubraconchistibipallida

2 Brongniart, Traitd, i. p. 432. testa,

Ibid. Lautorum coenis ssepe negare potes. —

4 Caumont, Cours, ii. p. 185. xiii. 7, 1.

6 Birch, Archseologia, xxx. p. 254.

NAMES OF POTTERS. 359

Handles. The small cups are supposed by some to be
either acetabula, vinegar cups, or salina, salt-cellars. The
larger cups are the pocula, cyaihi, or calices.1

MAKERS' NAMES.

Many of the vases have the makers' names stamped
across their centre, or placed upon their sides.2 The letters
are often united in nexus or ligatures. They are always in
relief, but the place stamped is depressed, and of a square,
circular, or long oval shape ; in a few instances, in that
of a human foot, in allusion to the potter's mode of
working. They occur inside the plain vases ; those or-
namented outside with bas-relief being less frequently
stamped with potters' names, which, when they do occur
on such vases, are on labels or tesserae. There are certain
philological peculiarities evident upon inspection of these
stamps. The double II is used for E, as Riignus and
Siixtus for Regnus and Sextus. The Xjx in the name of
Caretus resembles the Celtiberian form, and on one with
the name Methillus the ® is used for TH. The words
are often in contraction, retrograde, and confused ; and
some have supposed that the potters used moveable
letters, which is improbable. The names of many
potters are Gaulish, apparently of slaves or freedmen.
Amongst the names more particularly Gaulish are Ad-
vocisus, Beleniccus, Cobnertus, Dagodubnus, Dagomarus,
Dagoimnus, Suobnedo, Tasconus, Tascillus. The formula
used by the potters was 0 or OF, OFFIC, for qfficina,
or establishment, either before or after the name. M for

1 Buckman & Newmarch, p. 87. 2 Ibid. p. 93.

360 ROMAN POTTERY.

manu, "the work," is always placed after the name in
the genitive, and F, or FE, for fecit, " he made," probably
after names in the nominative. In one instance fecit, " he
made," occurs without any potter's name, and in another
case the potter, through ignorance or caprice, has impressed
the stamp of a Roman oculist, destined for some quack
ointment, on the bottom of a cup. Besides these names,
a few other inscriptions are found. On a deep poculum of
red glazed ware is inscribed, in raised letters, round the
outside, BIBE AMICE DE MEO, " Drink, oh friend, from
my cup" 1 The idea was probably taken by the potter
from the glass cups, which often have similar letters, in
complete relief, round their sides.

A list of the potters' names which occur on the Roman
earthenware found in Britain has been given by Mr.
Roach Smith, in the Archseologia,2 and in his Collectanea
Antiqua.3 The numerous names found at York are inserted
in Mr. Wellbeloved's Eburacum,4 and others, found at
Caerleon, in Mr. Lee's Antiquities of that place.5

In some rare instances the potter has scrawled a few
illegible words on the mould before the clay was pressed
in, and these have been preserved on the vase when baked.6
Such caprices of the potter are not uncommon, and have
been already mentioned in the case of Greek vases. Many
Roman tiles and bricks have also had inscriptions and
other objects cut upon them before they were baked by
idlers in the brick-field. One discovered at Nimeguen,7

1 Mus. Borb. vii. xxix. 6 Journ. Brit. Arch. Assoc., ii. 20 ;

2 Archseologia, xxvii. p. 143. Soc. Lux. 4to. 1853 ; PI. vi. 4, p. 124.

3 Smith, Collectanea, i. 150. " Janssen, Romisch. Ziegel., 4to.

4 P- 128. Leyden, 1841.

5 p. 10, PI. iii.

LISTS OF POTTERS.

361

had the Roman alphabet ; others at Enns, on the Danube,
had illegible words and sentences, amongst which can only
be read such expressions as the "Emperor Antoninus" and
the "Nones of September."1 A brick in the British Museum,
found at Colchester, has Primus or Primulus, and another
what may be intended to delineate an edifice. Inscrip-
tions scratched upon Samian ware after it has been baked,
chiefly names of its possessors, also occur.

The potters were called doliarii, or pot-makers, if they
made vessels of unglazed ware and large size,2 vascularii,
or vase makers,3 fictilarii? makers of fictile vases, smdjiguli-
narii, figuli, or potters in general. They were generally
of servile condition, and are represented wearing only the
tunic of the slave.5 One Gaulish potter, named Casatus
Caratius,6 is, however, represented on a bas-relief, wearing
a cloak besides the tunic. He holds in one hand a fluted
vase, like those of the black ware.

It would appear almost certain that the ware was an
article of export, as stated by Pliny, and that the name of
Samian was applied to it in reference to its origin, long
after it had ceased to be made in that island.

Traces of manufactories of red pottery and broken
moulds and wheels have been found scattered all over
Gaul, as near Nancy, at Paris, Nimes, Lyons, and at
Glermont, near Bourdeaux ; but principally at Rhein-
zabern, and at Heiligenberg, near Strasburg.7 In Italy

1 Arneth, Hypocaustum, 4to. Wien,
1856,taf. iv.

2 L. Aurelius Sabinus, doliarius, fecit
sibi et suis. Grivaud de la Vincelle,
xxxiii. 2. In the sepulchral bas-relief
are an amphora, olla, and lagena.

3 Grivaud de la Vincelle, xlvii.

4 Grivaud de la Vincelle, xlvi.

5 Grivaud de la Vincelle, xlvi. 1.

6 Grivaud de la Vincelle, xlvi. 4.

7 Caumont, ii. p. 211.

362 ROMAN POTTERY.

the ware has been found from Modena to Pompeii, and
probably extended over many sites in the Peninsula. In
England it has been discovered in great abundance, prin-
cipally in the south and west of the island.

OTHER GLAZED WAKES.

Another kind of the red glazed ware is that used for
lamps, which differs considerably from the Samian. Its
colour is much paler and texture very different from that
of the bowls; the glaze is of a thin alkaline kind, and
thinly spread over the surface of the ware. The lamps
of this ware are generally found in Italy, and have been
already described in the general account of lamps.

There is a kind of this ware, which is probably the
earliest in point of time, and to which the term Samian
might not be inappropriately applied. The clay is not
uniform in its colour, being gray, black, or yellow, and
the lustre appears as much due to a polish on the lathe as
to a vitrification. The prevalent shape is the cup, either
hemispherical or cylindrical, decorated with figures or
architectural scrolls and ornaments. These so much re-
semble certain cups of terra-cotta already described, that
they can hardly be separated from them. Such vases have
been found at Melos, and a jug of this style, representing
a sacrifice, was dug up in 1725 at Hadria.1 Another
variety of this ware, called by some the false Samian, re-
sembles the Samian, but is of an orange, not yellow colour.
The colour too has sometimes a kind of red paint, or

1 Muratori, cxlix.

ROMAN GLAZED WARES. 363

powdered Samian ware, laid on it externally, in order to
deepen it.1 This ware is often coarse, and ornamented
externally with coarse white scrolls, painted with pipeclay
on the body. One kind of ware found at Castor is dis-
tinguished by its red glaze, which often has a metalloid
lustre. The paste is yellowish brown, white, or reddish
yellow.2 In some instances the glaze is lustrous, and
shows the colour of the paste. The shapes and ornamenta-
tion resemble the black glazed ware. One remarkable
jar has a chariot race. The difference of colour assumed
by the vases appears partly due to the degree of firing the
vases experienced, the paste of some which is black, red,
or gray, becoming of a copper hue.3 A remarkable
variety has been found at Boultham, near Lincoln, the
site of a local pottery, composed of a light yellow paste,
brushed over from the lip downwards with a light yellow
wash of a sparkling mica, or dipped in the fluid and in-
verted to drain off the superfluous fluid. Here the
colours consisted of many shades of yellow, brown, purple,
and even black, with a metalloid lustre. The shapes and
ornaments are the same as those of the Castor black ware,
and are sometimes laid on with a slip of pipeclay.4 These
vases are Gallo-Roman, made subsequent to the Samian.
Sometimes they have incised inscriptions — dedications to
deity, as to the " Genius of Tournay,"5 on a vase found in
France — rarely the names of potters, as " Camaro," on a
vase at Lincoln.6 A remarkable variety has a gray paste

1 As at Comberton, Arcb. Journ. vi. 3 Arch. Journ. x. 229.
210. 4 Arch. Journ. xii. 173.

2 Cat. Mus. Pract. Geol. p. 72-77 ; 5 R. Smith, Collectanea, iii. 193.
Artis, Durobrivse. PI. iii. 1, xxx. 4, 6 Arch. Journ. xii. 174.

xlvii. 3, xlix. 4.

364 ROMAN POTTERY.

baked hard like stone ware, and painted of a yellow
mottled colour to imitate marble.

BLACK WABE.

The black ware was made of any tenacious clay in the
neighbourhood, and it varies from a dark black to a slate

or olive colour. The kilns in
which it was baked have
been already described, but the
phenomenon is differently ex-
plained by Professor Buckman,1
who supposes that the carbon
and hydrogen of the smother
kiln reduced or rather pre-

No. 202.— Cups of Black Ware, i , i • , i i

vented the iron in the clay

changing into a peroxide or the red oxide of iron. Funeral
urns were often made of this pottery.

Some varieties of this ware exist like that of the
unglazed red. In the first the clay is soft, easily
scratched, and covered with a polish or lustre produced by
friction on the lathe. From the peculiarities and differ-
ences in its paste and embellishments it appears to have
been the product of local potteries.2 The glaze, or coating,
may have been produced by water or friction.3 The paste
is fine, and the walls thin and well turned. The paste
varies from a kind of gray, or colour like that of the
London clay, to a dull black. The vases are mostly small,
the ware generally consisting of cups, bottles, and small

1 Buckman & Newmarch, p. 78. 3 Trait^, i. 430.

2 Artis, Jour. Brit. Arch. Assoc., ii. 166.

GLAZED BLACK WARE.

365

amphorae and jugs, but occasionally of the supposed
mortaria. Some of the cups, like those of the red dull
Avare, have their sides corrugated.

The ornaments which are by far more common than
the subjects, are of the most simple nature, consisting of
pressed lines and herring-bone patterns ; but the favourite
devices are regular clusters of corrugated studs, disposed
in squares or bands round the vases, and produced by
sticking small pieces on the vase before the clay was baked.
Some of these resemble the spines on the blackthorn. In
some rare instances the potter has stamped in a series of
small square indentations, resembling fleurettes. A great
peculiarity of this ware is that it is unaccompanied with
the names of potters, nor is it found with coins and
other Roman remains.1 A few vases of this ware are
ornamented round the body with rows of little pebbles
let into the clay, humble imitation of the cups of the
wealthy inlaid with gems.2 Great quantities of this ware
have been found in England, in the Upchurch marshes
near Sheerness.3

There is a pottery differing from the preceding, by the
quality and colour of its paste, which is red with a black
glaze. Sometimes, however, it is gray, or even black,
but generally not so fine as the first kind. Its grand
distinction is its glaze or lustre, which consists of an
alkaline earthy silicate, sometimes very black and pure,

1 For example, a vase was found at
Billinghay, near Sleaford, Lincoln, in a
cemetery containing twelve skeletons.
The heads of eleven were turned to the
south, and one to the north ; they were
buried two. feet deep, with part of a
conglomerated quern. Others are de-

scribed by J. Kenrick, Excavations at
the Mote Hill, Warrington. 8vo. War-
rington, 1853.

2 The Calix gemmatus. Martial, xiv.
106.

3 R. Smith, Ant. Richborough, p. 58,
Journ. Brit. Arch. Assoc. ii. 138.

366 ROMAN POTTERY.

but at other times of a green or bluish or slate-coloured
tint. Brongniart divides this glaze into two kinds ; one,
although thin, being lustrous, but without any metallic
reflection, — the other, which seems to be a metallic coat-
ing deposited by steam, having a lustre like black lead.
This ware was made on the wheel by the same process as
the red, and the ornaments were either made by the
revolving swivel moulds or else by the usual process.1 It
must be borne in mind that there was a black as well as
red Aretine ware, and that plain black lustrous vases con-
tinued in Italy till the middle of the Roman empire. A
Roman vase of this ware, found at Cumse, has the subject
of Perseus and the Gorgons stamped in intaglio from
separate dies, after the vase left the lathe.2 A hemi-
spherical cup, recently found in the Greek islands,3 of the
proto-Samian class, and of the period of the empire, was
made from a mould, has its subject in relief, and is
covered with a lustrous black glaze.

Some few of these vases are ornamented with subjects
in relief, representing hunting scenes in a low and dege-
nerate style of art, which, from the costume of the figures,
may be referred to the last days of the waning empire
of Rome, and are clearly later than the red polished glazed
ware. The art is apparently Gaulish, and the figures bear
striking resemblance to those on the ancient British and
Gaulish coins. They are never made from moulds as in
the Samian ware, but by the process called barbotine, by
depositing on the surface of the vase after it had left the
lathe, from a small vessel or tube, masses of semifluid

1 Brongniart, Traitd, i. p. 433.

2 Mon. 1855. Tav. ii. p. 18.

3 By Mr. Newton, now in the British
Museum.

SUBJECTS AND LOCALITIES.

367

clay, which were slightly modelled with a tool into the
required shape. The glaze and colour are supposed to
have been produced by smothering the vases when in
the furnace with the smoke of the kiln, and depositing at
the same time the carbon on the surface of the heated
vases, and thus giving them a black glaze. It has
two different glazes, one dark but without any metallic
reflections, the other metalloid, like a polish of black
lead.

The principal subjects represented on this pottery are
hunting scenes,1 such as dogs chasing stags — deer — hares,
— also dolphins, ivy wreaths, and engrailed lines, and
engine-turned patterns.2 In a few instances men with spears
are represented, but in a rude and debased style of art. The
principal form is the cup of a jar shape, sometimes with
deep oval flutings, as on one found at Castor ; but dishes,
cups, plates, and mortars, are not found in this ware.

Some of the vases of
this ware have orna-
ments, and sometimes
letters painted on them
in white slip upon their
black ground. They are
generally of a small size,
and of the nature of
bottles or cups, with in-
scriptions, such as AVE,
hail ! VIVAS, may you live ; IMPLE, fill ; BIBE, drink ; 3

No. 203.— Group of Vases of inscribed black
glazed ware.

1 Journal, Brit. Arch. Assoc. i. p. 5,
7,8.

2 Brongniart, Trait^, PI. xxix.

3 Grivaud de la Vincelle, Antiq. PI.
xxxiii. 48. Janssen, Inscr. Tab. xxviii.
26-29 ; Gerhard, Berl. ant. Bild. 182.

368 ROMAN POTTERY.

VINVM,<wine;' VITA, < life;' VIVE BIBE MVLTIS ;
showing that they were used for purposes purely con-
vivial. Such are the vases found at Etaples near Boulogne,1
the ancient Gessoriacum, and at Mesnil.2

Some rarer and finer specimens from Bredene, in the
department of Lis, have a moulding round the foot. Great
quantities are found in England, Holland, Belgium, and
France. It is found on the right bank of the Rhine. A
variety of this ware has been lately found at a spot called
Crockhill in the New Forest, together with the kilns in
which it was made, and a heap of potter's sherds, or pieces
spoilt in the baking. The paste was made of the blue
clay of the neighbourhood, covered with an alkaline glaze
of a maroon colour, perhaps the result of imperfect baking ;
for the pieces when submitted again to the action of the
fire, decrepitated and split. They were so much vitrified
as to resemble modern stone ware, yet as all of them have
proofs of having been rejected by the potters, it is pro-
bable that this was not the proper colour of the ware,
Almost all were of the pinched up fluted shape, and had
no bas-reliefs, having been ornamented with patterns laid
on in white colour. The kilns are supposed to be of the
third century of our era,3 and the ware was in local use,
for some of it was found at Bittern.

The bottoms of two pots of this Roman ware found at
Lyons showed that it was sometimes made of a very
coarse and gritty paste with many micaceous and calca-
reous particles distributed through it, breaking with a

1 Roach Smith, Collectanea, I., PI. iii. 2 Mr. Akerman, in Archseologia,
p. 3. xxxv. 91-96 ; Arch. Journ. March,

2 Cochet, Normandie souterraine, 1853, p. 8.
8vo, Paris, 1855, p. 131.

LOCAL DISTRIBUTION.

coarse fracture of a dark red colour. The ware is covered
with rather a thick coat of black glaze also exhibiting the
same paste. The bottoms
were impressed with a pot-
ter's name stamped in cir-
cular mouldings and dis-
posed in circles, in characters
of the later period of the
Empire, and the ornamental
grooves were subsequently
made. One of these had
L CASSIO, perhaps Lucii
Cassii officina — "from the
factory of L. Cassius ; " No" 204"Cup of black'glazed Castor ware-
the other had FIRMINVS F(ecit). "Firminus made
it." This ware is very different from the Castor ware,
and forms a totally distinct class, intermediate between
the glazed and plain ware, sprinkled with mica.

SITES,

The distribution of this pottery of Roman manufacture
and style, whether of the Samian or other ware, is almost
universal over Germany, France, and Eastern Europe,
and in the West, extending through Spain and England.
In Germany l it has been found throughout the country,
as at Alsheim, Cassell, Xanten, and Zahlbach. Of
the German localities, however, Mayence seems to have
been particularly active in its ancient potteries. Details

1 Wagener, Handbuch, 8vo. Weimar, 1842, PL 22, 23.
VOL. n. B B

370

ROMAN POTTERY.

of a still more precise nature are afforded of the dif-
ferent kinds of ware found in France. Thus at the Canal
de Bourges in the department of the Cher l red Roman
ware and that with a black micaceous paste were found ;
red ware at Esclas 2 near Darney in Vosges, at Limoges
in the Haute Vienne,3 at Aix and Nismes,4 in Pro-
vence, and Languedoc, and at Vienne in Dauphiny ;
at Paris in the gardens of the Luxembourg, and at
St. Genevieve. At Bourdeaux were found the red ware,
the black Roman ware and that with white, yellow
and red pastes.5 Large specimens of red ware of an
elliptical shape were exhumed east of Thiers near Lezoux,
together with moulds, stamps, and the remains of a pottery;6
as also near Clermont.7 Amphora joined with lead were
found at Mont-labathie-Saleon, near Aspres, in the High
Alps,8 Chatelet, between St. Dizier and Joinville in
Champagne, the Samian ware with potters' names, dull
red ware, that of a yellowish white tint, with a leaden
glaze, and others of a black earth with a brown 9 or black
lustre.

Roman red ware has also been discovered on the banks
of the Seine near Anieres at Mount Ganelon, in Oise at
Compiegne,10 near Beauvais,11 and at Limeray near Dieppe,
in Normandy;12 at Maulevrier near Caudebec in Normandy,

1 Trait^, i. 444.

2 M. Jollois, Cimitiere d' Orleans. PI.
xvi. ; Brongniart, 1. c.

3 Brongniart, 1. c.

4 M^nard, Antiq. de Nismes ; Brong-
niart, i. 445.

5 Brongniart, i. 441 ; Grivaud de la
Vincelle.

6 Jouannet de Bourdeaux; Antiqui-
te"s Se'pulchrales de la Gironde; Rec.

Acade'mie de Bourdeaux, 1831.

7 Brongniart, i. 445; Mus. Cer. ix.
1, 8, 13.

8 Brongniart, i. 445.

9 Brongniart, i. 408, 445.

10 Grignon, Bulletin des feuilles
faites par 1'ordre du roi, 8vo. Paris,
1774.

11 Brongniart, 1. c. 442.

12 Brongniart, i. 442, PI. xxxv. 19.

FEANCE, ITALY, AND SPAIN. 371

together with coins of Gallienus and Constantine ; at
Sarthe near Mans, 2000 pieces, as well as the vitrified
bricks of a furnace, and a cruse, with the namfe of Tertiolus,
either maker or proprietor, were dug up in throwing
a bridge over the river. They were all broken, some
stamped with the names of Severus, Bassus, Crassus, &c-
At Loiret in the Orleannois, in Brequeruque in the Pays
de Calais, at Noyelles sur Mer1 in the department of the
Somme, red, black, and yellow Roman ware have also
been found.

Some of the pottery found at Agen resembled the
Samian, but was of a softer paste and exhibited some
local peculiarities. The names of the potters also differed
from those of the usual lists. It has been supposed that
these vases might have been made by potters settled upon
the spot, and it is certain that the Romans, whose villages
must have been decorated by Roman workers in mosaic,
had local potters.

In Italy this ware has been found chiefly at Arezzo, and
also at Hadria, Modena, and other northern sites.
Fine specimens, far surpassing in size and art those of
northern and western Europe, have been discovered at
Capua.2

Of Western Europe it now only remains to mention
Spain, in which country numerous specimens of this ware
have been discovered. Saguntum, praised by Pliny3 for
its calices, or drinking cups, may have been one of the
sites where this pottery was manufactured ; Pliny places it

1 Brongniart, i. 442, 443. 1855, p. 13, Tav. iv. v. viii.

2 Biccio, Notizie degli scavamenti del 3 N. H. xxxv. c. 46; Brongniart, i«
suolo dell' antica Capua, 4to. Napoli, 455.

B B 2

372 ROMAN POTTEEY.

in about the third rank. Martial1 mentions " a nest of
seven little vases, septenaria synthesis, the clayey turning
of the Spanish wheel, polished with the thick glaze of the
Saguntine potter " as part of a dinner set of a person of
moderate circumstances. In another place he says,
" Nothing is more odious to me than the old cups of Euctus.
I prefer the cymbia made of Saguntine clay." 2

Saguntum appears to have manufactured boxes, cups,3
cymbia, calices,4 and lagenae,5 or bottles. The actual ware
found at Murviedo6 is classed under four different kinds,
viz. : 1. The Roman red ware. 2. A cinericious kind.
3. Yellow with certain red spots. 4. Whitish terra-cotta,
unglazed, of the colour of the clay used for bricks and
tiles. The pieces of the first class were of the usual shape,
and many had the names of the potters. The same re-
mark applies to those of the second class. Those of the
third class had only two branches of wild palm stamped
inside ; and those of the last kind had inscriptions incised
upon the tiles and on necks of the amphorae, some in
Greek, as the name Hermogenes, — in Latin, as " Lucii
Herennii officina," — others apparently in the Celtiberian
character.

In England the various kinds of Roman red ware are
scattered all over the island, and specimens are every-

1 " Et crasso figuli polita ccelo, Sume Saguntino pocula ficta luto."
Septenaria synthesis Sagunti, — Martial, xiv. 108.
Hispanae luteum rotso toreuma." 4 " Calicum tantum Surrentum, Asta,

— Martial, iv. 46. Pollentia, in Hispania Saguntum." —

2 "Archetypis vetuli nihil est odio- Pliny, xxxv. 12.

sius Eucti ; 5 « pugna Saguntina fervet cominissa

Ficta Saguntino cymbia male- luto." lagena." — Juv. v. 29.

— Martial, viii. 6. « Valcarcel, Barros Saguntinos, 8vo.

" Quse non sollicitus teneat servet- Valencia, 1779.
que minister

ROMAN POTTERY IN ENGLAND. 373

where turned up with the spade or the plough on all the
old Roman sites. The pages of the Archaoologia are filled
with descriptions of these remains, which have been dis-
covered in abundance on the site of the old city of London,
principally near the 'Bridge,1 and its vicinity ; 2 at Glouces-
ter ; 3 at Southfleet ; 4 great quantities ha,ve also been dug
up on the banks of the Medway in the Upchurch Marshes,
leading to Sheerness,5 together with a local fabric of a
bluish-black ware.

