FIGURATIVE TERRA-X REVETMENTS IN ETRURIA or FIGURATIVE TERRA-COTTA REVETMENTS IN ETRURIA AND LATIUM IN THE VI. AND V. CENTURIES B.C. FIGURATIVE TERRA-COTTA REVETMENTS IN ETRURIA AND LATIUM IN THE VI. AND V. CENTURIES B.C. BY E. DOUGLAS VAN BUREN NEW YORK E. P. BUTTON AND COMPANY 1921 PREFACE THE excavations of the last few years have added enormously to the material available for the study and comparison of the figurative terra-cotta revetments in Etruria and Latium. But the results of these excavations are only partially published, and, when published, have appeared in numerous periodicals, some of them inaccessible to the ordinary student. A collection of this scattered information should be helpful for further researches, and I trust that this modest attempt at classification may inspire others to carry on the work to more definite conclusions. Archaeologists have thus far been so largely occupied with investigating isolated portions of the material that there seems to be an opening for a synthetic study of the subject. Every year excavations in Italy result in so many fresh finds that a catalogue of this kind must necessarily need revising before many years have passed. But in another field the value of H. Koch's Dachterrakotten aus Campanien (Berlin 1912), or Kekule's Terra- kotten von Sicilien (Berlin, 1884) has proved so great, that I venture to hope a simple catalogue of the figurative terra-cotta revetments from Etruria and Latium in the earliest periods may be found useful. My thanks for permission to publish photographs are due to the following : Dr. Lacey Caskey, of the Museum of Fine Arts, Boston ; Dr. G. Q. Giglioli, of the Museo di Villa Giulia, Rome ; Dr. Luce, of the University Museum, Philadelphia; Professor Allan Marquand, Princeton, N.J.; Professor R. Paribeni, of the Museo Nazionale Rome ; Professor L. Pernier, of the Museo Archeologico, Florence ; Miss G. Richter, of the Metropolitan Museum, New York ; Dr. Sieveking, of the Antiquarium, Munich ; Mr. Hamilton Smith, of the British Museum ; Professor Zahn, of the Antiquarium, Berlin. 1692409 vi PREFACE For help and information I am greatly indebted to M. E. Babelon, Professor E. Galli, Dr. Giglioli, Dr. Luce, Professor Mancini, Signori Mengarelli and Nardini, and, above all, to my husband, Dr. A. W. Van Buren, without whose never-failing advice, assistance, and encour agement I could never have accomplished my task. E. DOUGLAS VAN BUREN. HOME, 1920. CONTENTS PAGE PREFACE v ANTEFIXJE INTRODUCTION . . .,.. . .3 DIVISION I GORGON . , .' . 6 II SATYRS' HEADS . . .. ." . ., t , g ,, III ACHELOUS . . . , . ' ; : . .13 IV FEMALE HEADS . . .;: . . ; . . !^ V SATYR AND M^NAD . .24 VI ANGUIPEDE DAEMON -\ . . 26 VII HARPIES . V . -27 VIII WINGED BEINGS . 28 IX CONVENTIONAL MOTIVES . ? ' 28 AKROTERIA INTRODUCTION __. ... .31 TYPE I GRIFFINS AND BIRDS . . . . . . . .36 II HORSES > . . . .38 III SEA MONSTERS . . .39 IV GROUPS 40 V WARRIORS 4I VI PALMETTES 47 VII UNCERTAIN MOTIVE 47 viii CONTENTS PAOB KYMATION MOULDING 47 GUTTER-PIPES 48 COLUMEN 48 MUTULI 50 SINGLE SLABS 51 FRIEZES INTRODUCTION . . . 57 TYPE I PROCESSION OF ANIMALS 59 II RIDERS IN SINGLE FILE 59 III ARMED RIDERS IN PAIRS 60 IV CHARIOT AND WARRIORS 63 V CHARIOTS WITH WINGED HORSES . . . . . . 66 VI CHARIOT-RACES 69 VII ASSEMBLY OF DEITIES . . 69 VIII SYMPOSIUM . . 70 IX DANCES 71 X UNCERTAIN MOTIVE 72 LIST OF ILLUSTRATIONS (At evd of Volume) CANDELABRUM, BRITISH MUSEUM PL. I, FIG. i. SMALL BRONZE, METROPOLITAN MUSEUM . . . . . ,,2. ANTEFIX, GORGON, SATRICUM, I, i . . . . . II, i. ,, ,, CAERE, I, i ...... ,, ,, ,, 2. ROME, I, v 3. ,, UNCERTAIN PROVENANCE, I, viii . . . ,, ,,4. ,, SATYR'S HEAD, SATRICUM, II, i . . . . III, i. FALERII, II, i ,. 2. SATRICUM, II, iii 3. ROME, II, iii. . . . . 4. FALERII, II, iv . . . . IV, i. ,, ,, CAERE, II, vii ...... 2. ,, ,, UNCERTAIN PROVENANCE, II, ix . . 3. VEII, II, xi 4. ,, ACHELOUS, VEII, III, i V, i. HI. i 2. ,, FEMALE HEAD, CAERE, IV, ia . . . . VI, i. (PROFILE), IV, ia . 2. IV, ib VII, i. it it it it **. ^ . . . ,, ,, ,, 2. it a it it * i* ..... ,, ,, ,, 3- > a AV, iv . . . . ,, 4* i, (PROFILE), IV, IV VIII, I. PRAENESTE, IV, vii . . . . 2. CAERE, IV. viii .... 