Roman vases of different wares have also been dis-
covered at Chesterford,6 at Ickleton near Saffron Walden,7
at Stan way,8 at Mount Bures,9 at Colchester,10 and at
Billericay.11 A kiln has been found at Ashdon ; 12 false
Samian ware at Appleford13 and Comberton.14 At Mere-
worth,15 Canterbury,16EastFairleigh,17aadHartlip,18Samian
and other vases have been exhumed ; but the most re-
markable, as well as the earliest discovery of Samian
ware, was on the Pan sand, off Margate.19 Castor ware has
been found in the Hoo Marsh, near Rochester.20 At Rich-
borough 21 all sorts of ware have been discovered. Sussex

1 Archseologia, xxiv. PI. xliii. xliv. 10 Journ. Brit. Arch. Assoc. ii. 4, vii.
xxvii. p. 190. 109.

2 Bermondsey, Journ. Brit. Arch. n Journ. Brit. Arch. Assoc. iii. 250.
Assoc. i. 313. 12 Arch. Journ. x. 21.

3 Archseologia, x. PL ix. 2, p. 131; 13 Journ. Brit. Arch. Assoc. iii. 328.
Journal, Brit. Arch. Assoc. ii. 324. 14 Arch. Journ. vi. 210.

4 Archseologia, p. 37. 15 Arch. Journ. xi. 404.

5 Journal, Brit. Arch. Assoc. ii. p. 16 Ibid.

131 ; Roach Smith, Collectanea, PL 17 Journ. Brit. Arch. Assoc. ii. 4.

ix. x. 18. R. Smith, Coll. ii. p. 12.

6 R. C. Neville, Ant. Explor. 8vo. 19 Phil. Trans, xiv. p. 519 ; Shaw,
1847 ; Journal Brit. Arch. Assoc. 173 ; History of Staffordshire Pottery, p. 93 ;
Arch. Journ. xiL 85. Archseologia, v. 282, 290.

7 Arch. Journ. vi. 17. 20 Journ. Brit. Arch. Assoc. v. 339.

« Journ. Brit. Arch. Assoc. ii. 45. 21 R. Smith, Ant. Richborough, 8vo.

9 Brongniart Traits', i. 449. Lond. 1850.

374

ROMAN POTTERY.

abounds in Roman wares. Samian, and also the glazed
maroon ware, having been found at Chichester,1 New-
haven,2 and Maresfield.3 Black unglazed ware has been
found at Binstead,4 and a local black glazed ware with the
kilns and potteries in the New Forest.5 Samian and
other wares have been dug up at Dorchester, the Isle of
Purbeck,6 Portland,7 and Exeter.8 Similar wares have
been found at the Fleam Dyke,9 and throughout Cam-
bridgeshire. A local fabric, of a yellow Castor ware has
been discovered at Boultham, near Lincoln ;10 also at
Towcester,11 Cirencester, and other sites in Gloucestershire.
The red and black glazed ware, and the kilns for baking
them, and other potteries, have been discovered at Castor,12
along the banks of the Nen,13 at Sibson, and the Bedford
Purlieus. At Headington 14 numerous mortaria of yellow
Castor and other wares, and at Deddington 15 Samian ware
has been exhumed. A kiln and a pottery, resembling the
German, has been found at Marlborough. Samian and
black glazed ware has been excavated at Bath, Samian
and other Roman wares at York,16 and in the north of
England, at Caerleon and Carnarvon in Wales ;17 in fact
throughout the whole of the island, and even in the
Channel Islands.

In Holland Samian ware has been discovered at

1 Arch. Journ. xi. 26; Journ. Brit.
Arch. Assoc. iv. 158.

2 Arch. Journ. ix. 263.

3 Journ. Brit. Arch. Assoc. v. 390.

4 Arch. Journ. ix. 12.

6 Arch. Journ. ix. 23, x. 8.

6 Arch. Journ. vii. 384.

7 Arch. Journ. x. 61.

8 Arch. Journ. ix. 9.

9 Arch. Journ. ix. 229, x. 224, 225.

10 Arch. Journ. xii. 173.

11 Journ. Brit. Arch. Assoc. vii.
109.

12 Journ. Brit. Arch. Assoc. i. 1.

13 Ibid.

14 Journ. Brit. Arch. Assoc. vi. 58.

15 Arch. Journ. viii. 423.

16 Arch. Journ. vi. 36.

17 Arch. Journ. vii. 219.

ENAMELLED WARE. 375

Rossem, Arentsburg,1 Wijk-bij, Duurstede,2 and elsewhere.
In eastern Europe it is found in quantities along the
Danube, Greece, Asia Minor, and the Isles, and at Bala-
clava, and Kertch, having been carried by commerce
beyond the limits of Roman conquests.

ENAMELLED WAKE.

There is another kind of pottery found sparingly among
Roman remains which has been supposed to be Roman.
The paste is generally of a yellow colour, and over this
has been laid a thick coat of enamel, of a pale blue,
green, yellow, brown, or olive. The shape in which it
principally occurs is that of lamps ; .but fragments of
small vases and jars are also found. It is a later kind
of the enamelled ware of the Etruscan sepulchres already
described. Very few instances of its discovery in England
are known, although some fragments were found in the
pits at Ewell, in Surrey, having a glaze produced by lead.3

Many vases of this ware have been discovered in Italy,
especially at Pompeii and Cervetri. Some amphora, mea-
suring 11 inches high; others in shape of jars, ollce ;
wine bottles, urcei ; of the wine-skin, uter ; small jars,
urna3, and lamps. The larger are ornamented with
reliefs, anaglyplia, or emblemata, dispersed at distant inter-
vals on the surface of the vase, and stamped as crustce
from separate moulds, and then affused. The smaller

1 Leemans, Romische oudheiden, eelengen, 8vo, Leyd. 1842.
8vo. Leyd. 1842. 3 Archseologia, xxxii. p, 451.

3 Jannsen, oudheidkuudige Meded-

376

ROMAN POTTERY.

vases, such as lamps, are made entirely in moulds. Their
subjects are Hercules, Bacchus, a goddess sacrificing,
Abundantia, on a lamp is a Gorgon, treated in the usual
coarse style of Roman art. They have been supposed to
be Alexandrian.

There are in the Louvre some remarkable specimens
of Greek glazed ware of the Roman period, found at
Tarsus. The glaze appears to have been produced by
lead ; the colours are green, red, yellow, and blue.1 The
objects, which are small, were made in moulds like the
Roman red ware. The subjects are various patterns of
leaves and flowers in relief. Amongst the fragments are
portions of a vase with two handles, half of an oscillum
or mask, and some fragments of red ware, like the so-called
Samian, and of finer paste. One of these pieces, in-
scribed in characters, shows that it was later than the
Antonines. A bottle also in the Museum, ornamented
with masks and other subjects in relief, and of a style
almost mediaeval, was found with Roman remains.

1 It reads, [EJMNHC0HCAN membered Phileteerus" ... but the
4>IA€TAIPU)I " they told, or re- sense it is difficult to make out.

PART V.

CELTIC, TEUTONIC, AND SCANDINAVIAN
POTTERY.

CHAPTER I.

Celtic pottery — Paste— Fabric— Ornamentation— Size — Shapes — Sepulchral

British — Bascauda — Ornamentation — Triangular patterns — Bosses — Distri-
bution— Scottish — Irish — Type of urns — Ornamentation — Distribution —
Teutonic — Paste — Shapes — Hut vases — Ornamentation and distribution —
Scandinavian pottery — Type — Analogy with Celtic.

CELTIC POTTERY.

IT is difficult to draw a line of distinction between the
Celtic pottery and the black Gallo-Roman ware, as this
was evidently a local ware made upon a Roman type and
according to the principles of Roman art. The colour is
owing to carbon. Brongniart l assigns this ware to the
ancient Gauls, while he considers the first to be Gallo-
Roman. There are some varieties of this ware which
in shape and fabric resemble the German pottery, and
are ornamented with zig-zags, salient lines, and reliefs

1 Traits', i. p. 483.

378 ' CELTIC, TEUTONIC, AND SCANDINAVIAN POTTERY.

in imitation of letters, arranged in zones or bands. Such
pottery has been found at Gisors, in the tumuli of the
ancient Gaulish races. It is coarse, of bad texture, very
fragile, easily scratched with a knife, the paste either
black or gray.

The pieces were often made upon the wheel, the marks
of the potter's hands still remaining on the body of the
vase ; and where the foot has not been hollowed, indica-
tions appear of sawing from the chuck or piece by which
it was affixed to the table.1 They are rarely found of any
considerable size, although some nearly as large as casks
have been exhumed in Auvergne,2 and in the Channel
Islands.3 Some of these vases were an improved fabric
consequent upon the contact of the Celt with a more
polished people like the Romans, who by degrees in-
troduced a certain elegance and refinement into the arts
of that comparatively barbarous people.

The pottery which had preceded this, and which is
found in the barrows or tumuli of the early Celtic race
among the remains of stone or bronze weapons, and rude
amber and glass beads, is of quite a distinct character,
more resembling in its general appearance the urns of the
Scandinavians and the vases of other primitive people,
above all of the Teutonic tribes, who had but little know-
ledge of the ceramic art. The paste consists of the clay
found upon the spot, prepared without any irrigation,
consequently coarse, and sometimes mixed with small
pebbles, which appear to have been added for the sake
of holding it compactly together. It has undergone a

1 Brongniart, Traitd, i. p. 485. 3 Journ. Brit. Arch. Assoc. 1847, p-

3 Ibid. 8, 11. 309.

SHAPES AND ORNAMENTS. 879

baking of a very imperfect kind, the paste being black
internally, while at the sides it assumes the natural brown
colour of the clay.

The vases are generally of an urn shape, with wide
open mouths, and tapering at the feet ; the lip is
bevelled, and overlaps, thus giving them a peculiar form.
As it is impossible, owing to their very great friability,
that they could have been of much use for domestic pur-
poses, it is probable that they were expressly made for
sepulchral rites. Their style of ornament is of the
simplest kind, cords and bands are laid round or down the
vase, or the pattern is punctured or incised with a tool,
tooth, or pointed piece of stick or bone, for the lower
compartment ; while the upper appears to have been
made by binding a long strip of twisted skin spirally
round the urn. The principal ornament is the herring-
bone, the same which appears on the tores, celts, bracelets,
and glass beads, and is, perhaps, a representation of the
tattooing or the painted marks on the body in use amongst
the ancient Gauls and Britons. A few seem to be imita-
tions of wreaths and such other simple ornaments as were
placed on Roman ware. These ornaments differ, — each
tribe and age probably adopting a different style ; and
while on most vases they are sparingly introduced, some
examples are covered with them in most elaborate style,
from the lip to the foot. The size of these vases is by no
means inconsiderable, being on an average from 1 8 to 25
inches in height, and from 13 to 22 inches in diameter;
while some measure 32 inches in height and 4 inches in
diameter.1 They are found in the barrows, generally

1 Akerman, Archaeological Index, 8vo, London, 1847, pp. 46, 47.

380 CELTIC, TEUTONIC, AND SCANDINAVIAN POTTERY.

placed with their mouths downwards, like a dish-cover,
protecting the ashes of the dead ; beads and rude personal
adornments of the Celtic races are found with them,
together with bronze, and sometimes iron weapons.

BRITISH POTTERY.

The vases found throughout England and Wales belong
to the class above described, and only differ from others
by their simpler forms and less elaborate ornamentation.
Many small urns and vases have been found in British
barrows, sometimes placed inside others, and holding the
ashes of children or of the smaller domestic animals. The
urns of each tribe, and even period, differ in ornamentation,
paste, and shape. Those found in cairns on the Welsh coast
have often a striking resemblance to the urns of the Irish
Celts. All these vases have large wide mouths ; for the
potter, not using a wheel, was obliged to fashion them by
the hand, and could not make small necks or mouths by
the fingers. They seldom have- handles ; one or two
vases with such appendages only having been found, but
in their place projecting studs with holes bored to admit a
cord for suspension. Such vases have been called censers,
but more probably were used as pots or lamps in the huts of
the Aborigines. Their colour varies from a light yellowish
brown to an ashen gray hue ; and their ornaments are
principally zig-zag or triangular, hatched, zones, and
herring-bone, chiefly placed on the bevelled rim or lip. A
few have bosses or knobs in bands around their body,
and they are perhaps transitions to the Romano-British
and Saxon ware, distinguished by their darker colour,

TYPES OF BRITISH POTTERY.

381

bottle shape, and stamped ornaments. The Romans
appear to have termed these vases bascaudce, or baskets.
A few other objects, besides vases, were made of this
material, such as cylindrical cases to hold vases, and
beads, some reeded, apparently in imitation of glass or
enamelled beads.

No. 205.— Group of British Vases. The one in the centre is that of Bronweu.

The most important discoveries of these remains are
those made in Wiltshire, a county which has produced
many monuments of its former Celtic inhabitants. Many
urns have been found in the vicinity of Dorchester ;*

1 Archseologia, xxx. PI. xvii.

382 CELTIC, TEUTONIC, AND SCANDINAVIAN POTTERY.

others at Heytesbury1 and Stourton,2 Barrow Hills,3
Lake,4 Upton Level,5 Everley,6 Stonehenge,7 Amesbury,8
Winterbourne,9 Fovant,10 Durrington,11 and Beckhampton,
near Abury.12 The west of England and Wales have
probably produced the most interesting specimens of
these urns, which, however, have been found in the South
of England ; those of the northern and western parts
of the island are most highly ornamented. They have
also been found in various places in Sussex, especially
in the vicinity of Brighton, in tumuli, on the race-
course ; at Lewes,13 Storrington Downs,14 Sullington
Warren,15 Alfriston,16 and Clayton Hill.17 In the adjoin-
ing county of Hampshire similar urns have been exhumed
at Arbor Lowe,18 at Bake well,19 and at Broughton, in
the Isle of Wight.20 In Kent they have been found at
Iffin near Canterbury,21 and at Beedon in Berkshire.22
Many vases of this class have been discovered at Bland-
ford,23 Dorsetshire, in the Isle of Purbeck,24 and at
Badbury Camp.25 They have been found at Broughton 26
and Wolden Newton 27 in Lincolnshire, at Culford,28 at
Felixstowe in Suffolk on the Matlow Hills, in the Fleam

1 Sir B. Colt Hoare, Anc. Wilt. PL
ix. viii.

2 Ibid. PI. i.

3 Archseologia, xv. p. 343, xviii.

4 Sir T. Colt Hoare, Anc. Wilt. pi.

XXX.

5 Ibid., xi. 6 Ibid., xxii.

? Ibid., xvi. s Ibid., xxiii. 4.

9 Ibid., xiii. 15. 10 Ibid., xxxiii. 4.

11 Ibid., xvii.

12 Horsfield, Hist. Lewes, p. 48, pi. v.

13 Sussex Archaeological Collections,
i. p. 55.

14 Cartwright, Kape of Bramber, p. 128.

15 Suss. Arch. Coll. ii. 270.

16 Suss. Arch. Coll. viii. 285.

17 Journ. Brit. Assoc. Winch., 203.

18 Ibid., 194.

19 Arch. Journ., ix. 11.

20 Journ. Brit. Arch. Assoc., 1856,
p. 186.

21 Arch., xxx. p. 327.

22 Arch. Journ., vii. 67.

23 The Barrow diggers, 4to, Lond.
1839, p. 91.

24 Journ. Brit. Arch. Assoc., vii. 385.

25 Arch., xvii. 338.

26 Arch. Journ., viii. 343.
Z7 Arch. Journ., vi. 184.

28 Journ. Brit. Arch. Assoc., ii. 63.

DISTRIBUTION OP BRITISH POTTERY. 383

Dyke,1 Newmarket Heath,2 and Royston 3 in Cambridge-
shire, at Drayton,4 and at Stow Heath 5 between Tullington
and Aylshain in Norfolk. In the midland counties similar
vases have been discovered at Castor,6 and Brixworth,7 at
Brassington Moor,8 and Kingston in Derbyshire,9 at King-
ston upon Soar,10 and at Great Malvern11 in Worcestershire.
In Shropshire these vases have occurred at Bulford,12 and at
Newark, while remarkable examples allied to the Irish urns
were found at Port Dafarch,13 Holyhead, in Anglesea, at
Mynnyd Carn Goch in Glamorganshire,14 and on the
Breselu Hills 15 in Pembrokeshire. One of the most
remarkable is the vase which is supposed to have covered
the ashes of Bronwen the fair, the daughter of Llyr
Llediaith, the aunt of Caractacus, A. D. 50, found in
A. D. 1818, on a carnedd or grave on the banks of the
Alaw.16 In the north of England they have been dis-
covered at Scarborough,17 York,18 Bernaldy Moor, near
Cleveland 19; Fylingdale near Whitby ; 20 the Way Hagg,
near Hackness ; 21 Furness, in Lancashire ; 22 Jesmond,
near Newcastle-on-Tyne ;23 Black Heddon, in Northumber-
land, and elsewhere ; 24 and lastly at L'Ancresse, in
Guernsey,25 and Alderney,26 amidst the barrows or tumuli

1 Arch. Journ., ix. 226. 14 Arch. Cambr., 1856, 65.

2 Arch. Jouru., iii. 225. 15 Arch. Journ., x. 177. 16 Ibid. vi. 326.

3 Arch., xxxii. p. 359. 1Jr Journ. Brit. Arch. Assoc., iii. 194,

4 Journ. Brit. Arch. Assoc. v. 154. 103, 106, 107 ; Arch., xxx. 458.

5 Journ. Brit. Arch. Assoc. viii. 59, 18 Wellbeloved, Descr., p. 8.
pi. 9. 19 Arch. Journ., i. 412.

6 Journ. Brit. Arch. Assoc., 1853, 106. 2° Arch. Journ., xiii. 95.

7 Journ. Brit. Arch. Assoc., iv. 142. 21 Journ. Brit. Arch. Assoc., vi. 1.

8 Arch. Journ. i. 248. 22 Arch. Journ., iii. 68.

9 Journ. Brit. Arch. Assoc., ii. 62. 23 Arch. Journ., x. 3.

10 Arch. Journ., iii. 154. 24 As at Rombalds Moor. Arch.,xxxvii.

11 Arch. Journ., vii. 67. 306. * Arch. Journ., i. 142, 149.

12 Arch. Journ., vi. 319. 26 Clay beads, Journ. Brit. Arch.

13 Arch. Journ., x. 177. Assoc. iii. 11.

384 CELTIC, TEUTONIC, AND SCANDINAVIAN POTTERY.

which formed the graves of the early Celtic population,
although in smaller numbers than vases of the different
Roman wares.

SCOTTISH POTTEET.

The early pottery of Scotland found in the graves of the
ancient inhabitants, principally of those of the so-called
bronze period, anterior to, and contemporary with, the
Roman conquest of Britain, is exactly like that of the rest
of the island. The vases are of two classes — those feebly
baked and made by the hand, and those which appear to
have been turned upon the wheel.1 The first comprising
the urns, or lascaudce, used for covering the ashes of the
dead, often measure as much as sixteen inches high, and
have the usual bevelled lip ; a few cups, and lamps with
small side handles for a cord to sling them, and domestic
vases resembling in shape the Roman olla, have been also
found. They are all wide-mouthed, and may have been
used for quaffing the Pictish heather ale. Their orna-
mentation also is of the simplest kind, consisting of the
fern leaf pattern, the zig-zag, and herring-bone. A few
vases are ornamented all over the body as well as lip, and
resemble those found in Ireland and upon the Welsh coast.
Others have indented patterns. These vases have been
found all over Scotland, at Ronaldshay in Orkney,2 Craik-
raig in Sutherlandshire,3 Banffshire,4 Montrose,5 Kinghorn

1 Wilson, The Archaeology and Pre- 3 Ibid., 285.

historic History of Scotland, 8vo, Edin- 4 Arch. Scot., iv. 298, pi. xii.
burgh, 1851, p. 281. 5 Wilson, p. 284.

2 Wilson, p. 286.

IRISH POTTERY. 385

in Fifeshire,1 at Shealloch near Borthwick, and at Edin-
burgh ;2 at Coilsfield,3 at Banchor y 4 and Memsie 5 in
Aberdeenshire, and at Whitsome 6 in Berwickshire.

IETSH POTTERY.

The urns discovered in Ireland resemble the British in
their form and material, but are often finer in colour,
more complex in shape, and more elaborate in ornament ;
the whole body of the urn being decorated with punctured
marks, lines, zones, zig-zags, and bands. Some urns have
a peculiar shape, the upper part, surmounting the jar-
shaped body, being in the form of a truncated cone.7 The
prevalence of triangular and hatched ornament is pecu-
liarly Celtic, and appears on the gold objects as well as
the urns. In the Irish urns the resemblance to basket-
work, in which coloured patterns were worked in, is still
more distinct than in the British. The urns generally
held or covered the ashes of the dead, but they were
sometimes placed around the unburnt body. The most
remarkable and beautiful are those found at Cairn
Thierna,8 county Cork, and at Killucken, county Tyrone.9
Others have been discovered in a cromlech at Phoenix
Park, Dublin ;10 at Knowth, county Meath ;u at Powers-
court, county Wicklow ;12 at Mount Stewart, county

Ibid. 8 Ibid., plate.

Wilson, p. 290. 9 Journ. Arcb. Assoc., i. p. 224 ;

Wilson, p. 333. Akerman, Arch. Index, pi. ii. 51.

Wilson, p. 283. 10 Wakeman, Handbook of Irisb An-

Wilson, p. 287. tiquities, p. 5, 155.
New Stat. Arch. Berwick, ii. p. 171. " Molyneux, Essay on Danish

7 Cf. the one from Cairn Thierna. Mounts.

Arch. Journ., vi. p. 191. l'2 Arch. Journ., vi. p. 192.

VOL. ii. c c

386 CELTIC, TEUTONIC, AND SCANDINAVIAN POTTERY.

Down j1 Mayhora, Castle Comar, Kilkenny ;2 and at Mul-
lingar.3 They are anterior, and quite free from all traces
of Roman civilisation.

GAULISH POTTEET.

The Roman dominion in Gaul has so completely swept
away the distinct traces of the Celtic potteries, that it is
difficult to point out any which can be referred to the
Gauls before the Roman conquest.4 Such as are found,
mixed up with later remains, do not show that peculiarly
Celtic type and ornamentation which are seen on the
vases of the British isles. A few, however, supposed to
be early Celtic, have been found at Fontenay-le-Marmion,
in Calvados, near Dieppe, and in Bretagne, made of a
black earth, badly prepared, filled with pebbles, breaking
with a porous fracture. Their paste is externally of a
rusty colour, and black inside. It breaks readily when
dry, and can be ground to powder by the finger. Wetted
it assumes the hue of decayed bark ; submitted again to
the furnace it turns to a brick red colour, but becomes
more brittle. These vases are of the rudest shape, and
have neither been made in a mould nor turned upon the
wheel, but fashioned by the hand, or scooped by rude
instruments.5 It has been supposed that a certain class
of pottery, formed of black clay mixed with white pebbles,
or ground-up shells, varying in colour from a deep black
to a blackish gray or rusty colour, and sometimes glazed

1 Dublin Penny Journal, i. p. 108. 4 Caumont, Cours, i. p. 255.

2 Arch. Journ., viii. 200. 5 Caumont, Bull, Mon., v. 464 ; xiii.

3 Archseologia, ii. p. 32. 111.

GAULISH AND TEUTONIC VASES. 387

or coated with a carbonaceous black coating, is also of
the early Celtic period. The walls of the vases are
thicker and the paste more adhesive than the earliest
Celtic, while the forms prove an acquaintance with
Roman art, and cannot be assigned with certainty
to the earlier epoch.1 They have been found at Abbe-
ville and Portelette.

TEUTONIC POTTEET.

Throughout the whole of Germany various kinds of
pottery have been discovered. They are, however,
reducible to three great classes. That of the early native
population prior to the invasion of the Romans ; that
made during the Roman conquest, which although ex-
hibiting local peculiarities of paste and ornamentation,
belongs to the Roman wares ; that imported, consisting of
red ware made at Arretium, Capua, Modena, and other
places in Italy. The two last classes having been
already described, there only remains the first which
has, unfortunately, not been hitherto carefully discrimi-
nated from the others. It must be borne in mind that the
Celtic and Anglo-Saxon wares, one class of Teutonic pot-
tery discovered in England, are easily discriminated,
the latter being more bottle-shaped, made of a dark
paste, with thinner walls, with oblate globular bodies, nar-
rower necks, and having stamped around them a regular
band of ornaments, from a die of bone, wood, or metal.

Urns very similar to those of the Celtic potteries have

1 M. Ravin in M.Boucher de Perthes, Ant. Celt, p. 509.

o o 2

388 CELTIC, TEUTONIC, AND SCANDINAVIAN POTTEEY.

been found all over Germany, along with the remains of
the Teutonic races. They are assignable to an age ante-
cedent to and co-ordinate with the Roman empire, and bear
considerable resemblance to those of the Pagan Saxons.
They are friable in texture, with punctured patterns, and
are grouped round the corpses in the graves of the Teu-
tonic tribes, or are employed to hold their ashes or offerings
to the dead.1 They are intermediate between the Mexican
and early Greek.

The paste of some of these urns is very friable, that of
others rings like stone ware when struck by the hand. It
is composed of clay and sand, intermixed with particles of
white, yellow, red, or brown mica, which seems to have
been introduced either to strengthen the clay or produce
a glittering appearance.2

The colour of the paste varies according to the localities.
The vases at Rossleben and Bottendorf consisted, partly of
yellow earth, partly of black, mixed with white quartz
pebbles. Those at Bergen, in Hanover, were of unctuous
earth, with a shining blue coating. Urns of gray or
brown paste have been discovered between Cacherin,
Gisborn, and Langendorf, in the county of the Wends.
In Lauenstein the pottery is gray and well baked. In
Lausitz and Silesia it is of all varieties of brown,
gray, and black colour. Many of the smaller vases
have, as in the Celtic pottery, been modelled by the
hand, but the larger urns bear decided marks of
having been turned upon the wheel. Among them
are found saucers, plates, cups, goblets with one

1 Keferstein, Keltisch. Altherthum. 2 Klemm, Handbuch, s. 169.

8vo. Halle, 1846, s. 311—313.

TEUTONIC VASES.

389

No. 206.— Anglo-Saxon Urn. From Norfolk.

handle, jars, small amphorae, and bottles. The
handles are generally small, but in some of the jugs
they are as 'large as
those found under the Ro-
mans. They are rarely
moulded at their edges.
Some few vases are di-
vided with inner vases, as
if used like little boxes ;
others have feet to stand
upon. Their ornaments
are either painted with
colours, or moulded, or
engraved. Generally the

artist has been content to raise bosses in circles, a series
of lunettes upon the clay of the vase, or bosses pressed
out from within, or studs laid on in separate pieces ;
but in some instances, as in the Etruscan canopi and
Egyptian vases, he has moulded a human head with more
or less skill, but always rudely. Another mode of decora-
tion was that of puncturing or incising the paste.1 The
ornaments were the hatched lines, bands of points concen-
tric to the axis of the vases, zigzags, screw lines perpen-
dicular to the axis, maeanders, chequers, network lines,
semicircles and dots, diagonals, triangles, lunes, and pen-
tagonal ornaments, all peculiar to the Teutonic pottery.
Some of the ornaments, such as the masander, are probably
as late as the Roman Empire. The ornaments of other
vases are painted in red and yellow by means of ochreous
earth, and in black by black lead. These are arranged in

1 Brongniart, Traite, i. 471.

390 t CELTIC, TEUTONIC, AND SCANDINAVIAN POTTERY.

parallel zones or lines. The vases found in Central
Germany, between the Weser and the Oder, are more
ornamented than those of the North.1

The principal shapes are, cups with or without small
handles ; pots resembling the British urns, with bevelled
mouths, found near the Black Elsler, small one-handled
cups like the modern tea-cup ; goblets, of which the most
remarkable are the long-necked double-handled of the
Wends, others in the shape of modern tumblers, flasks,
and bottles ; diotse or amphora with small handles.
Some urns resemble, by their tall necks and bosses, the
Anglo-Saxon, and a remarkable kind of urn has a broad
hemispherical shoulder, and long pointed foot, resembling
those in which olives are still transported. Some few are
apparently toys, such as the rattles found at Bautzen and
Oschatz, and a bird found at Luben ; others have been
found 2 with human feet, in shape of horns, pierced for
censers, or grouped in threes. But a scientific classifica-
tion of the German potteries, according to race and age,
is a research still to be undertaken.

Vast quantities of them have been discovered in the
tumuli of Schkopau, near Merseburg,3 at the ancient
Suevenhock or Schwenden Hugel (Swedes Hill), the
greater part however broken by rabbits, and in Saxony
between Dresden and Meissen, and near Leipzig, in the
village of Connevitz ; at the mouth of the Black Elsler,
near the Elbe, 800 tumuli have been opened, and various
vases have been found near Gusmandorf, on the right

1 Klemm, Handbuch, s. 171. Deutsch alterthum, Hall, 1824, i. p. 73,

2 Klemm, Handbuch, xii. xiii. xiv. PI. 1.

3 Brongniart, i. p. 476 ; Kruse,

HUT-SHAPED VASES.

391

bank of the Elbe.1 At Mecklenburg the vases assume
more of the Scandinavian type.2 They have been found
at Kummer, Stolpe, Dobbersten, Spornitz, Marnitz, Lud-
wigslust, Timkenberg, and Stargard. The vases found in
Western Germany, on the banks of the Rhine, have
moulded lips like the Roman ware, and are apparently
made after Roman types. They have been found at Schier-
stein and Kernel, and in fact throughout all Germany.
Some remarkable sepulchral urns resembling those of

No. 207.— Group of Hut-shaped Vases, from Halberstadt, Kiekindemark, and
Ascherslebeu.

the early inhabitants of Alba Longa, already mentioned,
have been found in Germany, and are distinctly Teutonic.
They occur in the sepulchres of the period when bronze
weapons were used, and before the predominance of Roman
art. One found at Mount Chemnitz, in Thuringen, had a

1 Brongniart, i. p. 476 ; Wagner
in Kruse, Arch., iii. pt. ii. p. 16, et
seq. PI. i. ii.

2 Schrotter & Lisch, Museum Fride-
rico-Franciscum, Leipsig, 1827.

392 CELTIC, TEUTONIC, AND SCANDINAVIAN POTTERY.

cylindrical body and conical top, imitating a roof. In
this was a square orifice, representing the door or
window, by which the ashes of the dead were intro-
duced, and the whole then secured by a small door
fastened with a metal pin. A second vase was found
at Roenne ; a third in the island of Bornholm. A
similar urn exhumed at Parchim had a shorter body,
taller roof, and door at the side. Still more remarkable
was another found at Aschersleben, which has its cover
modelled in shape of a tall conical thatched roof, and the
door with its ring still remaining, Another with a taller
body and flatter roof, with a door at the side, was found
at Klus, near Halberstadt.1 The larger vases were used
to hold the ashes of the dead, and are sometimes pro-
tected by a cover, or stone, or placed in another vase of
coarser fabric. The others are the household vessels,
which were offered to the dead filled with different viands.
Some of the smaller vases appear to have been toys.

Extraordinary popular superstitions have prevailed
amongst the German peasantry as to the origin and nature
of these vases, which in some districts are considered to
be the work of the elves — in others to grow spontaneously
from the ground like mushrooms — or to be endued with
remarkable properties for the preservation of milk and
other articles of food.2 Weights to sink nets, balls, disks,
and little rods of terra-cotta are also found in the graves.

1 Lisch, ueber die Hausurnen, 8vo, 2 Keferstein, Kelt. Alt., p. 811.
Sckwerin, 1856.

SCANDINAVIAN VASES. 393

SCANDINAVIAN POTTEEY.

Connected with this class, and finishing as it were the
series of these remains, is the Scandinavian pottery, which
resembles in many particulars that of the Teutonic popu-
lations, and is intermediate between the Celtic and the
earlier or Pagan Saxon. Its paste is coarse, and much
interspersed with calcareous substances and particles of
mica.1 It was made of the local clay and not turned on the
lathe, but fashioned with the hand in the lap, a method
still retained in Scandinavia.2 It is probable that it was
baked in a way still practised in Scandinavia, namely, by
placing the pieces in a hole in the ground, and surrounding
them with hay, which is then burnt ; a feeble process,
indeed, but yet sufficient for vases only intended to cover
the ashes of the dead..3 The paste is either of a very dark
gray, or of a light brown colour. Such at least are those
in the Museum at Sevres. The form is more regular than
the Celtic, but not so good as the Roman ; the ornaments
are also more distinct, but the baking is feeble.

The prevalent shape is the otta or jar, some of which
have perforations or little handles at the sides, apparently
for cords by which they might be carried. Some rare
examples have conical lids. Smaller vases of other shapes
are also found. The prevalent ornamentation is the fret
or herring-bone, and triangular bands, arranged horizontally
or vertically to the axis of the vase. They are found in
the oldest tombs of the so-called stone period,4 and held

1 Brongniart,Traite, i. p. 480, PL xxvi. 4 Worsaae, Primaeval Antiquities of

xxvii. 2 Ibid. Denmark, by W. J. Thorns, 8vo, Lond.

3 Brongniart, Mus. Cer. x. fig. 10, 11. 1849, p. 21.

394 ANALOGIES.

or covered the ashes of the oldest inhabitants of the
Cimbric Chersonese.

In the specimens of this ware hitherto published, the
shapes bear a resemblance to those found in Greece and
Germany rather than in England. Thus, an elegantly
formed hemispherical cup, another with two large handles
resembling the Greek scyphos, a diota and amphora with
tall and narrow cylindrical necks, apparently well turned,
have been attributed to the stone period.1 Such vases
were apparently turned on the wheel, and could hardly
have been moulded by the hand. The vases of the
Bronze period also bear more resemblance to the
German than British pottery. ^The most remarkable
shapes are the hut-urn, a kind of amphora, and a
tall jar surmounted by a cover.2 The remains of the
Iron Age are contemporary with the Saxon or Christian
period, and belong to another branch of the study of the
fictile art.

Future researches, more accurate observations, and
scientific examination of the remains of the Northern
races, will help to class more strictly the pottery of the
rude tribes, to assign its ethnological character, and geo-
graphical distribution. Amongst those remote from
Roman conquest, or those antecedent to the rise of the
Empire of the "West, may be traced ornaments and types
which show the influence of a higher civilisation. The
slave's ashes in the olla of the Eternal City, those of
the unconquered chieftain of the North in his rude urn ;
the Etruscan larth's in the model of his house, the

1 Worsaae, Afbildninger, 4to, Kjo- 2 Ibid., pi. 54.

benhavn, 1854, pi. 16.

ANALOGIES. 395

Teutonic leader's in his hut-shaped urn, the Briton's
ashes covered by the inverted jar, the Roman legionary
laid in his last home roofed with tiles, show one
common idea of sepulture, one universal application of
the potter's art.

Yet time and patience unclose many mysteries. There
are in art, as in literature, certain diacritical signs, which
enable those initiated to fix what appears at first sight to
elude apprehension. Not only each tribe and family use
a separate type of shape and ornamentation, but even
these are in their turn insensibly influenced by time and
external circumstances. Hence the advance and progress
of certain races, as relates to themselves or as compared
with others, are to be seen in their monumental remains.
For the history of those races which have left no written
records, no inscribed memorials, the pottery is an invalu-
able guide. It may be compared with those fossil remains
by which man attempts to measure the chronology of the
earth, for the pottery of each race bears with it internal
evidence of the stratum of human existence to which it
belongs. Its use is anterior to that of metals ; it is as
enduring as brass. All the pottery of the northern races
is of the lowest order with respect to those qualities which
characterise excellence in the potter's art. Their kilns, it
is evident, were of the rudest and feeblest kind ; little
care was paid to the preparation of the clay, and the
fashioning was a mere rude modelling with the hand.
The simplest kind of ornamentation delighted the inha-
bitants of the rude huts of the north. In no instance has
the potter left either his name or other inscription on the
vessels he made ; and their age and fabric have to be

396

ANALOGIES.

searched for in the objects which surround them, or in the
character of the locality where they are found. Great
doubts will for some time prevail as to their actual age,
and even the divisions of time supposed to be marked by
the so-called ages of Stone, Bronze, and Iron are not
definitely settled. When the potter's art arrives at per-
fection, it charms by the impress of the art which embel-
lishes it, but the examples in its infancy instruct by the
clue it affords to the primitive art of mankind. A due
knowledge of the great distinction of the various products
of the art of pottery amongst the ancients is essential to
a perfect knowledge of the relative antiquity of races and
sites. The use of letters is comparatively recent, the
glyptic and graphic arts only exist in their later forms
as exercised on unperishable materials ; but in every
quarter of the world fictile fragments of the earliest efforts
lie beneath the soil, fragile but enduring remains of the
time when the world was in its youth.

APPENDIX.

No. I. (Vol. I., p. 165.)
MAGISTRATES' NAMES INSCRIBED ON GREEK BRICKS AND TILES.

EPI AfHZANAPOY EPI AZKAHPIOAHPOY

... AIZXYAIZKOY ... BOIZKOY

... AAKAIOY ... BOYBAAOY

... ANAPJ1NOZ ... AAMOZTPATOY

... APOAAOAHPOY ... AAMHNOZ

... APIZTOKAEOZ ... AAAKPOY

... <f>IAHNIAA AZTYNOMOY

OEPOKPAT[E], POZIOZ TOY AZTYOY

OZ AZTYN[OMOY] MIATIAAHZ

No. II, (Yol. I., p. 186.)

LAMP MAKERS.

ATY APVPI

FlPO TFPMANIKOY IOV

APY ZEBAZ

RPOK TAIOY

ABACKANTOY AIOKAIT[IANOY]

398

ZITTIOY

ZHTHZ

KAT

K€A€U)

K6AC6I

APPENDIX.

EVPAOIA

AABE ME TON HAIOCE-

PAH IN
IPPAPXOY
HPeiMOV

No. III. (Vol. I. p. 193.)

LIST OF MAGISTBATES NAMES FOUND ON THE MEDALLIONS OF
BHODIAN AMPHORJ3.

Junctor

Aristocrates

Damsenetus

Menestheus

^Eschines

Aristodemos

Damocles

Menestratus

Agastophanes

Aristogenes

Damocrates

Nicasagorus

Agathocles

Aristogiton

Damophilus

ISTicomachus

Agoranax

Aristomaclius

Demetrius

Nicostratus

Alexander

Ariston

Diocles

Paedippus

Alexiades

Aristopolios

Dionysius

Pausanias

Aleximachus

Aristratus

Dorcylidas

Pecciratus

Anaxander

Arnibius

Eucratidas

Philsenius

Anaxibulus

Arylaades

Euphranor

Philocrates

Anaximachus

Astymedes

Evanor

Philodamus

Andrias

Athenodotus

Grorgon

Pisistratus

Andromaclius

Atimus

Harpaeus

Polyaratus

Andronicus

Autocrates

Harpocrates

Pythodorus

Antipater

Callianax

Heragoras

Pythogenes

Archecrates

Callicrates

Hestiaeus

E.hodon

Archelaides

Callias

Hieron

Sicanus

Archembrotus

Clearclius

Hippocrates

Socrates

Archidamus

Cleino stratus

Jason

Sosicles

Archinus

Cleocrates

Laphidas

Sostratus

Aristseus

Cleonymus

Leontidas

Symmachus

Aristagoras

Cleisimbrotidas

Linctor

Thersander

Aristanax

Cratagoras

Lysippus

Thestor

Aristides

Cratidas

Marsyas

Timagoras

Aristocles

Creon

Menedemus

Timocrates

APPENDIX.

399

Timarchus Timotheus Tisamenes Xenophon

Timodicus Timoxenus Xeno Zeno

Timorrhodus Tisagoras Xenophantus

For a fuller list, see Bockh. Corpus Inscr. Grraec. (Vol. III..
Prsef. p. v. — xiv.)

The months are, — Thesmophorius, Diosthyus, Agrianus, Pedageit-
nius, Badromius, Artamitius, Theudsesius, Dalius, Hyacinthius,
Sminthius, Carneius, Panamus, a second Panamus. A Neomenia
is also mentioned.

See Trans. Boy. Soc. Lit. iii., p. 38.

No. IV. (Page 195.)

RHODIAN AMPHOBJE, SQUARE LABELS WITH EMBLEMS.

APIZTEIAOV
KAEAPXOY (head of Apollo)
KAEOKPATEVZ
KPATIAA
ZVMMAXOY
ZENCXK1NTOZ
MENEZTPATOY (head of
Medusa)

HPJQTOY

ZOZIKAEVZ

IAOKPATEVZ

ANAPIKOY (caduceus)

ANAPONIKOY

ANTIMAXOY

APIZTHNOZ

KAAAHNOZ

AAMOKPATEVZ

APAKONTIAA

EYKAEITOY

KWAIZTIONOZ

IEPOKAEVZ

IMA

MIAA (bunch of grapes and

caduceus)
ZflKPATEVZ (torch and

garland)
OAVMROV
MEIMO0EMIAOZ (two cor-

nucopisD and bipennis)
M EN EZTPATOV (dolphin

and anchor)
AMVNTA (wreath)
BPOMIOY

APIZTAPXOY (stars)
APAKONTIAA (anchor)

nveorENEvs (rat)

AAMATPIOV (caps of Dios-

curi)
NIKIA
<!>IAOZTEANOV (parazo-

nium)
IAOKPATEVZ

400

APPENDIX.

rpnroY

ZnZfKAEVZ
HPAKAEIHNOZ

grapes)

MENEKAEYZ
MIAA

eEMIZniMOZ
A0ANOTOY (cornucopise)

POAHNOZ
AIOAOTOY (fish)

(bunch of IZIAHPOY (acrostolium)

APIZTOKPATEVZ (crosses

flowered)
APIZTEIAA (head of

Apollo)
KAEAPXOY

And others. See Bochk. Corp. Inscr. Grsec. 1. c.

No. Y. (Vol. I., p. 196.)

FAMES OF CNIDIAN MAGISTEATES.

Agathinus

Callidamas

Eugenes

Philambulus

AICSBUS

Cleodotus

Euphragoras

Philinus

Alcidamas

Cleombrotus

Eurilaus

Philombroti-

Alexander

Chrysippus

Heniochus

das

Amyntas

Daedalus

Hermocritus

Poliuchus

Anactagoras

Damocritus

Hipparchus

Protagoras

Anaxander

Democles

Hippolochus

Theodoridas

Apollonidas

Diocles

Maro

Therocrates

Apollonius

Diodotus

Menecrates

Thersander

Archagoras

Diogenes

Menestratus

Theudorus

Aristagathus

Dionysus

Menippus

Theuphides

Aristocles

Eirenidas

Nicasibulus

Timacles

Aristogenes

Eubulus

Nicias

Timoxenus

Ariston

Euclides

Nicidas

Xanthus

Asclepiodorus

Eucrates

Nicippus

Zenas

Athenaeus

The formula on the handles of the amphorae is KNT, KNI AI,
KNIAION.

See Trans. E. Soc. Lit. iii. p. 61 ; Bocjdi. Corp. Inscr., No. 1851-
1863 ; and Vol. III., Praf. p. xiv.— xvii.

APPENDIX.

401

No. VI. (Vol. I., p. 199.)

NAMES ON HANDLES FOUND AT OLBIA.
LIST OF ASTTNOMI.

ArraXoff
ArraXos Bopuoy
Bopvs Atowcrtov
Bopvy Eoriatoi/
T\avKias

Atovvaios Ayatiwos
Aiowcrios
&iovv(rios o
Aiowcrios o Aiowcnov
Exaratop

Eortatos Bopvof
Eortatos KXeaii/erou
Mt^paSarov

o E*aratov
Qeayevrjs o NetKai/opoy

ITTTTCOI' Aiovvcriov •
Ipoovvpos o Ipuvvpov
lorpcoi/ o ATroXXcoviSa

o npwrayop<t>

Navrtov
IloXvcrrparoff

Ilocris o Aoreiou
Jlpwrayopay o KVVKTKOV

npcorayopov

Tev6pas

o A.ea>fjLe8ovTog.

D D

402

APPENDIX.

Ayirjs
Atcr^ivrjs

Apl(TTQ)V
ApTffJLldvpOS

Aarreas
Btcoi/
Bopus
TXavKias

AlOW(TlOS

Adseus

Andragathus

Castor

No. VII. (Vol. I., p. 201.)

NAMES OF MAGISTRATES.
Ato?

Eppaios Kvpos

Ecrrtruos MtSas

Eo-rmio? o Ho- Mi

2i/xaXia)i/ o KXet-

rayopov
Saxnas

Xa/Sptas

NAMES OF UNCERTAIN ORIGIN.

Cephalion Eucanor Melanthios

Demarchus Hieroteles Psaphon

Demosthenes Hicestus Xophilus

No. VIII. (Vol. I., p. 248.)

ANALYSIS OE GLAZE.

A fragment in the Museum of Sevres of the black glaze gave the
result of 63'0 silica, 2O5 alumina, 4'0 oxide of iron, 9'0 carb. lime,
2-0 magnesia, 2'0 water ; that of a Vulcian vase, 55'49 sil., 19-21
alum., 16-55 ox. ir., 7'48 carb. lime, 1*27 magn. The glazes of vases
of the Decadence, or so called Campanian, ware, of a phiale, 52§95
sil., 27-15 alum., 12'89 ox. ir., 5*25 carb. lime, T76 water; of a large
cylix, 55-10 sil., 18'36 alum., 16'54 ox. ir., 9.0 water, 1-0 magn. ; of
a smaller cylix, 60'0 sil., 13-63 alum., 19'0 ox. ir., 5'91 carb. lime,
2-56 magn. ; of another small cylix, 57'50 sil., 18*0 alum., 14'21 ox.
ir., 7-73 carb. lime, 2'56 magn. ; of a crater, 54'25 sil., 18'91 alum.,
15*51 ox. ir., 9'5 carb. lime, 1*83 magn. The analysis of Salvetat
gave nearly the same results,— 55 -88 sil., 18-88 alum., 15*80 ox. ir.,
7*48 carb. lime, 1*63 water ; and 46'3 sil., 11-9 alum., 16'7 ox. ir.,
5*7 carb. lime, 2'30 magn., 17*1 soda. It is supposed to have been a
soda glass with an oxide of iron and lime. (Brongniart, Traite", i.,
p. 550 ; Cat. Mus. Pract. Geol. p. 35.)

APPENDIX.

403

No. IX. (Vol. II., p. 35, Appendix I.)

LIST OF NAMES ON VASES.

NAMES OF MEN.

Hiketes

Oinokles

Akestorides

Hipparchos

Olympiodoros

Alalkon

Hippodamos

Onetor

Alkibiades

Hippokritos

Onetorides

Alkimachos

Hippon

Orthagoras

Andokides

Ichias

Panaitios

Antias

Isolaos

Pasikles

Antiphon

Kallias

Pedieus

Argos

Kallikles

Perses

Aristarchos

Kallipides

Phaos

Aristomenes

Kallithes

Pheidon

Athenodotos

Kaiysstos

Phi]ycus

Batrachos

Kephalos

Polyphrassmon

ChaBrestratos

Kephitos

Pythodoros

Charmides

Kleitarchus

Pythokles

Charops

Klymenes

Sim ax

Choiros

Krates

Simmiades

Cleinias

Ktesileos

Solon

Damas

Laches

Sostratos

Diogenes

Leagros

Stroibos

Diokles

Leokrates

Timoxenos

Dioxippos

Lykaon

Tisonides

Dorotheos

Lykos

Xenon

Epeleios

Lysippides

NAMES OF WOMEN.

Epimedes

Lysis

Aphrodisia

Epidromas

Megakles

Cheironeia

Epidromos

Meletos

Erosanthe

Erilos

Memnon

Glyko

Euaios

Neokleides

Heras

Eunikos

Nikesippos

Nelais

Euphiletos

Nikias

Oinanthe

Eupoles

Nikodemos

Pantoxena

Eupar . . . tos

Nikolaos

Philomele

G-laukon

Nikon

Phratheinon

G-laukos

Nikostratos

E/hodon

Hiketas

Nyphes

Stheno

D D 2

404

APPENDIX.

No. X. (Vol. II., p. 249.)

INSCRIPTIONS ON TILES.