3. ,, ,, ,, IV, vui . . . . ,, ,, ,, 4. SATRICUM, IV, v IX, i. (PROFILE), IV, v . . . ' 2. ,, CAERE (PROFILE), IV, viii X, i. ,. ROME, IV, ix 2. ,, PERUGIA, IV, x . . . . . XI, i. PRAENESTE, IV, xi . . . . 2. VEII, IV, xii XII, i. FALERII, IV, xiii ...... 2. ORVIETO, IV, xiv 3. ,, UNCERTAIN PROVENANCE, IV, xv . . 4. CAERE, IV, xvii .... XIII, i. SATRICUM, IV, xviii .... .... 2. " ETRURIA," IV, xviii . . . . 3. ix x LIST OF ILLUSTRATIONS ANTEFIX, FEMALE HEAD, LANUVIUM, IV, xx . PL. XIV, FIG. i. ,, ,, ,, CHIUSI, IV, xxiv .... ,, 2. SATYR AND MSNAD, SATRICUM, V, i . . . . ,, XV, i. V i 2 ,, tin a >i * i A ... ,, ,, ,, *| ANTEFIXE, SATYRS AND MONADS, FALERII, V, ii . . 3. ANTEFIX HARPY, SATRICUM, VII, i ...... XVI, i. AKROTERION, BIRD, FALERII, I, xi . . . . . . ,, XVII, ,, i. ,, WINGED HORSE, CAERE, II, i . . . ,, 2. THREE-HEADED D^MON, ORVIETO, III, iv ,, XVIII, ,, i. ,, Eos AND KEPHALOS, CAERE, IV, i . . . ,, ,,2. WARRIORS, FALERII, V, i . . . . 3. (REVERSE), V, i . . . XIX, i. (detail) FALERII, V, i . . . . ,, 2. AMAZON, ROME, V, ii . . . . . . ,, ,,3. COLUMEN, WARRIORS, SATRICUM, i XX, ,, i. MUTULI, SATRICUM, ii 2. SINGLE SLABS, MOUNTED WARRIOR, ROME, i . XXI, i. ,, ,, VlGNANELLO, ill . . 2. ,, ,, FEMALE HEAD, BOLSENA (?), vii XXII, i. ,, HEAD OF ATHENA, BOLSENA (?), viii . . . ,,2. FRIEZES, PROCESSION OF ANIMALS, STATONIA, I, i . . XXIII, i. a a ii it n 1, 1 ... ,, ,, ,, 2. RIDERS, STATONIA, II, i XXIV, ,, i. a it ii H 1 .. a a ,,2. ARMED RIDERS, CAERE, III, i ..... XXV, i. it ii n a All, 1 . . . . . ,, ,, ,,2. VELITR^E. Ill, ii XXVI, i. ,, a SATRICUM, III, iii ,, 2. a a a a AH, 111 .... ,, ,, ,, 3 FRIEZES, AMAZONS, PRAENESTE, III, v XXVII, i. HI, V . . . . . ,,2. HORSES' HEADS, UNKNOWN PROVENANCE, III, vi . XXVIII, ,, i. CHARIOT AND WARRIORS, STATONIA, IV, i . . . ,,2. TOSCANELLA, IV, ii . XXIX, i. WARRIOR MOUNTS CHARIOT, TOSCANELLA, IV, iii . 2. CHARIOT SCENE, CAERE, IV, iv XXX, i. ,. .. IV, vii .... 2. CHARIOTS WITH WINGED HORSES, PRAENESTE, VI, i . XXXI, i. ^ i, VELITRJE, VI, iv . . 2. i> a a a ROME, VI, iv . . ,, ,, 3* CHARIOT-RACE, VELITR^E, VII, i . . . . XXXII, i. SCENES OF CHARIOTS, SYMPOSIUM, ETC., ROMB . . ,,2. ANTEFIX^E ANTEFIX^ INTRODUCTION IN the publications of the excavations of various sites in Latium and Etruria the antefixae have been discussed in correlation to the rest of the material discovered ; especially in the Guida del Museo di Villa Giulia (Rome, 1918), Professor Alessandro Delia Seta has given an admirable account of terra-cotta revetments in Latium and Etruria as a whole, the collection of the individual pieces and the phases of development of this branch of art. For purposes of con- venience the number of the object as quoted in his catalogue will always be cited as Delia Seta No. , with a further reference to the third edition (1913) of Helbig's Fuhrer durch . . . Rom. Information as to the clay, moulding, baking and colouring of the Campanian antifixse has been most fully treated by H. Koch, Dachterrakotten aus Campanien (Berlin, 1912) : as the same details apply to those from the region under discussion I feel myself dispensed from repeating the matter here since I could add nothing to his able work. The clay of the antifixae from Etruria and Latium is usually less well purified than that from Campania ; it is coarse, with many grains of mica and black particles, and necessitates a thick coating of strong colours to hide the uneven surface. Since the Campanian antefixse come almost exclusively from two sites only, it is easier to group them into classes ; whereas in the more northerly region the examples are from many localities, each of which manifests some slight peculiarity, some variation which differentiates the local specimens from those found in other places. Finishing touches applied with a tool prevented any monotony of type ; nevertheless, the identity of certain examples from widely separated temples, not only throughout Etruria and Latium, but also in Campania, implies that moulds were carried by the work- men whithersoever their work led them. In certain instances, as at 3 4 INTRODUCTION Falerii and Caere, moulds were found near temples, where there are no extant antefixae of these special types (cf. Delia Seta Nos. 7245, 7246) ; for close to almost every temple was a kiln where the ante- fixae for