The number of inscriptions on these tiles is so great that they
would occupy too much space for the Appendix. The principal will
be found in Fabretti, Corp. Inscript. c. vii. p. 512-513 ; Donius
Inscr. p. 98 ; Maffeius, Mus. Yeron. p. 109 ; Boldetti, Osser. sopra
i cimiterij di Eoma, Vol. I., p. 527-531 ; A. de Bomanis, Le Antiche
Camere Esquiline Rom. 1822, Tav. v. p. 45 ; Schopflin, Alsat. Illust.
T. i. p. 611, Museum, p. 108, Tab. ix. ; Hagenbuch, De figlinis in
circulo sive in orbem inscriptis in Orellius' Corp. Inscript. Lat., II.
p. 37, s. 22 ; Bellerman, Die Alt. Christl Begrabniss, p. 62 ;
D'Agincourt, PI. Ixxxii., p. 82-88; Janssen, Mus. Lugd. Bat.
Inscript. Grsec. et Latin. Tab. xxvii., p. 121.

No. XL (Vol. II., p. 250.)

STAMP OF LEGION.

TITLE.

LOCALITY.

LEG. .

Adjutrix

Mayence.

. MIN.

Minervia

Voorburg.

LEG. . MEN.

Minervia

Nimeguen.

. PR. MIN.

Prima Minervia

Voorburg.

LEG. . MR.

Minervia

Augst, Wijk. -bij-Duurstede.

LEG. . M. ANT.

Minervia Antonina

Voorburg

LEG. II. ITA.

Italica

Enns.

LEG. II.

Enns.

LEG. II- AVG.

Augusta

Caerleon.

LEG. II.AVG. ANT.

Augusta Antonina

Caerleon.

LEG. III. M.

Martia Victrix

Scotland.

LEG. V.

LEG. V. P. F. M.

Pia Fidelis Macedonica

Cleves, Nimeguen.

LEG. VI. V.
LEG. VI. V. P. F.

Victrix
Victrix Pia Fidelis

Niineguen, Augst.
Birten.

LEG. VII.

LEG. VIII.AVG.AR. FE

Augusta Armenia Felix

Niederbieber.

LEG. VIII. AVG.
LEG. IX- VIC.

Augusta
Victrix

Birten, Mayence.
York.

LEG. IX. HISP.

Hispanica

York.

LEG. X. (G.)
LEG. X- G. P. F.
LEG. XI. C. P. F.

Gemina
Gemina Pia Fidelis
Constans Pia Fidelis *

Caer Rhyn. Nimeguen.
Voorburg.
Kloten.

LEG. XI. C. P.

Kloteii.

LEG. XII. F.

Fulminatrix

Mayence.

APPENDIX.

405

STAMP OF LEGION.

TITLE.

LOCALITY.

LEG. XIII. Q. M. F.

Gemina Martia Victrix

Mayence, Petronelli.

LEG. XIV.

Transrhenana Germanica

Dormagen, Petronelli.

LEG. XV.

Nimeguen.

LEG. XV. A. P.
LEG. XVI.

Augusta Pia

Petronelli.

Neuss.

LEG. XVII.

LEG. XVIII. F. P.
LEG. XIX. P.

Firma Primigenia
Primigenia

Vetera.
Xanten.

LEG. XX. PR.

Primigenia

Cleves, Neuss, Nimeguen.

LEG. XX. V. V.

Valeria Victrix

Chester, Nimeguen.

LEG. XXI. R.

Rapax

Mayence, Xanten.

LEG. XXI. S. C. VI.

Secunda Constans Victrix

Kloten.

LEG. XXL C.

LEG. XXI. S.

Kloten.

LEG. XXII. P. P. F.

Primigenia Pia Fidelia

Mayence, Xanten.

LEG. XXII. PRI.

Primigenia

Niederbieber.

LEG. XXIII. G.

Gemina

Xanten.

LEG. XXIV.

LEG. XXV.

LEG. XXVJ.

LEG. XXVII.

LEG. XXVIII.

LEG. XXIX.

LEG. XXX.VALS.A.A.

Valeriana Severiana Alex-

LEG. XXX. V. V. P. F.

andrina Augusta.
Ulpia Victrix Pia Fidelis

LEG. XXX. V. V.
LEG. XXX.
LEG. XXX. V. VI.

Ulpia Victrix

Nimeguen.
Nimeguen, Hooldorn.
Nimeguen.

LEG. XXXIX.
LEG. CISRHENANA

Primigenia

Xanten.

COHORTS.

PRI MA COM. QV.

Quorquenorum

Nimeguen.

COM. III. VIND.

Vindex

Niederbieber.

YEXILLATIONS.

VEX. EX. GER. F.

Exercitus Germanise Inferioris

VEX. EX. GERM.

Exercitus Germanicus

Nimeguen.

VEX. LEG. GERM.
VEX. BRIT.

Legionis Germanicse
Britannica

Nimeguen.
Nimeguen.

EX. GER. INF.

Exercitus Germanise Inferioris

Nimeguen.

CL. BR.

Classis Britannica

Lymne, Dover.

KAR

Carnuntum

Petronelli.

l\Mr*.
LON

Londinum

London.

VINDOB.

Vienna

Vienna.

406

APPENDIX.

No. XII. (Vol. II., p. 296.)

INSCRIPTIONS ON LAMPS.

A-A-

CAMVR

C-OPPI 'RES

A-A-N N-

CANA ' PEL

COMMODl

ACE

CANI

COMMODI TERTIA

ACCIANAPVBLI'SATRI

CANINIA

COR ' AV ' PAS

F ' CAM '

CAPITON

CORDI '

A-COCC-FEL'

CARINIA

CRACLID-

AED-

CASSI

C 'POM 'DIG '

AELI MAXI

C' ATI LIVES

C'PPE

AGATE

C ' CAESAE

CRISPIN

C ' CAESAR

C-TER-

AIATO

C-CISI

C-TERT-

AIMILI ERONIS

C ' CLO SVC '

C-TESO

ALEXAN

C- CLO 'SI -O-

C'VICILAR

AMRD

C ' CLO ' SVC

CVIVRI

ANNAM

C ' CLODIVS ' SVCCVS

C ' IAS ' AVGV

ANI

C'CORN -VRS-

D-ET-DEI -N

ANIA

C ' FAB ' IVS

DEO N • PIS

ANISDO

C ' FABR '

DIOGENES -F

ANTO-AVG-

C ' FABRIS •

DOMITIA

ANTON

C ' FABRVS [?]

DOMITIA D'E'Cor, ET)

ANTONINI

C ' FAM '

D'N

ANTONINI -AVG-

CHRES

DRAG'

AQVILIN

c • iccr

EG -APRILIS-

AQVILINI

C ' ICCI ' VATIC

ERACLID-

AREOLIN

C-ICCII 'VATICAN '

EROTIS-

ARI

C -ICCII -VATICANI

ERTI -ANC

ARIONIS

C ' IV • ' EIT '

EX'OFF-HORTENSI '

ARRE

CINNAMI

EX ' OF ' PV ' ET ' Tl •

ATI LI 'REST *

C'lVL-APAAC-

AD- PORT TRIG'

ATIMETI

C- IVL 'NIC'

F-

ATTI

C -IVL- NICER'

FABRI

ATY

C'lVLI -NICI

FABRIC -AGAT

AVF ' FRONT

C- IVL 'PHI

FABRIC 'A' MAS

AVG ' ANTONINI

C-IVLPHILI '

FABRI Nl '

AVGNR

C'lVL'SO-

F-AEL-ER-AC

AVGNRI

C- IVL 'PHIL

FAVSTI *

A-VIBI

C'lVN ' DOMIT

FELI '

AVLLI

C'lVN- Nil

FLAV

AVR • XAN

CLO HE

FLAV * D ' P

BAGRADI

CLO -H EL

FLAVI

BALSA

CLO -H ELI •

FLAVIA

BAS ' AVGV

CL ' LVPERCALIS

FLAVIA D ' E ' D ' N '

BASSA

CLO-L DIA

FLAVIA D-ET-DEI '

BASSIDI

CLVNERI '

FLAVIA D ' ET DEI ' N '

BESTIAUS

C ' MARV

FLAVIA D ' ET • D ' N '

CAI ' ADI EC"

C-MEM-

FLOREN

C ' IVN ' DRAG '

C ' M • EVPO

FLORENS

CASSV

CN -AP -AP

FLORENT

CAI MERCVR

CN -ATEI

FORTIS

CAES

COEFI -0

FORTIS ' N '

CAIVS ' LVCIVS

COMITIANS ' F

FORTVNI'N1

MAVRVS

C- OP 'REST'

FRONTO

CAMSAR

C'OPPI REST'

GABINIA

APPENDIX.

407

G 'NVMICir

L-MA-ADIEC

PROB

G -P-R-F-

LVCIVS'CAECILIVS

PROBI

HERACLIANV

SAEVVS

PVBLI

I-ICCI 'VATIC

M-

PVB- FABRIC! ITERTIA

1 -M -S'V

MARCIAN

Q-ALLA'D

INA

MARN

Q-MAMI -CEL

INVLISVCO

MAXI

R-

ION -IV'Cr

MAXIM

RVDIA ' SABRI '

G -V-F

MAXIMI

SABINIA-

IVLCIRI

MAXIM-SAC'

SAECVL '

IVLIAE Nl '

M 'ELI

SAM'

IVNCA

MEMMI

SAPRI

IVN -ALEXI

MERA

SAT'

IVSTI

M -IVL-PHI

SERG'PRIM

IVVIHERM

M -IVL- PHILIP' COS*

SEVERI

III

SEX'EGN 'APR'

LABERI

M-IVL-PHILIPPI

STEPANI

L-CAESAE

M ' NOTIVS

STROBILI '

L ' CAESA ' F

MONOS

SVCCESE

L'CAMSAS

M -OPPI 'OF

SVCCESSIVI

L-COELI

M ' R ' MTO

TAXIAPOL

L-COELI-F

MVNT ' RES

TERTVLLI

L-D- P

MVNT ' REST •

T ' FLAVI ' IANVARI *

L-DOMITI -P

MVNTRIPI *

FLORENT '

L'FARR-AEAE-

N '

TIN DA

L ' FABRI ' AEVI

NATE

TINDAR- PLOT* AVG

L ' FABR

NEGIDIVS

LIBERTVS-

L ' FABRIC ' MAS

NERI

TIBERINA-P- C-L

L ' FABRIC ' MASCL '

NEREVS

TITI

LITOGENES

NNA

TITINIA

L-IVLI -RE-

NNANN '

TRAIANI

L-MAMIT

NNAELVCI

TVR1C1 ' SAB

L'MARMI

OF-CHRESTIO-

VEICRIS

L-M -C

OF 'IGNIS

VIBIAN

L-M 'MIT'

OF ' PAR

VIBIVS

L-M -RES

ONORATI

V ' MVN ' SVC '

L-M -PHI -o

OPI

VOVIVS

L • M • SA •

OPPI

VRBINVS -F-

L ' MVRA ' M

OPP ' QVART

V ' SAIA ' M

L-OPPI 'RES

P ' ACCI

Impressed in labels referring

L ' CREST '

PANNICI '

to subject.

L ' PASISI ' O

PASTOR

DEO QVI EST MAX-

L ' PASISI ' R

PAS ' AVG

IM VS

L ' PRI'

PASISID-

ADIVATE SODALES

L'SERGI

PONTI

ANNVM NOWM

L'T

PRIMI

FAVSTVM FELICEM

LVC ' CEI

PRISCI

LVCI

408

APPENDIX.

No. XIII. (Vol. II., p. 312.)

STAMPS ON THE HANDLES OF EOMAN AMPHOEA*

AFRI

APFSC

ARCHEIA

AXII '

BELLVCI

C.,C-F-AI'

C'lV

C-VH

CANINI

CIREXORAS

CORI

CRADOS

DAMAS

DOM'-S

EIPC

EVI ' STERPS

GIAB-

GORCIA • '

ICIOR

IIICA'-MENSS
IIIMIN
lO'VII '
HILARI"
HOSDAS '
L : : : : EN
L C PI

L-ME
LOS

MIM •

ALBINVS

AMMIVS '

ANDREAS

APRILIS

AXII

BRIXSA

CAS ' ' '

CELSANOS '

CINTVSMVS

DEVA-

DVBITATVS '

DOINV-DO

ENNVSAMI

LICINILLVS

LITVGENI

MOGVED ' D

MAR

OMR

M ' EXSONI

PAVLLVS

M-P-R-

Q'NAND

P-S'A

ROMAN!

POR'L-AN '

RVFIAN

P-VENETV

RVMAS

Q S P

S'F'E

s -C-L

SAENNVS

SEVERI ' LVPI

SCALENS

S 'VENT -VR-

THI 'SVV

F, or FECIT, before the

VALERI '

name.

VIBIOR

GERMARA-

VTRII '

c • CVF:A

VISELLI '

F after the name.

C-ANT QVIET •

C-AP -F

C- ANTON -QV

C-VA-

C-F-AI

EROI '

C-IVR-

[FR1ATERNI

C-MAR-STIL

GESCV

G -M T

O F after the name.

L ' CAN ' SEC '

•••EMINC

L-C SOU.'

••GEBI

L ' CES '

"L C F P'C

L-IVN'MELISSAE

••SANI

L-IVNI MELISSI

SVI

L-SER'SENEC-

L ' S SEX

CARTVNIT

M C C

L'VROPI

M'AEM'RUS

NYMP'M -F'S'

STAMPS ON MOETAEIA.

MALLA

TANIO

MARINVS

VIALLA

MATVCENVS

With F, or FECIT, after tho

MAXItMVSl

name.

PENEAS

ALBINVS

RIDANVS

BOR1EDO '

RIPANI '

CANDIDVS

RVCCVS

CATVLVS

SABINVS

LVGVDI '

SAVRANVS '

MARINVS

SATVRNINVS-

MARTINVS-

SECVNDVS

MATVSENVS

SEXTI

PAVLVS '

SOLLVS

QVARTVS

SVMACI

QVIETVS

* R. Smith, Collectanea, i. 149—150; Archseol. viii., Janssen, Inscr. p. 12, and
following.

APPENDIX.

409

SEQVT

SOLLVS

VIBIAN

With M after the name.
RIPANVS
with OF '
PRIMI
PRASSO

The name only.
A'TEREN -RIPAN
CASSrC'LEGE

C.ATISIVS-SAEINVS
C'ATTIVSMANSINUS

C'HERM
L ' CAN ' SEC

L-FVRIVS'PRISCVS-
p. p.R.

P-R'B

Q ' VA ' SE •

Q ' VAL ' F ' VERAN • F

Q • VALERIVS '

Q'VALERI ESVNERTI

Q ' VALERIVS

VA'SEC'SATVRN

VERANIVS

QVI-VAL-

SEX ' SAT

SEX ' VAL '

TTITV1S-VI

RIPANVS TIBER -F

LVGVDV FACTVS

No. XIV. (Vol. II., p. 362.)

NAMES OE POTTEES OP SAMIAN OR BED WARE.

The accompanying list contains the names stamped on Samian
ware in England and on the continent. It does not comprise the
Aretine potters. They are given as they have been ; many without
doubt erroneously ; and others as single, which are probably double
names. Pew are older than the time of Augustus. They are
classed according to the formula the potters used, as the same
names are found at Augst in Switzerland, at Murviedo in Spain,
in London, and in Normandy, and Holland, it is evident that they
belong to some renowned pottery, whence they were exported. The
principal authorities are the Collectanea of Mr. Roach Smith, the
list of Mr. Neville, the Cours of M. Caumont, the Normandie Sou-
terraine of M. Cochet, the Inscriptions of M. Janssen, and the
Handbuch of Wagener.

"With O, OFF, OFFIC before the potter's name.

ACRISI

ALB! -
ALBUM •
CAL •
CALP •
CALV •
CALVI •
CARAN
CARO '
CELSI
CEN
GENSO •
CIRMI •
COTTO
CREM •

ORES • •

CREST-

DOM'

DVDE

FA BIN

FACE-

FEL MA-

FEL1CIS

FIRMONIS

FRONTI .

FRONTINI

FVSC-

CER-

IVCVN •

IVCVND-

IVLIA •

IVLPATR »

IVSTI

IVVENAL •

LABI

L- AE-

L- C • VIRIL

LICINI '

LOVIRIGO •

LVCCEI •

MANA-

MARAN

IVIARO-

MONO

MATE

410

APPENDIX.

MEM •

MINVS

M • LVCCA

MODESTI

MOE

MOM

MONO

MONTEI

MONTI

MONTO •

MONTECI

MURRA

MVRRANI •

NARIS-

NATIVIC

NEM

NERI '

Ml., NICRI •
IMICRINIANI •
NITORI •
NOM-
PAR'
PARI-
PASSI •
PASSIENI '
PATRICI •
PATRIC *
PATRVCI •
POLLIO •
PRIM • , PRIMI
PRIMVL •
PVDEN •
RICIMI •
ROS • RVFI
RVFIN
RVL-

SAB-
SABIN *
SARMIT-
SECV
SEVER
•lit'
SIIV-
SVLPICI
TERT-
VENMAN
VERINA
VIA-
VIRILLI -
L • C-VIRILIS
VIRTVTIS
VITA
VITAL

EX • OF before the name.
HIRVN-

With O, OFF, or OFFIC after the potter's name.

ABALI •

ABAN •
ABARI •
ACIRAT •
AVRAP
ADVOCISI •
ALBAN •
ALBI •
AMAND-
APRILIS-
APRIS
APRO-
ATILIAN
AVITOS •
BASSI
BORILLI •
BVRDONIS
C • AN • PATR
CASSIA •

L • C • CELSI •

CRECiRi •

M « CRESTI •

COMTI • CRESTI

DONNA

FELICIS •

CERMANI*

IANVARI

ISE

KALENDI •

LABIONIS'

MANSVETI

MARCI

MARTII

MISCI

NASCITI '

PATERATI

PATERCLINI •

PATERNI-

PONTI

REBVRRIS •

ROMVLI

SACERI •

SACERVASI

SACIRAP •

SATERNINI

SCENICI

SEVERI •

SEXTI

SIIXTILI •

SILVI

SOLIMI

SOLEMNI

VESTRI

VIRONI-

VITALI '

With F, FE, FEC, FECIT after the potter's name.

ACCILINVS

A • CVRIO •

AEQVIR-

ALBINVS

ALBVS

AMABILIS

AMMIVS

ANISATVS •

ARCO

ASSIVS •

ATILIANVS

ATVSA

AVCELLA

AVLLVS

AVSTVS

BELINICCVS

BICA

BITVRIX

BONOXVS

BVODVS

BVODV^IVS

BVCGVS

BVROO

C • ABRILIS

CABRV3

CAIVS

CALMVA

CAMBVS

CAPASIAS

CARVS

CASTVS

CATVS

CASVRIVS

GAVPIN •

CERIALIS

APPENDIX.

411

CERTV5

CIBIS '

CILLVTIVS

CINTVSMVS

CIRRV5

COCCA

COCVRNV

COCVRO

COLLO

COMPKlN

CORNIIRT-

COSAXTI

COSIA •

CONSTANS

CRACISA-

CRAOiNA

CRACVNA

CRIMVS

CROBRO

GVM • 14

DACODVBNVS

DAGOMARVS

DESTER-

DOCILIS

DACOIMNVS

DOMETOS

DOMITIAIMVS

DRAPPVS

DRAVCVS

ETVS

FELIX •

FELIXS •

F£STVS

CAIVS

CARBVS

CALBINVS

CENITOR

HABIL-S

HELVIVS • Fl

HELL- '• S

IABVS

IANVS

ICMRIMO

IIMPRITV •

1VSTVS •

LATINIAN •

LEO

L • CETVS •

LICINVS

LOLLIVS

LVCANVS

LVCCEIVS

LVCIVS

LVTAEVS

MACER

M • ACCIVS

MACIMVS

MAIOR •

MALLVRO
MANER VS
MARCVS '
MARTIALIS
MASCVLVS
MESTO

rv.iccio

MINVCIVS

MOTIVS •

MOXIVS

MOXSIVS

MOXSVS

MVISVS

NASSO

NEBBIC

NICER

NICEPHORVS •

NISTVS

PASTOR

PASTORIIMVS

PATER
PATERN •
PATERCLOS
PATIMA

PATRICIANVS

PAVLLVS

SERRVS

OVARTVS

QVINTVS

RECENVS

ROFFVS

ROPPVS

ROPV5I

RVFVS

SACINVS

SALV

SANVCIVS •

SATTO •

SATVRNINVS

SECVNDVS

SEDATVS

SENNIVS

SENTRVS

SEVERIANVS

SEXTVS •

SILVINVS

SOLLVS •

SVOBNEDO

TASCOIMVS

TAVRICVS

TERTIVS

TOCCA

TOTTIVS

TVLLVS •

VERTECISA

VcRTECISSA

VESPO

VIGTICIVS

VINOVS
VIRILIS
VIRTHVS
VITALIS •
VITINVS

With ME FECIT
SEXTUS

F with a genitive for figuli.
CARANI
CELSIANI
CITSIAIMI
MAIORIS
MARCI-
ROMVLI -
SILVINI •

Without F after the name.
ACERO
ACVBIA
ACVTVS
AELIAMVS
ACEDILLVS
ACILIS
ACMLITO
AMATOR
AMOMVS
AOVIINVS
ARSACVS
ASIATICVS
ATILIAIMVS
AVCVSTALIS
AVCVSTINVS
AVITVS
BASSVS

BESSVS

SOLDO

BRACTILLO

CABRASIV5

CACAVA

CAPITOLINVS

CAPASIVS •

CARIIWS

CARVSSA

CASTVS

CATIANV5

CAVPIVS

CAVTV

CELSINVS

CELTAS

CENSORINV •

CERIALIS

CIAMAT-

CIMTVSMV

CINTUCNATUS

CITSIANI

CIRINIMA

COBNERTVS

COCVRO

COLLON

412

APPENDIX.

COLON

COMICVS

COMITIALIS

COMITIANVS

COM M VIM IS

COTTO

CRASSIACVS

CRISPINA

CVCVRO

CVPITVS •

DAGO-

DAGODVBNVS

OAMONVS

DAVIVS •

DICETVS

DIGIMVS

DIVICATVS

DIVIX

DIVIXTVL-

DOCCIVS

DOMINAC

DOMITVS

DONATVS

DOVIICCVS

DVRINV

ECVESER .

ELLENIIVS

EPPA

ERCLV5

EROS

EVRVS

FESIVS

FORMOSVS

FORTI5

FROIMTINVS
CERMANV5 •

CIAMI

GRACCHVS

HABILIS •

HILARV5

IACOMIO

IANVARIVS

IASO

ILLVSTACO

IMIVSETCAI

IOENALIS

LA5TVCA

LA7IINMANVS

LATINVS

LIBERTVS

LICINILVS

LICINVS

LINIVSMIX

LITVCAMVS

LOLLIVS

LOSSA

LVCANIVS

LVCANVS

LVPPA

SERRVS

LVTAEVS

SILVI • PATER

MACIRVS

SINATAS

MACRIIMVS

SOLLVS

MAIANVS

SVRIVS

MALLIA

SYMPHO-

MANSINVS

TAVRIANVS

MARCELLIIMV-

TERRVS

MARIMVS

TERTIVS

MARTIALIS

TETT • PRIM •

MARTIVS

TETTVR

MASONIVS

TITTIVS

IVIATERNINVS

TRINONVS

MATVACV

VtNERANO

MATVCENVS

V£NICARVS

MERCATOR

VERECVNDVS

METHILLVS

VERONISSA

MINVVS

VIBIVS

MIIMVrVS

VICTOR

M • NOTIV5

VICTORIISIV5

MONTANVS

VIRIL-

MOSSVS

VIRILIS '

MOXIVS

VIRTHV

NATALIS

VIRTHVS

NERTVS

VITAUS •

NEQVREC •

VILLO •

NICEPHOR •

VOSIICVIMNVS

IVL- NVMIOIC '

VMVM • SVC

ONATINI-

ViMICVS

PATRICIVS

VRVC

PATVLV5

DC D C •

With M •, or MA, for manu

rc.Kt.
PERPET

after the name.

PERRVS

AELIANI •

PETRVLLVS

AESTIVI •

PRIMVL- PATER

AFRICAIMV

PRIMINVS

AIISTIVI •

PRIMVS

AISTIVI '

PRVBCVS

AETERNI •

PVBLIVS

ALBANI -

PVRIiMX

ALBILLI •

QVADRATVS

ALBIIMI-

QVARTVS

ANVMI '

QVIIMTVS

ARACI

RAMVLVS

ARICI-

REBVRRIS

ASCIATICI

RECMVS

ASCILLI •

REGALIS

ATILIAIMI '

REGVLIIMVS

ATTICI

REVlLl>\iVS

AVSTRI

RIICALIS

AVEIMTINI

RIIGMVS

AVITI

RVCCATIA

AVINI

SABELLV5

BELIIMICCI

SABIMVS

BENICCI

SARENTIV

BENNICI

SATVRNVS

BORILLI •

SENECA

BOVTI •

APPENDIX.

413

BRICC •

CACAS •

CALVI

CALVIN!

CAMTI

CANAI

CARANTINI

CARET!

CARBONIS

CARILLI

CERIAL-

CHRESTI-

CIIMTVSMI

CIRRI •

CIVRRI •

COBNERTI •

COCCIL-

COCCILI •

COLLI-

COMPRINNI

CO.MGI-

CONSORTI •

COSMI •

CRACI • S '

CRASIS •

CRISPIN!

CRV

CVCALI

CVCILLI

DAMIIMI
DAVICI

DECMI

DECVMINI-

DEM"- R-

DIVICATI •

DIVICI-

DOCALI •

DOMNA •

DOIMATI •

FAVI •

CLVPEI

CEIMITALIS •

ILLIANI •

IVSTI •

LALLI •

LIBERTI

LILTANI •

LIMETII

LOCIRN •

LOCIRNI •

LVPEI •

LVPI •

LVPINI-

MACCALI

MACILLI

MACRIANI

MAIORI
MALLI

MALL1ACI
MALLICI
MANDVILL
MARCELLI
MARCELLINI
MARCI-
MARI MI-
NI ARITI •
MAROILLI •
MART(I)ANI '
MARTIALIS
MARTINI
MA TERM I Ml •
MAXIMII
MELISSVS
MEMORIS
MERCATOR
MERETI •
METTI •
MICCIONIS
MIDI •
MIIMVLI
MIIMVTIVS
MITERNA
MONTI
MOSSI-
MVXTVLLI •
MVXIVIII
NERT-
NOBILIAMI
OF" CIA
OPTATI •
OSBI

PASSENI •
PATRICI
PAVLI
PAVLIANI
PAVLLI
PilRVINCI
POMPEII
POTITIANI •
POTITINI-
PRISCILLI •
PVTRI

QVI- ASSA-
OVINTINI
REOITI
RECINI.
RIICALI •
RIIOCENI
RECVLI •
ROLOCENI •
ROPPIRVI •
ROTTLAI
RVFFI '
RVFFINI-
SABINI •
SACIRO

SACRATI

SACRE

SACRILLI

SANIANI

SANVILLI

SANVITTI •

SCOTH •

SECANDI •

SECVN •

SECVNDINI

SEDETI •

SEN LI A

SENO

SENON

SEVIRI

SIICVOI

SIIXTI •

SILDATIANI '

SITVSIRI

SORILLI

SVARTI

TASCILI

TASCILLI-

TAXIL

TERCII

TERTII

TITVRI
TOCCA •
VEGETI
VENI •

VERECVNDI '
VEST-
VICTOR! •
VIIRI •
VSAIACN :

With M S, Manu Sua.
CAI-
CENI •
FVCA •
SACROT-

With M AN V after the name.
PRISCILLI

Without M -or MA -or F
ABIANI -
ADIVTORI
ADVOCISI
AECEDILLI
AITI
ALBVCI
ALBVCIANI
AMATORIS
ANTICVI
A-POL-AVCIR
A- POL- AVSTRI-
APROIMIS
ATEI

BANOLVCCI

414

APPENDIX.

BASS)

BASSICI

BELIIMICCI

BtNAVICI

BENNICI

BILICANI

BILICAT'

BLAE5I

BOIIMICCI

BRICCI

BRITAIMII

BVCIANI

EVRDIVI

CALETINI

CANRVCATI

CARAMI

CASSI

CATVLI •

CENSORI '

CENSOKINI •

CINNAMI-

CINNVMI

CI1MTVACENI

CINTVSSA-

COSMIANI

CRANI •

CRAIMIAM

CRESTI

CVTAI •

CVEBRCI

DEOMARTI

DIOCNATI

DIVIXI-

DOMIMICI

DONNAVC

DONTIONI

ELVILLI

EPOMTI

ERICI •

ERRIMI

FELICIONIS

FOARI

FORTVIMI

CENITOMS

CERMANI

CRANANI

CAANIA1MI

HELINIV--

IABI •

IIIMVI

IOVANTI

ISTVRONIS

IVLIAN •

LENTVLI

LOCIRMI '

LVCCANI

MAIORIS

MALLIACI

MALVNCNI

MAMILIANI

MA[N]SVETI

MA1? CELLINI

MARCI

MATRIAIMI

MATVRN

MAXIMI

MAXIMINI

MERCA-

METILI •

MICCIO-

MISSI

NIGRINI •

PASSENI

PASSIENI

p. OPPI • PIN

PP • PATtRNI

PATERNVLI •

PATRICI

PEREGRIN! •

PONTI

PONTIACI

PRIDIANI •

PRIMANI •

PRIMVLI •

PRIMI

PRIMIS

PRIWVLI •

PROTVLI

QVAORATI •

QVE 5ALVI-

RECINI

RECVILL-

RELA7VLI

RIPANI

RI[T]IOGEIMI •

RIVICA

RVFINI

SACIANI

SATVRIMINI '

SECV.MDINI

SENONI

SERVILIS

SEV£RI

SILVAMI •

SILVINI

SILVI • PATRICI •

STROBILI

SVLPICI*

SVLPICIANI •

TALLINI

TITTILI '

TITVR01MIS

VALERI

VASSALI

VERECV.

VERECVNDI

VEROCAMDI

VRNNI

XIVI

L- ADN • ADCENI

IVL- NVMIDI •

ALSOETIR •

AMIIDV

AQVIT '

AQV1TAN

ARDA- C

ARRO

A • SVLPIC

BVTRIV

CACIL- ANTRO

CALV

CASIL-

C • CRATI •

CLO • HEL

COSIR-

UNCEETAIN TOEMS'.

COS! • RVFIN

COTON

C • VAL • A3

DOCC

FIRMO

FL • COS ' V •

ILLIOMEN

RIM

FIMAN •
IVLIA •
IVLIA PATR
LACNO •
LANG-
L- FABR •

CASCE

L -CELI •

LOCIRN

L- RASIN • P •

L-P- RIC

MININ

MR- M • R -R

M • PER ' CR •

M • R • M ' R ' R

NIBO

PAESTON

PASSIEN

P-CO-

P ' COR

APPENDIX.

415

PELTA
PRIMICCO
Q- VS-
• "R FLAIVII
SAIMTIIMOV • C

S -M -R-
S -M -T
TAVRI
TEBBIL-
TVRTVNN

VERECV
VINN
VIRTH
XVMX

A list of incised inscriptions is given, Janssen, loc. cit, p. 159, and
following.

OCULIST'S STAMP ON BED SAMIAN WABE,

[Fragment in British Museum.]
C • IVLI CENIS CR OCOD -AD -ASPE-

CAMAR-0 •
L • CASSI ' O

MEMIM • N -SAC- VIII
VALENTIN V- LEG "XXV

BLACK WABE STAMPS.

FIRMINVS • F •
AVCVSTI • F •

INCISED INSCBIPTIONS.
CENIO TVRNACENSI DEO • MERCVRIO

No. XV.

LIST OP THE PBINCIPAL COLLECTIONS OF ANCIENT POTTEBT.

GREAT BRITAIN.

Addington, H. Esq., St. Martin's Lane.

Auldjo, T. Esq., Noel House, Kensington.

Bale, C. S., Esq., 71, Cambridge Ter-
race, London.

Boileau, Sir J., Bart., 20, Upper Brook
Street, London.

British Museum, London.

Cadogan, Earl, 138, Piccadilly, London.

Chichester Museum.

Field, E. W., Esq., Hampstead.

Fitzwilliam Museum, Cambridge.

Forman, W. H., Dyers' Hall Wharf.

Fortnum, E. C., Esq., Stanmore.

Gray, Rev., Hamilton, Bolsover.

Guildhall Museum, London.

Hamilton, Duke of, Hamilton, Scotland.

Henderson, John, Esq., Montague Square.

Hoare, S. R. C.

lekyll, E., Esq., 2, Grafton St., Bond St.

Lansdowne, Marquis of, Bowood.

Leake, W. M., Esq., Queen Anne Street,
London.

Mayer, H., Esq., Liverpool.

Museum of Practical Geolugy, Jermyn

Street, London.

Northwick, Lord, 44, St. James Place.
Northampton, Marquis of, Castle Ashby.
Northumberland, Duke of, Alnwick.
Neville, R. H., Esq., Upper Grosvenor

Street, London.

Purnell, H., Esq., Stancombe Park.
Slade, Felix, Esq., Doctors' Commons.
Society of Arts, Adelphi, London.
York, Museum of Philosophical Society.

FRANCE.

Museum of the Louvre, Paris.
Bibliotheque Imperiale, Rue Richelieu,

Paris.

Boulogne Museum.
M. Fould, Paris.
Count Pourtales-Gorgier, Paris.
Due de Luynes, Paris and Dampierre.
Lyons Museum.
M. Panckoucke, Paris.

416

APPENDIX.

BELGIUM.
Brussells' Museum.

HOLLAND.
Leyden Museum..

SWITZERLAND.
Berne Museum.

DENMARK.

King's Collection, Copenhagen.
Thorwaldsen Museum, Copenhage

EUSSIA.

Hermitage, St. Petersburg.
Odessa Museum.

PRUSSIA.
Berlin Museum.
University of Bonn.

AUSTRIA.
Antiken-Kabinet, Vienna.

KARLSRUHE.
Kunsthalle.

LOMBARDY.

Palagi Collection, Milan.

TUSCANY.
Museum, Florence.

Casuccini Collection, Chiusi.
S. Fran§ois, Leghorn.
Museo Rossi Bacci, Arezzo.

PAPAL STATES.

Museo Gregoriano, Rome.
S. Campana, Rome,

KINGDOM OF THE Two SICILIES.
Museo Borbonico, Naples.
Conte di Siracusa, Naples.
Cavaliere St. Angelo, Naples.
S. Barone, Naples.
S. Betti, Naples.
S. Torrusio, Naples.
S. Gargiulo, Naples.
S. latta, Ruvo.
S. Fittipaldi, Anzi.
S. Rainone, St. Agata dei Goti.
Museum at Syracuse.
Museum at Palermo.
Principe della Trabbia Palermo.
Giudica Collection, Palazzuolo,

MALTA.

Museum.

INDEX.

ABBEVILLE.

ARDANION.

ABBEVILLE, Celtic vases of the Roman
period found at, ii. 387

Acrae, in Sicily, tiles found at, i. 163

Adonis, use of flower-pots at the festival
of. i 202

r ~, potteries in the earliest times,
found at, ii. 42-120

./tlsop, fable of, showing the market
value, in Greece, of terra-cotta figures,
i. 180

Affected old styles in Greek vases, i. 276-
278

Africa, sepulchres and vases found at
Berenice, names of archons inscribed on
Panathenaic vases, ii. 174 ; vases of
Berenice, imported from Athens ; exca-
vatf of M. Vattier de Bourville and
Mr. ..errv, 175; Mr. Newton's ac-
count of vases in the Louvre, from the
Cyrenaica, 175, 176 ; vases found at
Tripolis, 176 ; vases from Coptos, made
of an aromatic earth, phialse of
Naucratis, with a glaze resembling
silver, painted vases from the cata-
combs of Alexandria, 176, 177

Agata, St. dei Goti, has given its name
to a class of Greek vases, i. 288

Agrigentum, terra-cotta vases in imita-
tion of metal, found at, i. 205

Agrolas. See Hyperbius

Akerkuf, the sun-dried bricks of, with-
out straw, i. 132

Alabastron, oil vase, ii. 86

Alessi, the discovery of vases at Arezzo,
mentioned by, ii. 340

Alexander the Great, life of, by the
pseudo Callisthenes, reference to the
"dish divination," ii. 100

Alexandria, Rhodian amphorae, found at,
i. 190

VOL. II.

Altibar, Assyrian king, name of, in-
scribed on covering slab of an earthen
sarcophagus, i. 120

Amasis II., winged porcelain box, in-
scribed with name of, i. 75

Amazons on Greek vases, i. 168

Amenhept or Amenophis, name of,
inscribed on human-headed scarabseus
in British Museum, i. 21

Amenophis III., scarabsei inscribed with
lines of hieroglyphics, issued in reign
of, i. 103

Ament, the Egyptian Hades, i. 31

Ammon, oasis of. See Sobah

Amphorse, Greek, i. 189-201 ; stamped
handles of, 191. See Vases ; description
of, ii. 77-80

Amram, vases with inscriptions in the
Hebrew character, found at, i. 153

Amraphel, name inscribed on bricks at
Kalah Shergat, i. 112

Amulets, porcelain beads and ornaments,
i. 80-85 ; porcelain figures of Egyptian
deities, 85-89

Andocides, a potter, himself painter of
his vases, ii. 45

Antefixse, ornament on vases, ii. 5-9

Aphrodite, represented on vases, i. 328

Apollo, temple of, built of terra-cotta, i.
167; represented on vases, i. 324-326

Apuleius, lamps used in religious cere-
monies, mentioned by, ii. 297

Apulia, finest examples of the florid style
of Greek art found in, i. 290

Arataina, vase for drawing liquids, ii. 95

Arban, porcelain bowls with arabesque
pattern, found at, i. 130

Archaic style in Greek vases, i. 257-269

Archons' names, found on vases, ii. 174

Arcesilaus, the cup of, date of, i. 224

Ardanion, vase used as an emblem of
death, ii. 102

418

ATHENS.

Ares, represented on vases, i. 328
Arezzo, walls of, built of tiles, ii. 188
Argonauts, represented on vases, i. 362
Aristophanes, sepulchral vases alluded to
by, i. 220 ; allusion of, to rivetting
vases, 221

Art, Grecian, in relation to pottery,
first traces of, in Asia Minor, i.
251 ; simplicity of ornament in vases
in the earliest style of, 252, 257;
names, general description of the
style succeeding the earliest of, 257-
259 ; vase of, an example of the
gradual passing from the primitive to
the archaic style, 259; flowers a
favourite ornament in the archaic style,
260 ; commoner shapes of the archaic
style of, 2^1-262; the Dodwell vase,
263 ; origin of the archaic style, 265-
266 ; first examples of coloured figures
on vases, 266 ; characteristics of vases
from different cities, 267 ; vases of the
transition period, 269-271 ; variety of
colour in relation to more accurate
drawing, 272, 275 ; the transitional
characteristics of, 276-278 ; change in
the colour of figures on vases, 279 ;
"the strong style," 280-281 ; age of
rases in this style, 282 ; improvement
in designs on vases, 284-285 ; age of
vases, 285 ; shapes of vases, 286 ;
peculiarities of the great Greek paint-
ers followed in vases, 287-288 ; negli-
gence in execution of designs, 285,
288 ; the florid style, 290, 291 ;
perspective first observed in designs,
290 ; polychrome vases, 291 ; charac-
ter of the drawing on funereal subjects,
292 ; date of polychrome vases, 293 ;
variety of forms, 293-295; the de-
cadence style, 295 ; cities and districts,
where they are chiefly found, date,
296 ; subject of decadence vases, 297-
298 ; character of designs on vases of
the last class, 298, 299 ; fictile vases
superseded by metallic, 300 ; figures
disposed in continuous friezes, larger
space allowed to accessories, charac-
teristic of early vases, 301 ; more
careful treatment and diminished num-
ber of figures, simplicity in delineation
of accessories, accompanied improve-
ment in art, 302-303; attempt at
pictorial effect, greater importance of
mere ornament, observed in the later
development of style, 304-305 ; impos-
sibility of classifying vases by their
place of manufacture, criteria of the
age of vases, 305-307
— , the decorations of, not re-

stricted to fictile vases, subjects in
relief on vases of wood or metal, on
amber and glass, i. 338-310 ; arrange-
ment of vases according to the decora-
tions, 310, 312 ; Millingen's classifica-
tion of subjects, 312-313 ; Panofka's,
313 ; order preferred, adopted by
Muller and Gerhard, 313-314; sub-
jects generally Greek.

Art, Grecian, ornaments of, applied to the
decorations of vases, ii. 1 ; vases with-
out ornament, 1 ; poverty of ornament
characteristic of the best times, 2, 3 ;
variations in the maeander ornament,
3, 4 ; use of the fret on early vases,
4 ; ringed ornaments, 5 ; egg and
tongue used at all periods, ornament
imitating scales, 5 ; of the antefixse
or helix, 5-9 ; arrangement of orna-
ment on vases, 10-12 ; vase paintings
not servile imitations, 12 ; subjects
furnished by the works of sculptors
and artists, 13, 14 ; vase painters not
artists of distinction, 59 ; names of
painters, rare on vases of early and of
late styles, 60 ; alphabetical list of
vase painters, 60-65

Artemis, represented on vases, i. 326

Aryballos, oil flask, ii. 95, 96

Aryseis, aryster, arysane, arystris, vases
for drawing liquids, ii. 96

Arystichos, vase for drawing wine, ii. 96

Aryter, vase for wine, ii. 96

Asaminthos, vase used in baths, ii. 99

Aschersleben, funeral urn found at, ii.
392

Ascos, vase in imitation of wine skins, ii.
76

Asia Minor, Greek civilisation first ap-
peared in, i. 251

Assyria, bricks of, manufacture and use,
105-109 ; sculptures of, seldom repre-
sentations of private life, i. 105 ; edifices
of, built on brick platforms, 106 ;
history and geography to be learned
from inscriptions on palaces, 109 ;
cylinders used for historical records in,
113; porcelain collected by Euphrates
expedition, 130 ; work of Greek
artists in, 121

Athene, represented on Greek vases, i.
319-321

Athens, coins of, with impressions of
amphorae, i. 53 ; composition in terra-
cotta in the temple of Bacchus, 170;
graves in early times sunk in the
ground, 210 ; vases of, imitating
metallic reliefs, 232 ; two-handled
bowls found at, 259 ; vase with alle-
gorical subjects and gilded ornaments,

AUGUSTUS.

419

BRONGNIART.

291 ; early pottery of, ii. 42 ; the
potteries of, the most celebrated in
Greece, 121 ; export trade in them,
121-125 ; the invention of the potter's
wheel claimed by, 121

Augustus, the boast of, ii. 228, 240

Aurora. See Heos.

Autochthon, the inventor of bricks, i. 155

BAASHOK, porcelain discs, found at, i.
131

Babel, Tower of, built of brick cemented
with bitumen, i. 139

Babylon, ancient site of, i. 133 ; proper,
area of, 137 ; ruined cities of, 137 ;
peculiar manner of baking bricks in,
138 ; bricks from, 138 ; terra-cotta
slates, 146

Bacchanalian subjects on Greek vases, i.
330, 337

Bal, or Set, modelled on Roman water-
bottles, found in Egypt, i. 39 ; engraved
on ring plates, 91

Bascauda, British urns, ii. 331 ; Scot-
tish, 384

Basilicata, vases from, their style, ii.
157-160

Basket-work, an ornament of vases, ii.
385

Beads, Egyptian, i. 80

Beger, Laurent, published plates of vases
in the collection of the Elector of Bran-
denburg, i. 215

Bellerophon on Greek vases, i. 364

Belmore, Lord, collection of, cow of
Athor, inlaid in blue porcelain on
calcareous stone, i. 70

Belzoni sarcophagus removed from Sobah,
i. 24

Beni Hassan, representation of potters at
work, i. 45

Berenice, date of vases found at, i. 224

Bessa, Egyptian vase, ii. 83

Bicos, wine vase, ii. 75

Birs Nimrud, description of, i. 135, 136 ;
vitrification of, accounted for, 138

Bitumen used to cement bricks in As-
syria, i. 108; used to cement bricks
in Babylon, 139

Bombylios, slender necked vase, ii. 83

Bosphorus, inscriptions on amphorae from
cities of, i. .199

Botta, M., excavations of, i. 105 ; found
vases containing burnt bones at Khor-
sabad, 122; glazed scarabseus at
Khorsabad, 130

Boxmoor, Roman tiles from, ii. 282

Bricks (Egyptian), sun-dried, forms of,
suited to the climate of Egypt, i. 10 ;
pyramids and other edifices of, 11-14 ;
materials used in construction of, 12-
14; proportions, period of, 14-15;
stamps for marking, 16 ; from Tanis
or Zoan, 17 ; manufacture of, repre-
sented on a tomb at Thebes, 19 ; arch
of, 20 ; fire-baked, 22 ; colours, size,
use, probable date of, 23 ; Roman,
found in Egypt, 23

(Assyrian), sun-dried, of Tigris,

or Euphrates mud and stubble, i. 106 ;
chief use of, 106 ; faced with marble,
painted and gilded, 107 ; fire-baked,
materials used in composition of, 107 ;
dimensions of, 108-109 ; character of
inscriptions on, 109 ; enamelled, used
as architectural ornaments, 126 ; co-
lours and ornaments of, 127

(Babylonian), sun-dried, i. 131 ;

fire-baked, colours, dimensions of, 132-
133 ; stamped, 134 ; stages of Birs
Nimrud, 135 ; partly sun-dried, 138 ;
table of dimensions of, 139 ; glazed,
from the ruins of Warka, 141 ; reeds
used in constructing walls of sun-dried,
141, 142 ; clay for, dug from the ditches
surrounding, cities, 140 ; invention of,
claimed by the Phoenicians, 155

(Greek), sun-dried, used till the

time of the Roman dominion, i. 158 ;
no edifices of, remaining, 158 ; fire-
baked, used in the Homeric age,
buildings of, 160 ; names and dimen-
sions of, 161 ; so light as to float in
water, 161

(Roman) Isidorus, derivation of

the Latin term for ; various uses
of, i. 223 ; sun-dried, Pliny's account
of, 224-226 ; fire-baked, mode of ma-
nufacture of, 226, 227 ; varieties from
different places, 227 ; edifices of,
periods of their use in Rome, 228 ;
modes of laying, 228-229

British Museum. See Museum.

pottery, ii. 380

Brongniart, M., by, description of a sar-
cophagus in the Museum of Sevres, i.
24 ; denies to the Egyptians a distinct
type of vases, 45 ; opinions of, on
polished pottery, 54 ; analysis of red
ware by, 61 ; quoted on the subject
of paste, of terra-cotta vases, 226 ;
Grecian glaze described by, 247 ; vase
described by, found in the Crimea,
now in the Bibliotheque Imperiale at
Paris, ii. 178 ; description by, of
Roman tiles, 230 ; classification by,
of Roman terra-cotta vases, 324
BBS

BRONDSTED.

420

CRIMEA.

Brb'ndsted, M., date fixed by, of the old-
est Panathenaic vases, i. 224

Buckman, Professor, classification of Ro-
man vases, by, ii. 324

Burgon, Mr., triangular bricks found by,
at Alexandria Troas, i. 160 ; labelled
tiles found by, in excavations at Athens,
165; amphora discovered by, 271;
fine polychrome vase found by, near
the Pirseeus, 293

Byzes of Naxos, the invention of, i. 166

CADMUS on Greek vases, i. 360
Cados, wine vase, ii. 80
Caere, or Cervetri, tunnelled tombs of, i.
210 ; earliest coloured vases found at,

266 : vases found in sepulchres of,

267 ; in the sepulchres of, the oldest
Etruscan vases found, ii. 129 ; ante-
fixal ornaments painted in engobe,
188

Gales, anciently possessed a terra-cotta
manufactory, i. 250

Callirrhb'e fountain represented on Greek
vase, i. 273

Callisthenes, informed by Chaldean
priests of astronomical observations
inscribed on bricks, i. 117

Calpis, water vase, ii. 81

Calymna, tiles with circular labels, found
in the graves at, i. 165 ; many small
terra-cotta figures discovered in, 172 ;
lamps from excavations at, 186

Campana, M., mode of adjusting tiles de-
scribed by, i. 166 ; collection, cylix
painted with the subject of Theseus
stretching Procrustes on his bed, 295

Candelabra, for mounting lamps, i. 52

Canina, M., mode of adjusting tiles de-
scribed by, 166

Canosa, finest Italian vases found, at, ii.
129

Canoun, canastron, vase for food, ii. 110

Cantharus, drinking cup, ii. 104

Capua, vases from, ii. 149-150

Carchesion, drinking cup, ii. 105

Casks, earthenware, Egyptian, i. 41

Caster, Roman furnace at, ii. 305

Cattle cones, i. 181

Caylus, engravings of vases in the
"Recueil" of, i. 215

Celebe, species of crater, ii. 87

Celtic pottery, ii. 377

Centaurs, used pithoi for casks, i. 187 ;
represented on vases, i. 368

Cervetri, terra-cotta group from, ii. 189-
190

Cephalos, a potter alluded to by Aristo-
phanes, ii. 47

Cheironiptron, cheironips, chernibon,
washhand-basins, ii. 101

Chous, earthenware measure, ii. 92

Chytrse, earthenware pots, ii. 90

Chytropous, earthenware trivet, ii. 92

Cinyras, inventor of tiles, i. 162

Civita Vecchia, tunnelled tombs of, i.
210

Circus, games of, on a Roman lamp, ii.
288

Clay, sun-dried, used by Egyptian mo-
dellers, i. 20, 21 ; manufacture of,
into pottery, 46 ; unbaked, figures of,
found under pavement slabs of Assy-
rian palaces, 107 ; from the ditches
surrounding cities, used for brick,-
making in Babylon, 140

Clemens, of Alexandria, ascribes the
invention of lamps to the Egyptians,
i. 183

Clitias, painter of the Fra^ois vase, ii.
61

Cnidus, amphorae from, i. 195 ; the fine
clays of, 228

Coiners, Roman moulds, found in York-
shire, ii. 270

Colchester, Roman kiln found at, ii. 305

Colias, Mount, promontory of, mine near
the, famous for its clays, i. 228

Collections of pottery, best of, in Eng-
land, Italy, i. 209, 210

Cones, sepulchral, of earthenware, Egyp-
tian, i. 24 ; dimensions, probable use
of, inscriptions on, 25-29 ; pine in
earthenware, architectural ornaments
in Egypt, 53 ; of brick at Warka, 141-
142 ; vertically pierced from Corcyra,
181 ; Etruscan, of terra-cotta, found
at Vulci, ii^99

Constantine, Coptic inscribed tiles belong-
ing to the age of, i. 65

Conventional mode of distinguishing cer-
tain personages on Greek vases, ii.
413

Corinth, the Nymphseum of, first figure
moulded in terra-cotta preserved there,
i. 169 ; amphorae handles from, de-
scribed by Mr. Stoddart, 199 ; tombs
of, containing vases, 210 ; the fine
clays of, 228 ; the earliest establish-
ment of potteries at, ii. 42 ; vases of,
125-127

Cothon, drinking cup, ii. 82

Cotylos, wine cup, ii. 96-98

Covelli, Niccola, analysis of paste for vases
by, i. 229

Crater, wine cooler, ii. 86-89

Crimea. Kertch, the ancient Pantica-

CROSSOS.

421

ETRURIA.

pseum, the northernmost point where
Greek vases have been found, their
artistic details, one having for sub-
ject a combat of gryphons and the
Arimaspi, date assigned them, ii. 177,
178

Crosses, two-handled water vase, ii. 82
Cumse, vase discovered at, with gilded

friezes, i. 233

Cuminodocos, spice-box, ii. Ill
Cyathos, cup for drawing wine, ii. 98,

Cylices, drinking cups, ii. 105-108
Cylinders, Egyptian, of glazed stone,
inscribed with names of kings, i. 101 ;
historical, of terra- cotta, Assyrian,
113 ; manner of writing on, in As-
syria, 115 ; of Nebuchadnezzar, 145 ;
Babylonian, enumerated by Sir H.
Rawlinson, 145

Cyprus, tiles invented in, i. 162
Cypselis, vase for sweetmeats, ii. Ill

D'AGINCOURT, terra-cotta money-boxes,
engraved by, ii. 267, 268

Damaratus of Corinth, vases made in
the time of, ii. 1-26; settled at
Corneto, 131, 141

Darius I., cylinder of, i. 117

Dashour, pyramid of, i. 12, 13

Decadence style in Greek vases, i. 295-
298

Deities, Hellenised Egyptian, modelled
in terra-cotta, i. 51 ; on Greek vases,
317-348 ; porcelain images of, amu-
lets for the dead, 85-90

Delta, the, of Egypt, anciently a vast
brickfield, i. 12

Demeter on Greek vases, i. 325

Dempster, plates of vases published by,
i. 215

De Witte, M., of, the classification of
Italian vases, ii. 128

D'Hancarville, classification of Greek
vases, i. 225 ; remarks on the mate-
rial and painting of Greek vases,
242 ; opinions on the composition of
the black and white used in paint-
ing Greek vases, 245, 246 ; furnace
for baking vases, described by, 268 ;
opinion with regard to large vases, ii.
66

Dibutades, first potter who placed masks
on gutter- tiles, i. 162 ; inventor of
modelling in terra-cotta, 169 ; of
colouring clay for statues, 170

Dinos, wiiie vase, ii. 90

Diogenes, domicile of, i. 188

Dionysos represented on Greek vases,
i. 330-337

Dionysius of Syracuse, use of embers
from pottery kilns, i. 250

Discos, earthenware dish, ii. Ill

Dodwell, date assigned by, to the oldest
Greek vase, i. 224 ; vase discovered
in a sepulchre near Corinth, 263 ;
ii. 126

Dolls of Greek pottery, i. 182, 183

Doric vases, i. 271

Drain-tiles, i. 168

Durand Collection, lamp in the, repre-
senting a potter modelling, i. 231

EARLIEST style in Greek vases, i. 252-
257

Earthenware. See Pottery.

Ecbatana, walls of, painted externally,
i. 107 ; the Median, walls of, built
of coloured bricks, 136

Egypt, oldest pottery from, i. 9 ; pot-
tery extensively used in, 43 ; vases of,
wanting distinct type of fabric, 44 ;
early statues of, frequently porcelain,
70 ; invocations to the gods of, in-
scribed on vases, 74 ; community of
art in Assyria and, 102 ; history of,
illustrated, by porcelain gems and
amulets, 102, 103

Elgin's, Lord, Greek vases, ii. 121

Ellis, Mr., Hebrew inscriptions deci-
phered by, i. 122 ; inscriptions de-
ciphered by, 154

Embaphia, vases, shape unknown, ii.
Ill

Enamel, analysis of, used to coat Assy-
rian bricks, i. 1 28

Epichysis, oil flask, ii. 95

Epictetos, a celebrated painter of vases
with red figures, ii. 61

Epigenes. See Pliny.

Eratosthenes, "Account of Vases," i.
406

Ereus, vase for sweetmeats, ii. Ill

Eros represented on Greek vases, i. 340

Erythrse, thin and light amphorae in the
temple of, i. 228

Esarhaddon, cylinder of, i. 113

Etnerysis, vase for pulse, ii. 96

Etruria, Eucheir, and Eugrammus brought
the art of vase-making from Corinth
to, ii. 127 ; vases of the oldest style
discovered, 131 ; at Corneto in, black
vases with embossed figures, a few
painted vases, disinterred, 132 ; at

EUCHEIR.

422

GREECE.

Toscanella, Chiusi and Sarteano in,
description of vases found, names of
potters, 132, 133 ; of Orbetello and
Volterra, 133, 134; from Siena,
Bomarzo, and Orvieto, vases, 134,
135 ; at Pisa in, potter's establish-
ment discovered, 134 ; Veii, black
Etruscan ware of, 135 ; Veian sepul-
chres and painted vases, 135, 136 ;
Caere vases, 136, 137 ; Vulci exca-
vations drawn from M. Gerhard's
report, beauty and variety of the
vases, 137-139 ; the Greek origin of
these disputed, 139 ; the presence of
so great a number accounted for, 142 ;
probably imported from Greek colo-
nies, 142 ; fine arts, early introduced
into, 143 ; marks of Etruscan origin
in vases, 143 ; relation in which
Greece stood to, 144 ; Vulcian vases
found in all styles, 144 ; their dis-
tinguishing peculiarities, 145 ; other
sites of, where vases have been found,
145, 146 ; Egyptian perfume vases in
the sepulchres of, 178 ; extensive trade
of, in the 7th and 8th centuries, B.C.,
ii. 212 ; in, greater skill displayed in
engraving gems and working in metals
than in the art of pottery, 214

Eucheir taught the Etruscans the art
of vase making, ii. 127

Eugrammus carried the art of vase mak-
ing from Corinth to Italy, ii. 127

Euphrates, clay supplied by inundations
of, i. 106

Euphronius, the most celebrated potter
of his day, ii. 49, 63

Euryalus. See Hyperbius.

Exaleiptron, vase for ointment, ii. 100

Execias, potter and painter of vases, ii.
50,63

Ezekiel, the prophet, city drawn upon a
tile mentioned by, i. 64

FABEONI'S discovery of potter's ware and

implements at Cincelli, ii. 340
Fayence. See Porcelain.
Fayoom, in Egypt, anciently a vast

brickfield, i. 12

Fine style in Greek vases, i. 283-288
Flat- shaped vases, Etruscan, ii. 196, 197;

Teutonic, 391

Florid style in Greek vases, i. 288-291
Fondi, Pietro, manufactories of, at

Venice and Corfu, for the imitation of

ancient pottery, i. 219

France, Roman pottery found in, ii. 370-
374

Fransois, M., amphora discovered by, at
Chiusi, i. 271 ; vase found by, near
Chiusi, moulded by the potter Clitias,
decorated with designs by the artist
Ergotimos, 314

Frauds of dealers in Greek vases, i. 218,
219

Friezes. See Terra-cotta.

GABII, terra-cotta busts found at, ii.
191

Gaulish pottery, ii. 386

Gerhard, M., "Auserlesene Vasen-
bilder" of, i. 216 ; dates given by, of
the art of vase-making, 222 ; name
given by, to transitional archaic vases,
271

Gigantomachia represented on Greek
vases, i. 316

Gisr-el-Agoos built by Sesostris of sun-
dried brick, i. 12

Giudica, Baron, found rare tiles at
Acrse, i. 163

Glass, opaque, imitated in pottery, i, 48

Glaucus, son of Minos, tradition con-
cerning, i. 187

Glaze, Egyptian, composition of, i. 67 ;
metals used in colouring, 68 ; blue,
most ancient, 68 ; vitreous, applied to
stone, 96, 97 ; method of glazing
stone, 97 ; glazed stone inlaid with
porcelain, 98 ; flat intaglios engraving
on amulets of glazed stone, 100 ;
cylinders of glazed stone, 101 ; bricks
coated with, in Assyria, 126-129;
Babylonian, analysed by MM. Brong-
niart and Salvetat, and by Dr. Percy,
148, 149 ; composition of, manner of
applying, to lustrous Greek vases,
247 ; of Roman lustrous vases, whe-
ther alkaline or metallic is disputed,
its character, ii. 342 ; of Samian
vases, according to French antiqua-
rians not metallic, Brongniart's opinion,
350 ; black, carbonaceous of Gaulish
vases, 387

Gori, vases in the ' ' Museum Etruscum "
of, i. 215; tiles with inscriptions from
the Museum Buccellianum, published
by, ii. 187 ; by, engravings of Etrus-
can sarcophagi, 194

Greece, pottery of, described, i. 157-
350 ; from its abundance of stone,
little dependent on brick-making, 160 ;
extensive range of subjects of art, in ;

GUALOS.

423

INSCRIPTIONS.

grotesque forms introduced by the

Romans, 177. See Pottery.
Gualos, Doric name of a cup, ii. 110
Gutturnia, Roman water-bottles, i. 42

HADES on Greek vases, i. 343

Hadria, ii. 130

Hamilton, Sir William, description of

tombs in Campania, i. 212-214 ; vases

in the collection of, 215 ; the, collection

in, an archaic vase found at Capua,

264 ; in, vase of the florid style of

Greek art, 290
Hecataeus of Miletus, Nola mentioned by,

ii. 154

Helios on Greek vases, i. 344
Heos on Greek vases, i. 344, 345
Hephaestus represented on Greek vases,

i. 327

Hercules on Greek vases, i. 350, 357
Hermes on Greek vases, i. 329
Hermopolis, ibis mummies in wooden

or stone cases, i. 35
Herodotus, in days of, wine exported

from Syria to Egypt in vases, i. 35 ;

mentions vases used in religious rites,

257

Holcion, earthenware bowl, ii. 101
Holmos, species of crater, ii. 87
Homer, subjects from, represented on

Greek vases, i. 399, 406
Homer, allusions to pottery, i. 251 ; cups

mentioned by, ii. 102, 103 ; hymn of,

to the potters of Samos, ii. 116
Horace, reference of, to Tyrrhene pottery,

ii. 210 ; allusion of, to modelling

figures in clay, 265 ; dolls mentioned

by, 270 ; reference of, to the potter's

wheel, 320
Horus, mummy case of, inlaid with

porcelain, i. 71
Hydrise, Greek water-bottles, i. 38 ;

vase for drawing water, ii. 80
Hyperbius of Crete and Euryalus, or,

Agrolas, erected the first brick wall,

i. 160
Hypocrateria, earthenware stand for

craters, ii. 91
Hyrche, amphora with narrow neck, ii.

iBis-mummy pots, i. 34
Iliad, the, references to the art of
pottery in, i. 251

Inghirami, engravings by, of Etruscan
sarcophagi, ii. 193

Inscriptions on cones, i. 26-29 ; hieratic,
on tribute vase, 35 ; on Egyptian
lamps of the Christian period, 52 ; on
glazed tiles, 64, 65 ; on bricks of the
palaces at Nimrud, 110-112 ; Hebrew,
on Assyrian pottery, 122 ; cuneiform
on Babylonian bricks, 136, 137 ; on
Greek amphorae, 196-202 ; peculiar to
Greek vases of the middle period, the
latest sometimes in the Oscan, and
Latin language, ii. 14 ; convertible
letters of Greek, arbitrary dispo-
sal of, on Greek vases, 17, 18 ;
dialects, peculiarities of spelling in
Greek, 18-20 ; painted Greek, colours
of, sometimes incised, ii. 20; of names of
figures found in vases, 20-23 ; sentences
of the dramatis personae, on vases,
23-25 ; salutations of the potter, 25-
26 ; written on objects depicted on
vases, 26-27 ; modes in which artists
and potters inscribed their names on
vases, 27-30 ; of names followed by
KAAO5, or KAAH, probable meaning
and object of, 30-35 ; legible but un-
intelligible, possible explanations of,
not peculiar to vases found in Italy,
35, 36 ; manner of incising, 36 ;
object of, incised on the body of the
vase, 37 ; incised on feet of earlier
vases, memorandums of the potter,
price of the vase, examples, 38-41 ; on
vases mentioned by the ancients, 41 ;
afford some insight into the potter's
trade, 44 ; bilingual, on Etruscan tiles,
188 ; on Etruscan vases, not an essen-
tial part of the subject, 207 ; of
a Greek alphabet on Etruscan vases,
absence of the potter's name proof of
their antiquity, 207 ; of Etruscan
alphabets, 208 ; painted on Etruscan
vases, 218, 219 ; incised, 219, 220 ;
Oscan, on vases from Nola, and
terra-cotta tablets from La Motte near
Hadria, 220 ; Latin, painted in white
on vases, 220, 221 ; on Roman tiles
used for public buildings in Italy,
their historic value, 239-241 ; ex-
ample of potter's stamp with, 242 ;
period, during which stamps were used,
243 ; on tiles, of names of proprietors
of estates, 244, 245 ; of the pottery
proprietor's name, 246 ; of names and
mottos stamped in the work-shop,
246, 248 ; on Roman tiles made by
soldiery, or for the use of the soldiery,
248, 249 ; tiles with legionary, found
in England, 250 ; devices impressed

IRISH POTTERY.

424

LAGYNOS.

along with, on Roman tiles, 251 ; on
Roman lamps, arranged under nine
heads, 291 ; on lamps, of names,
their various significations, 292-295 ;
on lamps, of votive exclamations, 296 ;
of potters' names on Aretine vases,
344, 345; of potters1 names on
Samian ware, philological peculiarities
in, 359 ; capricious, or accidental, on
Roman vases, tiles, and bricks, 360 ;

Irish pottery, ii. 385

Italy, in Southern, the tombs, large under-
ground chambers, i. 210 ; in, greater
number of Greek vases found, than in
Greece, ii. 128 ; in, Greek vases,
classification of, by Lenormant and De
Witte, 128-131 ; in, vases found in
Etruscan towns. See Etruria ; cen-
tral and lower, marks distinguishing
the vases of, from the Etruscan,
146, 147 ; Southern, reason for the
.variety of style of the vases from, 147,
148 ; vases from Naples and its
neighbourhood, 148, 189 ; Southern,
of Capua in, the vases chiefly of the
decadence style, 149, 150 ; vases of
Teano, of Atella, 150, 151 ; char-
acteristics of Nolan vases, 151, 152-
154 ; sketch of history of Nola, 154-
155 ; vases of other cities of the
Terra di Lavoro, 155, 156 ; Southern,
the Principato Citeriore in, cities of,
where vases have been found, descrip-
tion of vases, 156, 157 ; Southern,
the Principato Ulteriore of, sites
where vases have been found, 157 ;
vases of the Basilicata, of the later
style, apparently of native fabric, 157 ;
excavations in Lucania, descriptions of
vases discovered, 158 ; descriptions of
vases from other sites of the Basili-
cata, 158-160; epoch of the vases of
Puglia, their distinguishing marks,
district of country where they have
been found, 160, 161 ; vases of Bari,
red figures upon a black ground ; of
Canosa chiefly craters, the finest of the
later florid style, vases with subject of
Darius and /Hellas, 161 ; vases of
Conversano, of Putignano, 162 ; of
Southern, the finest vases, from Ruvo,
of the florid style with numerous
figures and arabesque ornaments, re-
sembling the young Athenian school,
162, 163 ; vases from Ceglie, re-
markable for size, their forms and
subjects, 163-164 ; the Locri a Dorian
colony, destroyed by the Lucanians,
succeeded by the Brettii, coins found in
their country, vases, not disinterred

from sepulchres, but from the fields ;
description of vases, 164-166 ; vases
from Otranto, excavations difficult,
Roman tombs being built over the
Greek, 166, 167 ; few vases found at
Tarentum, their beauty ; importance
and wealth of ancient Tarentum, 167-
168 ; specimens from neighbouring
sites, crater from Ischia, 168

JARS. See vases.

Jewish pottery, i. 152

Jeremiah, the prophet, potter working at
his wheel described by, i. 152

Jugs. See vases.

Juvenal, age of Etruscan black ware
stated by, ii. 209 ; alludes to the price
of terra- cotta vases, 307 ; refers to the
slight esteem in which vases for com-
mon use were held, 315.

KALAH SHERGAT, dimensions of bricks at,
i. 109

KAAO2, or KAAH, on Greek vases,
meaning of, ii. 30-35

Kertch, labelled tiles from, i. 165 ;
terra-cotta moulding from, 167 ; cones
found in excavations near, 181 ; Greek
vases found at, ii. 177

Kestner, Chev. excavations of, at Cor-
neto, ii. 132

Khorsabad, vases containing bones from,
i. 122 ; terra-cotta figures from, 124 ;
enamelled bricks at, 129

Kinneir, Lord, excavations of, at Corneto,
ii. 132

Kouyunjik, prism inscribed with records
from, i. 113 ; archives, in the palace
of Sennacherib, 116 ; seals in the royal
archives of, 118 ; from, vases con-
taining bones, 120 ; from, a terra-
cotta dog, 125

Kramer, M., dates assigned by, to the
art of vase-making, i. 223.

LACED^JMON, drinking cups of, ii. 125
La Chausse, plates of vases in the

"Museum Romanum" of, i. 215
Laconian cylices, ii. 127, 128
Lagsena, Egyptian, i. 55, 60
Lagynos, wine vase, ii. 75

LAMPS.

425

MARTIAL.

Lamps, Egyptian, of earthenware, i.
51, 52 ; of the Christian period in
Egypt, with inscriptions, 52 ; Assy-
rian, 121 ; of Greek fabric brought
by Mr. Layard from Nimrud, 121 ;
invented in Egypt, 183 ; used in
Greece in the time of Herodotus,

184 ; difference between Greek and
Roman, 184 ; in shape of a trireme
from Pozzuoli, 185 object of inscrip-
tions on Greek ; of the Roman period,

185 ; Roman, of glazed earthenware,
more frequently of terra-cotta, desig-
nations of the different parts of,
various forms, modes of hanging,
earliest mention of, ii. 271, 272;
terra-cotta not earlier than Augustus,
chief parts of these, 272, 273 ; shape
of earliest, turned on the wheel, com-
mon shapes of, 273 ; examples of
peculiar shapes of, 274, 275 ; made
during the period between Augustus
and Constantine, the style gradually
degenerating, 275 ; gave light accord-
ing to the number of wicks, dimen-
sions of, clays used in their manufac-
ture, 276, 277 ; mode of preparing
moulds for, 277 ; of the earliest style,
simplicity of ornament on, the more
elaborate borders on later examples,

278 ; with well preserved subjects,
rare, trifling character of the subjects,

279 ; subjects of, generally from popu-
lar mythology, or the games, some-
times from fables, 279-280 ; the Ro-
man gods most frequently represented
on, manner of their representation,
280-284 ; foreign gods, the emblems
of gods, or stories from the poets taken
as subjects for, 284-286 ; illustrations
from fables, 286 ; on, scenes from his-
tory rare, mostly traditionary, scenes
from every day life, 287 ; on, scenes
from the circus, examples of, animals,
287, 289 ; single objects represented
on, Christian symbols, 290, 291 ; in-
scriptions on, See Inscriptions ; — used
in festivals, in worship of the gods, as
well as in common life, 297 ; super-
stitious uses of, 297, 298; of red
earthenware, stamped on a flat bas-
relief, with Christian symbols, 329 ;
of coarse brown earthenware, 335 ; of
enamelled ware, 375, 376

Larissa, walls of demi-revetted, i. 106
Lasanon, pot of metal or earthenware, ii.

Last style in Greek vases, i. 298-301
Layard, Mr., excavations of, i. 105 ; table

of dimensions of Assyrian bricks

measured by, 108 ; patera found by,
built into a wall at Nimrud, 119;
sarcophagus found by, with the name
Altibar inscribed, 120 ; brought vases
Nimrud, 120 ; enamelled bricks found
by, 127

Lecane, deep two-handled vase, ii. 100

Lecanis, earthenware dish, ii. Ill

Lecythi, Egyptian, vases, resembling
lachrymatories, found in Roman sepul-
chre^, i. 42 ; found at Jerusalem, 154 ;
of Egyptian porcelain, at Tyre, 154

Lecythus, vase for oil, ii. 84

Lenormant, M., of, the classification of
Italian vases, ii. 128

Libyes, sepulchral vases of plain black
glaze, i. 252 ; found in sepulchres of
Nola and Campania, ii. 1, 2

Linen, cloths of, use in glazing, i. 68

Locri, at, in Magna Grsecia, the first
Italian potteries established, ii. 128

Loftus, Mr., enamelled bricks in the
palace of Susa found by, i. 129 ;
examined ruins of Warka, 137; found
edifice built of cones, 140 ; excavations
of, at Warka, 149, 150

Louterion, water vase, ii. 99

Louvre, vases in, ii. 175

Luxor, wall of brick, fifteen feet thick,
i. 23

Luynes, Due de, classification of Greek
vases, i. 225 ; cup representing Arce-
silaus watching the weighing of the
silphium, 268 ; date of the cup, 269

Lysistratus first made casts of statues, i.
170 ; made clay models of bronze
statues, ii. 262

MACDONALD, Major, excavations of, i. 78
Macpherson, Dr., labelled tiles discovered

by, i. 165 ; joint tiles at Kertch, 166
Macrobius, account of the Sigillaria by,
ii. 263 ; reference of, to Aretine ware,
338

Mseander ornament, ii. 3, 4
Man modelled out of Nilotic clay, i. 10
Marsyas, on Greek vases, i. 339
Martial, Porsenna's dinner service men-
tioned by, ii. 210 ; allusion of, to the
Sigillaria, 264 ; cadi Vatican! men-
tioned by, 307 ; refers to the common
use of vases, 316 ; reference of to
Roman pottery, 320 ; Aretine ware
mentioned by, 339 ; reference of, to
the ware of Cumse, 347 ; common use,
in Rome, of red earthenware alluded
toby, 358

MAYENCE.

426

MUSEUM.

Mayence, Roman pottery found, ii. 369

Mayer, Mr., in the collection of, a terra-
cotta figure portrait of one of the
Cornelian family, ii. 265

Megara, terra-cotta temple at, i. 167 ;
statue of the Olympian Jupiter as
described by Pausanias, i. 171

Meidias, potter of the Hamilton vase, ii.
52, 163

Melos, painted vase from, supposed to
be a kernos, i. 206

Memphis, ibis-mummy pots, i. 34

Mespila, walls of demi-revetted, i. 106

Metapontum, joint tiles from, i. 1 66

Micali, engravings of Etruscan vases, ii.
130 ; by, engravings of Etruscan sar-
cophagi, 193

Millin, publications illustrating Greek
vases, i. 216

Millingen, classification of sepulchral
vases by, ii. 69 ; epochs assigned by,
as periods in the art of vase-making,
222 ; classification of subjects pour-
trayed on Greek vases, 312, 313

Montes testacei, mounds formed of
pottery, i. 10

Moorgate-street, Eoman vases found in,
ii. 331

Mosul, marble of, used for facing brick
walls, i. 106

Mounds of potsherds round ancient
cities, i. 10 ; artificial, of brick, sub-
structure of Assyrian edifices, i. 106 ;
tenanted by various peoples, after the
fall of the empire, 123 ; of Assyria, i.
. 129; of Babylon, 131

Mujellibe, the, bricks from, i. 133, 137

Miiller, date assigned by, to the oldest
Greek vase, i. 224

Munich, furnace with a Satyr's head in
front, depicted on a vase at, i. 249

Murrhine, Egyptian, imitated in pottery,
i. 48

Museum, Alnwick Castle, part of a
figure of Amenophis III. in glazed
steaschist, i. 99

, Berlin, bas-relief of Helle cross-
ing the Hellespont, i. 179 ; cup and
gems representing Greek furnaces,
249 ; amphora with double cover, ii.
79 ; vases from Locri, 165

, British, figures in sun-dried clay,

i. 20 ; Egyptian baked bricks, 23 ;
sepulchral cones of a lady, 29 ; three
vases, heads human-shaped, 32 ; am-
phorae of unpolished potter's ware, 35,
36 ; small vase of pale red ware,
resembling a Greek oil-cruse, 40 ;
large Egyptian vase with demotic in-
scriptions, 41 ; representation on pa-

pyrus of architectural ornaments round
the shrine of Osiris, 53 ; lecythus of
black paste, 56 ; vase of red ware,
modelled in human form ; vase used
by scribes, 58 ; two tables of polished
pottery, 59 ; beard of blue porcelain,
70 ; coffins inlaid with porcelain, 71 ;
box with porcelain tesserae, 71 ; por-
celain tiles for inlaying, 72 ; stibium
case of porcelain, 73 ; porcelain from
Sarabut el Khadem, 78 ; mummy of
priestess with porcelain beads, 82 ;
amulet image of Jupiter Serapis in
porcelain, 85 ; footstool leg of glazed
steaschist, 97 ; vase of glazed stone,
with praenomen of Thothmes I., 98 ;
two cylinders of glazed stone, bearing
names of Osertesen, or Sesortesen, II.
and III., 101 ; semi-circular Assyrian
bricks, 109 ; glazed bricks, corbels of
blue porcelain from Nimrud, 127 ;
Assyrian porcelain amphorae, 129 ;
fragments of porcelain collected during
the Euphrates expedition, 130 ; Baby-
lonian bricks, 138; slabs of terra-cotta
from Babylon, 146 ; Greek painted
tiles, 162 ; terra-cotta statues of
Muses from Puzzuoli, 171 ; figures in
terra-cotta coloured, 176, 177 ; por-
tions of bas-reliefs in terra-cotta paint-
ed, 178; terra-cotta discs from Tarsus,
182; sepulchral vase coated with
stucco, 203 ; in the, 2600 Greek
vases, 209 ; cup representing the potter
at his wheel, 230 ; vases of the earliest
period of Greek art, 255, 256 ; am-
phorae in the archaic style of Greek art,
268 ; hydria representing the fountain
of Callirrhoe, 273 ; vases of the affected
old style of Greek art, 276 ; cenochoe
of the fine style with gilded ornaments,
286 ; lecythus, with allegorical sub-
ject of the "florid style," 290 ; vase,
ornamented with bands of annulets, ii.
6 ; ascos with ornaments of vine-
branches, 9 ; amphora found at Ruvo,
79 ; psycter, the space between the
walls filled with a layer of chalk, 90 ;
rhyton in shape of a boat's prow, 103 ;
Samian lecythus, procured by Mr.
Finlay, 117 ; vases from Melos, pale
yellow, with black figures, 118 ; the
collections of Lord Elgin and Mr.
Burgon, 121 ; sarcophagus of glazed
terra-cotta found near Athens, 121 ;
vase from Civita Vecchia with figures,
136 ; calpis from Anzi, 158 ; crater
with black figures from Armento, 159 ;
vase of the potter Meidias from Ruvo,
163 ; fragment of a crater from Taren-

MUSEUM".

427

PANOFKA.

turn, Pallas Athene, red on a black
ground, 167 ; vases from excavations
of Mr. Werry, at Berenice, 175 ; vases
from the catacombs of Alexandria, 177;
calathus- shaped jar of Greek porcelain,
179 ; sarcophagi from a tomb at Vulci,
193 ; painted terra-cotta sarcophagus
from Florence, 194 ; Roman brick
found at Guernsey, 229 ; Eoman tiles
found at Boxmoor, 232 ; tile stamp,
242 ; terra-cotta bas-reliefs found in a
Roman well, 256 ; torso of Roman
terra-cotta statue, 261 ; Roman terra-
cotta figures used to decorate gardens,
262 ; coiners' terra-cotta moulds found
in Yorkshire, 270 ; Roman lamps of
unusual shape, 274 ; lamp engraved
with the fable of the fox and crow,
286 ; lamp with illustrations of Circus
games, 288 ; sepulchral cippus with
inscription, 297 ; barrel-shaped vase,
Roman vases of red ware, 327 ; Roman
vases found in Moorgate-street, 331 ;
a master-mould, found near Mayence,
352 ; bricks found at Colchester with
inscriptions scratched on them, 361 ;
bottle of Roman enamelled ware, 376

Museum, Florence, the Fran?ois vase at,
i. 314

, Jena, polychrome vase, moulded

in form of Aphrodite, i. 294

, Leyden, sun-dried bricks with

religious inscription, i. 17 ; porcelain
vase inscribed with name of Amasis,
75 ; vases with figures and inscrip-
tions, 78

, Malta, vases with Bacchanalian

subjects, ii. 173, 174

, Naples, large vases, modelled on

a frame, i. 240 ; specimens of terra-
cotta cages and butterfly traps, ii.
267 ; specimens of Aretine ware, 346

, Sevres, Egyptian terra-cotta sar-
cophagus, painted, i. 24 ; porcelain
lecythus found at Tyre, 154 ; frag-
ments of Greek bricks and tiles, 160 ;
drain-tile of terra-cotta found at
Ephesus, 168 ; vases from the tombs
of Santorino, ii. 118 ; Roman bricks,
226, 227 ; Roman bas-reliefs, 256 ;
cup found at Souairo, of reddish- brown
paste, 328 ; Scandinavian vases, 393

, Shrewsbury, Roman bricks

marked with foot-prints, it. 227

, Vatican, terra-cotta statue of

Mercury, life size, i. 172

Mutina (Modena), celebrated in Pliny's
days for drink ing-cups, ii. 130

NAMES of vase -painters, ii. 60.

Naples, pottery from, ii. 140, 148, 149,
168, 170

Nebuchadnezzar, cylinder containing the
hieratical statistical Tables of, i. 145

Nicosthenes, the potter, one of the
earliest makers of vases with black
figures, ii. 53

Niffer, supposed site of old Babylon,
bricks from, i. 133, 137

Nile clay or mud used in brick-making,
i. 12-14 ; otherwise in pottery, 22

Nimrud, inscriptions in palaces of, i.
110-112; vases from, 119; terra-
cotta figures from, 124

Nola distinguished by the great number
of its "Li byes," or unornamented
vases, ii. 1 ; potteries of, 155 ; cha-
racteristics of its vases, ii. 151 ; his-
tory of, 154, 155

Northamptonshire, Roman potteries, kiln
discovered in, ii. 304

Northumberland's, Duke of, scarabseus
inlaid with porcelain, i. 72

Num, first potter, modelled man from
Nilotic clay-, i. 10

OCULIST, stamp of, on vase, ii. 360
QEdipus, story of, on Greek vase, i. 360
(Enerysis, cup for drawing wine, ii. 96
(Enochoe, wine jug, ii. 92-94
Olbia, amphorse from, i, 197-199
Old style in Greek vases, ii. 272-275
Olpe, wine jug, ii. 8£
Omphalos, cup with bosses, ii. 109
Orbitello, vases from, ii. 133, 217
Orestes, story of, on Greek vases, i. 361
Orvieto, vases from, ii. 135, 208
Oxis, cruet for vinegar, ii. Ill
Oxybaphon, cruet for vinegar, ii. Ill

PALM-FIBRES, cord of, used for slinging

vases, i. 37
Palmyra, lamp with inscriptions found at,

i. 156

Pan, on Greek vases, i. 337
PanphEeos, the potter, name of, occurring

on seventeen cylices, ii. 54
Panofka, M. " Vasi di Premio," i. 217 ;

classification of subjects pourtrayed on

Greek vases, 313; ingenious attempt

PANTICAP^EUM.

428

POTTERS.

to connect the subjects of vases with
the names inscribed on them, ii. 34 ;
first proposed the identification of
vases, ii 74

Panticapseum, amphora from, i. 197
Paris, Imperial Library, cylinder bearing

name ofShafra, i. 101
Paropsis, earthenware dish, ii. Ill
Passeri, engravings of vases, published

by, i. 215

Pelinoi, small figures in terra-cotta, i. 172
Perring, Mr., account of bricks from the

Memnonium, i. 14
Perirrhanterion, vase used as a sprinkler,

ii. 101
Persius, Aretine ware mentioned by, ii.

338

Petersburg, St., Crimean vases in the Her-
mitage of, ii. 177
Phial e, earthenware patera, ii, 108
Phocis, temple of Diana, built of tiles, i.

166

Phoenicia, no specimens of pottery from
early ages, found in, i. 154 ; the art of
working in glass and metals, prefer-
red to pottery, in, 155 ; brick-making
invented, in, 155

Pindar, painted anaphoras described by, i.
220 ; vases mentioned by, given as
prizes, ii. 69

Piuax, earthenware dish, ii. 110
Pithoi, earthenware casks, Greek, i. 41,
187 ; ii. 74 ; perfect, found in Italy,
only fragments in Greece, 187 ; Greek
proverb touching, 188 ; found in exca-
vations, 189

Plautus, an authority for the use of vases
in religious rites, ii. 314 ; refers to the
early use of earthenware in Rome,
320 ; allusion to Samian ware in, 348
Pliny, states Epigenes to have found as-
tronomical observations on tiles at Ba-
bylon, i. 117 ; painter on terra-cotta,
mentioned by, i. 176 ; remark of, on
the antiquity of statuary, ii. 190 ; clay
model of a bronze statue mentioned by,
262 ; fittest season for brick-making,
fixed by, 301 ; Roman pottery men-
tioned by, 320; mentions vases, as an
article of export, 361
Plutarch, anecdote of, i. 228
Podanipter, bronze basin, ii. 101
Polledrara, the, sepulchres of Egyptian
vases found in, i. 75 ; Egyptian por-
celain rings, 92

Porcelain, (Egyptian), term as applied to
Egyptian glazed pottery, not strictly
correct, i. 66 ; composition of, 66, 67 ;
stamped in moulds, 67 ; tiles of, for
inlaying, 69 ; used in inlaying, 70-73 ;

vases of, see Vases ; — draughtsmen and
toys of, 79 ; ear-rings of, 79 ; amulets
of, exported to Greece and Italy, 80 ;
amulets of, manufacture, description of,
80-90 ; ^ rings of, with hieroglyphic
inscriptions, articles of export, 91 ;
description of sepulchral figures in,
92-96 ; failed to attain the highest ex-
cellence, 104

Porcelain (Assyrian), few examples re-
maining, inferior to Egyptian, 126;
vessels of, see Vases

(Babylonian), fragments of,

found all over the ruins of Babylon,
148 ; mosaic of, 149 ; coffins of glazed
earthenware discovered by Mr. Loftus,
149-151

— • (Greek), Egyptian in origin, or

imitated from Egyptian, by Greek pot-
ters, ii. 178, 179

(Etruscan), no native manu-
facture of; Egyptian of the seventh
century B.C. ; enamelled bottles found
in Etruscan tombs, 221,

(Roman), yellow paste, coated

thickly with enamel, used chiefly for
lamps, 375

Portelette, Celtic vases of Roman type
found at, ii. 387

Posis, imitations of fruits in terra-cotta,
by, i. 174

Potsherds, used as slates for writing on,
i. 64

Potters, Egyptian, distinguished from
Greek, i. 45 ; attached to palaces or
houses of nobles, 45 ; low position of, in
Egypt, 50 ; art, few references to the, in
Scripture, 152 ; tradition of, with regard
to tiles, 162 ; wheel in Egypt and Greece,
a low, circular table turned with the
foot, 229 ; wheel, Grecian traditions
describing the invention of the, 230,
231 ; Greek, tools for the painting of
vases, 244, 245; Greek, ceased to
employ skilful artists when chased
vases of gold and silver were introduced,
300 ; art, high antiquity of the, proved
by inscriptions on Greek vases, ii. 16;
names of, inscribed on their vases, 29,
30 ; old Greek, guild of, their wealth,
42 ; not held in esteem, Athenian name
for, 43 ; the workshop, number of
workmen necessary, 44 ; Greek, alpha-
betical list of, 45-58 ; the connection
between the names of, and the designs
on vases too vague to be established, 58 ;
of Samos, the, Homer's hymn to, 116 ;
wheel, invention of, claimed by Athens,
121 ; the two quarters for, or Cera-
nici, at Athens, ii. 121; wheel invented

POTTERIES.

429

POTTERY.

at Corinth, 126 ; corporation of, founded
atRomebyNuma, 259; a potter, of Man-
tua, Virgil's father, 260 ; Roman law,
social condition of, 266 ; wheel, found
at Cincellse, described, 341 ; names im-
pressed on Aretine ware, with a metal
stamp within the vase, 344 ; of Aretium
slaves, lists given by Fabroni, 345 ;
names of, on vases found near Modena,
345 ; names, dies for stamping, found
at Lezoux, 354 ; names, manner of
inscribing on Samian ware, 359 ; of
Roman vases, most part slaves, their
distinctive appellations, 361 ; art,
universal application of, to sepulchral
purposes, 394, 395

Potteries of Samos, Corinth, and vEgina,
ii. 42 ; Greek, sites of the oldest, in
Asia Minor, 113 ; names of the best-
known sites, wares for which they were
celebrated, description of vases found
there, 114-116 ; of Samos, 117 ; of Me-
los, 118; other Greek islands, 118, 119 ;
vases of JSgina, 120 ; of Athens, the
most famous of Greece, 121 ; found in
Athenian tombs, character of drawings,
the export trade of Athens, 121-125 ;
of other parts of the Greek continent,
drinking cups, peculiar to Lacedsemon,
125 ; of Corinth, carried by the Ro-
mans to Italy in ; vases of Mr.
Burgon's collection, 126 ; the potter's
wheel invented at Corinth, 127 ; the
soft paste, of Megara, and other cities of
the Greek continent, Laconian cylices,
127, 128 ; of Italy, first established at
Locri and Tarentum, 128 ; finest spe-
cimens found at Canosaand Ruvo, 129 ;
of Campania, 129 ; of Etruria over-
spread the country, 129 ; of Hadria
still working in the time of Pliny, 130 ;
Greek vases found in Italy — See Italy ;
of Naples, famous in the time of the
Romans, 149 ; Greek, at Nola, 155 ;
of Surrentum, famous in the time of
Pliny for cups, 157; of Sicily, renowned
in old times, 169 ; discovered near
Terranova in 1792, 170 ; Roman tile
makers', of two kinds, 245 ; dis-
tinguished on tile-stamps by the pro-
prietor's name, 246 ; Roman, in North-
amptonshire, construction of their
kilns, 304 ; of Rome, 320 ; of eight
districts in Italy mentioned by Pliny,
foreign manufactories of Roman vases,
320 ; of Aretium, 338 ; found at Cin-
celli by Fabroni, with potters' imple-
ments, &c., 340, 341 ; Roman, of Hei-
ligenberg and Rheinzabern, furnaces
of, described, 354, 355; of Samian

ware, districts of Europe where they
have been found, 361-362 ; Roman,
found in Germany, at Mayence, 369 ;
in France, 370, 371 ; sites of, in Italy
and Spain, the ware of Saguntum
praised by Pliny and Martial, 371,
372 ; Roman, sites of in England, and
Holland, 373-375

Potter's wheel, invention of, i. 124-127 ;
representation of, on a vase, 230

Pottery, earliest specimens in Egypt, in-
vention of the gods, i. 9

^ (Egyptian), first ascertained epoch

of, i. 10 ; mound of potsherds round an-
cient cities, 10 ; dates of vases deter-
mined by hieroglyphics, 11 ; of clay,
sundried, used for bricks, 11 ; moulded
in figures, sometimes coloured, 21 ; of
clay, firebaked, material of red un-
polished earthenware (terra-cotta), 22 ;
of polished terra-cotta, 54 ; of polished
terra-cotta inferior to Roman, 61 ; of
glazed earthenware (porcelain), 66 ;
constituent parts of paste used for
glazed, 66, 67 ; composition of glaze,

67 ; analysis of colouring matter, 67,

68 ; character of glaze, 68 ; species of,
formed by coating stone with glaze, 96

(Assyrian), points of difference

between Egyptian and, i. 105 ; of sun-
dried clay, 106 ; of clay fire-baked,
107, 108; of terra-cotta, a substitute
for parchment, 113 ; terra-cotta figures
resembling Greek, 124 ; of glazed
earthenware, extensively used, inferior
to Egyptian, 126 ; fragments of, found
in the mounds, 129

(Babylonian) of clay, sun-dried,

used chiefly for bricks, i. 131 ; of clay,
fire-baked, 132, 143 ; relics of, from
the great mounds, 143 ; resembling
Assyrian, 144; documents of, 144-
146 ; of brick clay, glazed, 148

(Jewish], no relics of, for the most

part imported, i. 152

(Phoenician) probably for domes-
tic use, no remains of, i. 155

(Greek) terms used in the art of,

explained, i. 157 ; of sun-dried clay used
for bricks ; statue of sun-dried clay ex-
isting in the time of Pausanias, 158 ;
of clay fire-baked (terra-cotta), 159 ;
texture and colour of the terra-cotta
paste used for statues, manner of work-
ing it, 168, 169 ; manner of making
figures from a terra-cotta mould, 173 ;
earths, minerals, &c., composing the
colouring matter, used in painting terra-
cottas, 176 ; of a finer terra-cotta,
polished and varnished, 208 ; of fine

POTTERY.

430

RUVO.

terra-cotta, character, texture, colour,
composition of, mode of preparing the
paste for, 226, 227 ; spots famous for
the finer clays of, 228 ; analysis of
paste of pale red Etruscan vases, 229 ;
wheels used in the ancient Aretine
potteries, 229 ; vases of, manner of
using the wheel in the manufacture of,
traditions of the invention of the wheel,
230, 231 ; in, manner of modelling
paste with the hand, 231 ; in, paste
stamped in moulds, 233-237 ; the art
of, carried from Corinth to Italy, ii.
127 ; speciesof, resemblingthe Egyptian
enamelled stone-ware, found in Greek
and Italian sepulchres, 178

Pottery (Etruscan), with the exception of
vases, few remains of, ii. 187 ; of baked
clay only, 187-189 ; in, clay mixed
with volcanic sand, 189 ; never at-
tained high excellence, 214

(Rowan) of clay, sun-dried, used

for bricks, ii. 223 ; of clay, fire-baked
bricks (terra-cotta), 226 ; of a less fine
clay, mixed with brick or pebbles for
tiles, 230 ; of terra-cotta, for works of
art, 258 ; of terra-cotta for vases,
composition of the paste, process of
preparing it, care of the ancients in
mixing their clays, 300, 301 ; in, vases
made by means of moulds as well as
turned on the wheel, 302 ; construc-
tion of kilns used in, manner of pack-
ing vases, furnaces of peculiar con-
struction, use of pistilla in kilns, 803-
305 ; of glazed earthenware, resem-
bling Etruscan rather than G eek, 336 ;
glazed, distinguished by its bright-red
colour and silicated alkaline glaze, 338 ;
of red ware (Aretine) quotations from
ancient and modern authors, referring
to, ii. 338-340 ; of Samian ware, analy-
sis of paste used in, 349 ; of Samian
ware, process of making, mode of bak-
ing described, 350-355 ; of tenacious
clay blackened in furnace smoke and
polished, 364 ; distributed over the
greater part of Europe, 369 ; of en-
amelled paste, 37«r»

(British) resembling Celtic in

composition, ruder in form and orna-
mentation, ii. 380

(Celtic) of the Roman type, its

colour produced by means of carbon,
ii. 377 ; earlier, of coarse clay, mixed
with pebbles, imperfectly baked, 378

(Gaulish) of a peculiarly friable

paste, earlier than the Roman period,
ii. 386 ; later of black clay mixed with
pebbles, 386, 387

Pottery (Irish) of pure Celtic type, but
showing artistic feeling in workman-
ship, ii. 385

(Scandinavian), peculiarities of,

process of baking, ii. 393

(Scottish) of the period before

and during the Roman dominion, in
rudeness resembling British, ii. 384
(Teutonic) of three classes, ii.

387 ; early, native, clay and sand
mixed with particles of mica, 388 ;
still unclassified, 390

, historical value of, ii. 393-396

Pourtales collection, vase in the, in form
of a dove, with two separately moulded
figures of Aphrodite, i. 240

Pozzuoli, vase from, representing a Greek
pottery, i. 249

Prices given for pottery in ancient times,
ii. 181 ; in modern, 182-184

Prochoos, water-jug, ii. 94

Ptolemy of Philadelphus, date of the drink-
ing cup perfected by, i. 224

Psycter, wine cooler, ii. 89

Puelos, vase used in baths, ii. 99

RAWLINSON, Sir H., inscriptions deci-
phered by, i. 110-112 ; brought ba-
sins from Chaldaaa, inscribed with
Hebrew characters, 122 ; inscription
on brick deciphered by, 135, 137 ; his
enumeration of Babylonian historical
cylinders, 145, 146

Rekshara, tomb of, repsesentation of
brick -making, i. 18

Rheinzabern, Roman pottery kilns at, ii.
354, 355

Rhcecus, inventor of modelling, i. 169

Rhyton, a form of drinking-cup, i. 224,
ii. 82

Roman pottery, ii. 223, 336, 369. See
Pottery.

tiles, ii. 229

Rome, Archaeological Institute of, know-
ledge of ancient vases diffused by the,
i. 217

Romulus and Remus represented on vase?,
i. 382

Rosellini, wall at Luxor described by, i.
23 ; engraving of Egyptian vase resem-
bling Greek, 40 ; painted vase from
wall painting of a tomb at Thebes, 48 ;
representation of threading beads, found
in a Theban tomb, 83

Ross, Colonel, terra-cotta impression of a
coin found by, i. 180

Ruvo, finest specimen of Italian pot-
teries found at, ii. 129

SABACO.

431

STODDART.

SABACO, King of Egypt, seal of, i. 118

Saguutum, pottery of, ii. 371

Sallier, M., historical papyri of, i. 163

Samian ware, ii. 42-117 ; distinctive
marks, 346 ; Pliny's estimate of, 347;
process of making, 349-353 ; baking
of, 354 ; found in England, 364, 365

Samians claim the invention of modelling,
i. 169 ; lecythus, ii. 117; ware, 42,
117 ; inscriptions, their philological
peculiarities, 359

Samos, the fine clays of, i. 228 ; one of
the oldest sites of potteries, ii. 42

Sanchoniatho, legend of, recording the
origin of brick-making, i. 155

Sand, layers of, laid between tiers of
bricks in Assyria, i. 108

Saqqara, plains of, ibis-mummy pots, i.
34 ; amphorae holding offerings to the
gods, 37 ; the pyramid of, door jambs
decorated with tiles, 69

Sarabut el Khadem, fragments of por-
celain found in mines of, i. 78

Scandinavian pottery, ii. 393

Sarcophagi, of baked clay, i. 23. See
Terra-cotta.

Scaphe, vase for Trashing, ii. 100

Scarabaeus, porcelain amulets in form of,
scarabsei, i. 81 ; winged, on annular
beads, 82 ; representing Osiris, on pec-
toral plate, 84 ; on head of porcelain
amulet, figure of Phtha Socharis, 87 ;
in bas-relief on porcelain ring-plates,
91 ; on signet ring of glazed steaschist,
99 ; small glazed, found by M. Botta
at Khorsabad, 130

Scyphos, drinking-cup, ii. 103

Seals of glazed stone, i. 99 ; of terra-
cotta, from Kouyunjik, 118 ; of dark
clay from Khorsabad, 125

Sennacherib, records of, inscribed on
prisms of terra-cotta, 113

Sesostris, brick wall built across Egypt
by, i. 12

Set. See Bal

Shabti, Egyptian sepulchral figures of
clay, sun-dried, i. 21 ; of terra-cotta,
29 ; porcelain, 92 ; manner of insert-
ing hieroglyphic inscription, 94, 95 ;
belief of Egyptians regarding them,
96 ; of glazed stone, 98

Shergat, cylinder, containing the history
of Tiglath Pileser, i. 113

Shinar, ruined cities of the plains of, i.
131

Sicily, vases from, their genuineness,
artistic details, ii. 168, 173

Sobah, sepulchres of, sarcophagus re-
moved by Belzoni, i. 24

Stackelberg, the work of, engravings of
moulded vases in, i. 235 ; vases of the
earliest period of Greek art, 256 ; of,
excavations at Corneto, ii. 132

Stamnos, wine vase, ii. 75

Stamps for tiles, ii. 242

Statues of Prometheus of unbaked clay,
i. 158 ; casts of, 170; of mixed
materials, 171 ; competitive exhibitions
of, in Greece, 1 71 ; on large ancient,
of terra-cotta extant in Greece, 172 ;
modes of colouring, 173, 175 ; gilding
on, 176

(Etruscan,} group from Cervetri,

life size, coloured ; ii. 189, 190 ; terra-
cotta, chiefly known from Roman
writers, Etruscan artists employed by
the Romans, 190 ; high antiquity of,
declared by Pliny, 190 ; statuary in
Italy derived from Egypt, chiefly culti-
vated by Etruscans, statues exported to
Greece, 190 ; of terra-cotta placed in
the Capitol by Tarquinius Priscus, 191;
Roman superstitions regarding, 191 ;
no remains of, busts and models in
terra-cotta, found at Gabii and Vulci,
191, 192 -

(Roman,) of terra-cotta, tinder

the republic, the works of Etruscan
artists, ii. 258, 259 ; by Sicilian artists
in the temple of Ceres at Rome, cause
of the extensive use of terra-cotta in
Italy, 259 ; of Greek artists preferred
in later times, inveighed against by
Cato, 260 ; of terra-cotta above three
feet high, forbidden by Numa, 261 ; only
a few of life size remain, 261 ; of bronze
or marble, models of clay for, highly
valued among the Romans, 262 ; very
many small figures made by the Ro-
mans, for various purposes, especially
for the feast of the Sigillaria, a sequel
to the annual Saturnalia, ii. 262, 264 ;
terra-cotta figures, sometimes portraits,
referred to by Latin authors, 264, 265;
mode of fabricating terra-cotta figures,
265, 266 ; sigillaria not stamped with
the potter's name, 26(5

Steaschist scarabaeus inlaid with por-
celain, i. 72 ; Egyptian amulets inlaid
with porcelain, 85 ; coated with glaze
for minute objects, when carving or en-
graving was requisite, 97 ; earliest
dated specimens of glazed, 97

Stoddart, Mr., description of Rhodian
amphorae by, i. 190 ; handles, cases of
amphorae described by, 191 ; opinions
of, regarding the stamps of amphorse,

STRABO.

432

TERRA-COTTA.

192, 194; handles of Cnidian am-
phorae found by, 195 ; inscriptions on
Corinthian amphorae described by, 200

Strabo mentions painted vases, i. 220 ;
mention of the walls of Arezzo by, ii.
188

Straw mixed with brick in Egypt, i._12,
13 ; grass, or reeds, mixed with bricks
in Babylon, 132

Strong style in Greek vases, i. 278-283

Stubble mixed with clay for cementing
bricks in Assyria, i. 106

Subjects of vase painting, classification of,
i. 312

Subjects represented on vases, i. 314
generally original conceptions of the
artist, the Gigantomachia, 316 ; re-
presefctations of Zeus, 317-318; Hera,
319 ; of Athene, 319-321 ; Poseidon,
321, 322; Demeter and Kora the
Eleusinian deities, 323 ; adventures
of Apollo, 324-326 ; Artemis, 326 ;
Hephaistos, 327 ; Ares in a subordin-
ate position, 328 ; Aphrodite, never the
central figure, 328 ; Hermes, 329 ;
Dionysos, 330-334; attendants of
Dionysos, 334-337 ; Pan, 337 ; Diony-
sos and his followers on vases executed
during the decline of art, 338, 339 ;
the adventures of Marsyas, 339, 340 ;
Eros appears only on vases of the later
style, 340 ; scenes where Eros and
other inferior deities are introduced,
341, 342 ; allegorical figures on vases,
348, 349 ; scenes from the life of
Heracles, 350, 357 ; Attic Myths,—
the exploits of Theseus, 357-360 ; the
adventures of Cadmus, 360 ; (Edipus,
360, 361 ; other Theban legends, 361 ;
the story of Helle, the legends of
Northern Greece, 392 ; the Argonautic
expedition found, legends of the family
ofCreon, 362-364; Cephallenian tradi-
tions with other myths, 364 ; the ad-
ventures of Bellerophon, 364, 365 ;
Argive traditions, 365 ; Pisan legends,
legends of Arcadia and Amyclae, 366,
367 ; of Northern traditions, battles of
the Centaurs and Amazons, 368, 369 ;
Hyperborean legends, traditions of
Phrygia, 369, 370 ; events of the
Trojan war, 370-379; subjects from
the Nostoi, 379 ; the story of Ulysses,
Orestes, 380-382 ; the legend of Romu-
lus and Remus, 382-384 ; religious
ceremonies, 385 ; scenes from civil
life, 386 ; games, 387-390 ; subjects
from dramas, 390-392 ; feasts, amuse-
ments, 392-398 ; natural objects, 398,
399 ; subjects adapted from poems,

Homer, 399-406 ; information on vases
to be derived from ancient literature,
406, 407 ; usual costume and attributes
of the figures, 407-412 ; conventional
modes of distinguishing personages,
emblems, conventional treatment of
accessories, 413-415

Suetonius, mention of painted vases by,
i. 220

Surrentum, pottery from, ii. 157

TALEIDES, one of the earliest potters, ii.

Tanis, or Zoan, sun-dried bricks from. i.
17

Tarentum, site of the oldest Italian pot-
teries, ii. 128

Tempei-a, Egyptian vases painted in, i.
50 ; figures painted in, 51 ; vases of
fine terra-cotta painted in, 204

Tenamen, mummy case of, inlaid with
porcelain, i. 71

Terra-cotta (Egyptian), i . 22 ; sarcophagi of
Tourah quarries, 23 ; sepulchral figures
of persons of inferior condition, 29, 31 ;
vases of, See Vases ; — seldom used for
decorative purposes, 45 ; processes of
preparing and moulding, 45-47 ; votive
and other figures of, painted in tempera,
resembling Roman sigillaria, 50 ; ar-
chitectural ornaments in, 53 ; lamps
of, see Lamps ; — polished, 54; polished
tiles of the Grseco-Egyptian age used
for writing, 64, 65 ; moulds for amu-
lets, 80

(A ssyrian) , cylinders and prisms

inscribed with cuneiform characters, i.
113; description of title-deeds of, 115;
histories, almanacks, &c., of, from the
palace of Sennacherib at Kouyunjik,
116 ; seals, 118 ; vases, See Vases ;
— figures, architectural ornaments,
moulds of, 124, 125

(Babylonian.) various forms of

terra-cottas used as documents, i. 144 ;
cylinders of, 145 ; bas-reliefs of,
modelled or stamped in a mould, 146

(Greek), various uses of, i, 159 ;

tiles painted and ornamented, 162 ;
tiles used in sepulchres, 163 ; rare
Sicilian tiles of, 163 ; tiles, labelled
and stamped, 164, 165 ; joint tiles
antefixa of, 165, 166; temples of,
167 ; friezes of, not of pure Greek
art, 167 ; cylindrical grooved tiles for
draining, 168 ; paste of, for figures
and statues, 168 ; colour, manner of
working, invention of moulding in paste
of, 169"; statues of, See Statues ;— two

TERRA-COTTA.

433

TYRE.

groups in relief at Athens, 170; used
chiefly for small figures, 172 ; manner
of moulding them, 173 ; pigments used
in colouring, 176 ; painted bas-reliefs
of, 178 ; masks, ornaments of, 179,
180 ; works of art in, sold cheaply,
180 ; cones for hanging from the
necks of cattle, 181 ; discs of, 182 ;
puppets mentioned by Xenophon and
Aristotle, 182, 183 ; circular lamps,
184 ; pithoi, amphorae. See Vases.
Terra-cotta (Etruscan), tiles publish-
ed by Gori, ii. 187 ; uses served by
tiles in sepulchres, 188 ; walls of
Arezzo built of tiles, 188 ; architec-
tural decorations of, slabs painted
with figures in red and black on
a cream-coloured ground, 188, 189;
modelling in, preceded working in
stone, 189 ; friezes of, bas-reliefs on
sarcophagi, 192 ; smaller sarcophagi
with bas-reliefs painted in water-co-
lours, inscriptions painted, not cut,
tint of the paste, their forms, 193,

194 ; sarcophagi chiefly found in the
tombs of Chiusi and Monte Pulciano,

195 ; four different pastes of, for
vases, 195 ; vases of, See Vases ; — bas-
reliefs, found at Capua, supposed to be
Samnite; statues from Ardea, 222

(Roman), tiles of, Latin

terms for, explained by Isidorus, ii. 229;
paste for tiles, its composition and
manufacture, flanges the distinctive
mark of tiles, 229, 230 ; tiles, fre-
quent occurrence of, throughout the old
Roman Empire, varieties described,
their uses, 230-232 ; various dimensions
of tiles, 232, 233 ; tiles, use of, in se-
pulchres, inscribed with names of Ro-
man legions, 233 ; roof-tiles, at Royston,
covering or inclosing sepulchral urns,
234 ; joint tiles, manner of placing,
ornaments of, 234, 235 ; hollow tiles
for flues, description of, 235, 236;
broad, thin squares of, for casing walls,
237 ; pipes of, for drains, 237 ; used
with marble and glass for mosaic
pavements, no mosaic extant earlier
than Augu|£us, 238 ; estates or farms
where tiles of, were made, 213-245;
extensively used in architectural de-
corations, columns, corbels, spouts,
252, 253 ; bas-reliefs on slabs of, cast
in a mould and painted, used as friezes,
254 ; bas-reliefs, subjects of, treat-
ment of subjects, ornaments, 354, 355;
bas-reliefs, examples of, from roofs
and walls of Roman buildings, 256,
257 ; statues of, See Statues ; — applied

VOL. II.

to various peculiar uses, 267, 268 ;
moulds for false coins, clay used in
their composition, mode of impressing
the clay and casting the coin, 268, 269;
apparatus for coining and base coins
found at different stations in France
and England, 269, 270 ; dolls, astra-
galus, and other toys of, found in
children's cemeteries, mentioned by
Latin authors, 270, 271 ; lamps of,
See Lamps ; — vases of, See Vases ; —
moulds of, for making glazed vases,
341 ; moulds of, for making Samian
ware, 352, 353

Terra-cotta (Celtic), — of clay rudely
prepared and imperfectly baked, 378,
379

Teutonic pottery, ii. 387
Thasos, amphorae from, i. 196
Theban myths on Greek vases, i. 360
Thebes, Memnonium at, arches of sun-
dried bricks, i. 14 ; bricks from, 15-
20 ; arch of brick, 20 ; head-dress of
inlaid porcelain found at, 70
Theocritus, the later scholiast of, allusion
to fictile vases by, i. 220 ; boxwood
cup described by, 308
Theodorus, inventor of the art of model-
ling, i. 169

Theseus on Greek vases, i. 357
Thericles, the most famous of Corinthian

potters, ii. 127

Thothmes III., triumphal procession,
vases containing incense, wine, &c.,
i. 35
Tiglath-Pileser, history of, on terra-cotta

cylinder, i. 113
Tigris, clay supplied by inundations of,

i. 106

Tiles, See Terra-cotta; Egyptian, used
for writing and inscriptions, i. 64, 65;
glazed for inlaying, 69
Title-deeds of terra-cotta, i. 115
Tourah, quarries, sarcophagi of quarriers,

i. 23

Toys, children's, small vases, Egyptian,
i. 41 ; terra-cotta figures, Egyptian,
51 ; of porcelain, 79 ; dolls of terra-
cotta found in sepulchres at Athens,
182 ; vases, probably, found near
skeletons of children, 239 ; vases in
the British Museum, 256 ; found in
. Roman sepulchres, ii. 270, 271 ;
earthenware, found at Bautzen, Os-
chatz and Luben, 390
Treves, palace of Constantino at, ii. 226
Tripous, earthenware pot, ii. 91
Tryblion earthenware dish, ii. Ill
Tyre, Egyptian lecythus found in the
ruins of, i. 55

ULYSSES.

434

VASES.

ULYSSES, represented on Greek vases, i.

380, 382
Urns, sepulchral. See Vases.

VASARI family, at Venice, manufacturers
of counterfeit vases, i. 21 9

Vases (Egyptian), sepulchral, of terra-
cotta, their offices and forms, 31-33 ;
of terra-cotta, for domestic use, i. 33 ;
ibis mummy-pots, 34, 35 ; amphorae
of terra-cotta, used as packages for
exported products, 35 ; smaller am-
phorse for domestic use, 36, 37 ; three-
handled, 38 ; jugs of unpolished clay of
various forms, 39, 40 ; prototypes of
Greek, 39, 40 ; extensive use of, 43,
44 ; distinguishing marks of, 45 ;
manufacture of, 45-47 ; decorations,
painting of, 48-50; of enamelled
earthenware, or polished terra-cotta,
their various shapes and uses, 54-57 ;
polished red jars, 57-60 ; of red ware,
compared with Roman, 61 ; analysis
of red ware, 61 ; texture and colour
of, after Alexander's conquest of
Egypt, 61, 62 ; custom of placing in
tombs, 63 ; of porcelain, size, uses
of, 73, 74 ; porcelain, in imitation
of metal, 75 ; porcelain, found in
sepulchres of Etruria, 75 ; shapes,
decorations of porcelain, 74-76

(Assyrian), of unpolished terra-
cotta, i. 119-120 ; resembling Greek
aryballos, 121 ; containing human
bones, 122 ; ornaments of terra-cotta,
123 ; of porcelain, chiefly found in
tombs, 129 ; colours and ornaments of
porcelain, 130

(Babylonian), rows of, built into

a brick wall, i. 142 ; of earthenware,
found in mounds, 143, 144 ; of straw-
coloured clay, with Chaldsean inscrip-
tions in the Hebrew character, 153

(Greek), various kinds of, i. 187 ;

use, manufacture of pithoi, 188 ; dis-
tinguishing marks of terra-cotta am-
phorse, 189; amphorse used in com-
merce, 190 ; origin of the long shape,
190 ; Rhodian amphorae, described by
Mr. Stoddart, 190 ; bases of am-
phorae, 191 ; seals of amphorae, 191-
194 ; objects of stamping amphorae,
192 ; characteristics of amphorae from
various Greek cities, 195-202 ; flower-

pots of terra-cotta mentioned by Theo-
phrastus, 202 ; of terra-cotta, coated
with stucco, containing bones, 203 ; of
fine terra-cotta painted, with figures in
relief, 204 ; of terra-cotta in imitation
of metal, 205 ; of peculiar shapes,
206 ; of fine terra-cotta pottery, po-
lished and slightly varnished, number-
less examples still existing in Europe,
museums and collections where they
are preserved, 209-210; discovery of,
of polished ware in tombs of Greece
and Italy, 210 ; arrangement of, in
the various sepulchres, 211-214 ;
publications investigating and illus-
trating by plates the subject of ancient,
215-217; sepulchral, position, con-
tents, injuries of, 217 ; sepulchral,
preserved by an outer case of coarser
pottery, 218 ; ancient, fraudulent re-
pairs of, 218; fraudulent tracing of
designs on plain, criteria for detecting
counterfeits, modern imitations of, 219 ;
Pindar's, the first express reference to,
220 ; painted, mentioned by Athenaeus,
Strabo, Suetonius ; sepulchral, by
Aristophanes, 220 ; ancient modes of
repairing, 220, 221 ; without inscrip-
tions, dates assigned to the art of
making, 221-223; ornaments, and
subjects of, furnishing criteria for de-
termining their dates, 224 ; classifi-
cation of, by D'Hancarville, 225;
classification of, by the Due de Luynes,
226 ; paste, modelling of, See Pottery ;
extreme lightness and thinness prized
in, 228 ; parts and ornaments of, gene-
rally modelled by the hand, 232;
ornaments of, stamped out with moulds,
234, 235 ; entire, produced from
moulds, 236, 237 ; various forms of
amphorae, jars, and small vases pro-
duced from moulds belonging to the
latest period of Greek art, 237-240 ;
large, modelled on a frame, 240 ; sun-
dried before painted, process of, diffi-
culties of painting, 241-244; various
opinions as to the composition of the
black and white used in painting,
manner of laying on colou/s in painting,
245, 246 ; minerals forming colouring
matters, liquid used in mixing colours
for, 247 ; colours of, changed when
exposed to fire, 248 ; description of
furnace for baking, 249, 250 ; styles of
painting, See Art ; earliest, found with
inscriptions, ii. 15 ; all found in tombs
not merely sepulchral, 66 ; carelessly
executed on one side, intended for de-
dication to the gods, 66, 67; of painted

VASES.

435

VASES.

ware adapted for use, but not for the
commoner purposes, 67 ; used as toys,
for decoration, given as prizes in
games, 67, 68 ; Millingen's classifica-
tion of sepulchral, 70 ; not till later
times receptacles for the ashes of the
dead, used in funeral rites, 70-72 ;
authors quoted as authorities in the
nomenclature of, 72 ; difficulty of ap-
propriating the names of, 73, 74 ; clas-
sification according to shapes, 74 ;
used for stores, 74-80; large, chiefly
used for drawing water, names and
description of, 80-82 ; the drinking-
cup, called rhyton, 82, 83 ; small,
narrow-necked, for holding oil or wine,
83-86 ; large, open, wine-coolers, 86-
90 ; of coarse ware for pots, 90 ; with
feet, stands for wine-coolers, or used
to heat liquids, 91, 92 ; jugs and open
cups for carrying wine, 93-99 ; descrip-
tion and names of others applied to va-
rious purposes, 90-101 ; broken and
placed before nouses, as an emblem of
death, 102 ; drinking- cups, names,
descriptions, examples of, 102-110 ;
various kinds of, used for holding food,
110, 111 ; substitutes for dice-boxes,
112 ; found near sites of ancient potte-
ries, See Potteries; found in Italy, See
Italy; of porcelain, Egyptian, or in
imitation of Egyptian, 178, 179 ; imi-
tated by Wedgewood, by Gargiulo in
Naples, by Mr. Battam, 180 ; ancient
counterfeits, engraving, forgery of Brond-
sted and Stackelberg, 181 ; high prices
of, in ancient Rome, Cleopatra's value
for them, 181 ; value in Greece,
prices given in different parts of Eu-
rope, in modern times, for collections,
or single works of art, 182-184 ; acci-
dents enhancing the price of, 185, 186.
Vases (Etruscan), the oldest coarse,
brown, imperfectly baked, ii. 195; seem-
ingly imitations of wooden vases, 196 ;
in forms of huts, found near the Alban
Lake, 196, 197; how distinguished
from the later Hellenic, 198 ; belong-
ing totheageofthePelasgi, 198, 199 ;
of black earthenware, opinions touch-
ing the material and composition of the
paste, 199; of black polish, analysis of the
paste, 200 ; black, made with the hand,
character of the ornaments incised or
stamped, rudeness of forms, of the early
schools of Asia Minor, compared with
Etruscan asses, 200, 201 ; example of,
suggesting an imitation of works in
metal, 202 ; forms of, their use, 203,
204 ; canopi, sepulchral vases, 204,

•205 ; probable period of, 205 ; mytho-
logy of, 205-207 ; on, character of in-
scriptions, 207, 208 ; sites of sepul-
chres containing, 208; distinctive
styles, varying with locality, 208, 20.» ;
references to, in Juvenal, Martial, and
Horace, 209, 210 ; of red earthenware,
jars too large to be turned on the wheel,
their shapes and peculiar ornaments,
composition, and colour of the paste,
210, 211 ; the peculiar patterns of,
probable origin of ; Etruscan trade in
the Mediterranean, 211, 212; red,
smaller of finer clay, found at Vulci ;
sepulchral vases, modelled rudely in
human form, 212, 213 ; of fine yellow
earthenware, imperfectly baked, of a
later period, moulded in shapes of ani-
mals, resembling Doric vases, 213 ;
executed in imitation of Greek glazed
vases, Etruscau influence appearing
in the subjects, different methods of
imitation, examples, supposed age of
this ware, 214-217 ; of pale-coloured
clay, with dull glaze found at Orbe-
tello and Volaterra, 217; painted
with white figures on a black ground,
with old Latin inscriptions, found at
Orte, 218

Vases (Roman), of terra-cotta, not
works of art, adapted only to common
use, ii.299, 300; paste for. See Pottery;
made on the wheel, modelled, or
pressed out of moulds, 302 ; the huge
size of, 306 ; references to, in Latin
authors, showing their low price, 306,
307 ; used for transport of commodi-
ties, for religious rites, for domestic
purposes, 307 ; huge, used for stores,
308 ; makers of dolia distinguished
from other potters ; dolia mentioned
by Cato and Pliny, 309 ; names
inscribed on dolia, 309, 310 ; am-
phorae described, their various uses,
310, 312 ; amphorae literatae, 312 ;
sizes of amphorae, made by slaves or
freedmen,312; curious stamp on an am-
phora, 312; spots in England where they
have been found, 313 ; terra-cotta, ex-
tensive use of, in early days of the Re-
public, discontinued, under the Em-
pire, called Samian ware, 314 ; used
in sacrifices, 315 ; of earthenware, su-
perseded by glass and metals as Rome
advanced in power and wealth, quota-
tions in proof from Latin writers, 315,
316 ; of various shapes described, with
their Latin names, 316-319; exten-
sively manufactured at Rome, but
all the finer specimens imported,

* •

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