the original revetment were baked and subsequent repairs executed. Adolphe Reinach (Bull, du Musee hist, de Mulhouse, xxxvii (1913), pp. 35-135) sought to explain the derivation and transmutation of the types used for antefixae, but his observations, although sug- gestive, are not always borne out by a more profound study of the material. Certain types are found both here, in Magna Graecia, and in Greece itself; others, like the so-called " Juno Sospita," are indigenous. The name " Juno Sospita '' has been bestowed upon this particular type because it agrees with the description given in classical literature of the goddess. It is noteworthy, however, that the type does not occur at Lanuvium, her sanctuary par excellence. It may be argued that this was because she was there more worthily represented by a cult statue; but it must be remembered that, if correct, this identification would be unique among subjects chosen for antefixae in the early period. A divinity was never so portrayed; the lower ranks of the hierarchy abound daemons, harpies, satyrs, maenads and female heads which probably answered to the Korai of the Athenian Acropolis, and typified the attendants or devotees of the shrine. Owing to their location on the long sides of the roof, the antefixae occupy a subsidiary position, inferior even to the akroteria, where it was permissible, in contradistinction to the usual griffins, horses, or palmettes, to represent human figures, like the akroterion of the temple of Mercury, Falerii, 1 or the group of Eos carrying off Kephalos from Caere.* Only later was this rule relaxed, and the TTOTVLO. 0r)pa>v graced the antefixae of innumerable temples. Throughout the sixth and fifth centuries it may be stated as an invariable rule that the deities were portrayed within, not without, the temple, for even the friezes and the antepagmenta of the columen and mutuli reproduced battles of warriors and Amazons, chariot-races, hunting or banqueting scenes, all attributable to human protagonists. The head of Achelous from Veii (Division III, i) may be considered an exception; but he ranked rather as a hero than a god, and so does not infringe the rule. 1 Delia Seta No. 12463 ; J.R.S., iv (1914), p. 173, fig. 21. A.Z. 1882, p. 351, pi. 15. INTRODUCTION 5 In this, as in other particulars, such as the absence of pediment groups, the early Italic temple differs from the Greek, for there Apollo appeared among the Muses at Thasos, 1 Athena slew giants on her Acropolis/ and Zeus led his fellow Olympians against the Titans on the Treasury of the "Siphnians" at Delphi. 5 It is possible, therefore, that the so-called " Juno Sospita" type symbolises a bevy of maidens, votaries who assimilated themselves to the goddess, like the maidens of Artemis Brauronia ; and, just as the daemons and satyrs protect the sanctuary from occult ills, so a cohort of these warrior maidens is mystically invoked against human aggressors. The subject of the Satyr and Maenad was a favourite one, and is to be found on coins, gems, vases and especially upon the applique bronze attachments upon bowls, cistce, and other metal objects. It is reproduced in an antefix found at Olympia, 4 and also on one of the metopes of the temple of Assos. 5 The whole series of poses represent the figures of a ritual dance. The first movement, the invitation to the dance, is embodied on a bronze handle where the satyr (with equine legs) hastens joyfully towards the maenad, who, startled, springs up to flee. 8 The maenad has almost surrendered in the group from Rosarno Medma, 7 for she does not resist the satyr's encircling arms. But the final phase is seen in the small bronze where the maenad sits enthroned upon the shoulder of her captor, 8 who has himself been captured, for passion has died down and beauty reigns triumphant. 1 Perrot, Hist, de I' Art, viii, fig. 153. * Dickins, Cat. Acropolis Mus., No. 631 ; Brunn-Bruckmann, Denkm., pi. 471. 3 Perrot, op. cit., viii, figs. 173-7; Poulsen, Delphi (1920), figs. 52-7. * Olympia, iii, p. 38, fig. 41. 6 Perrot, op. cit., viii, fig. 107. Guida del Mus. Napoli, fig. 82. 7 N.S. 1913, Suppl., p. 121, fig. 167. Greek, Etruscan and Roman Bronzes, Metropolitan Mus. (1915, G. Richter), No. 62. DIVISION I GORGON TYPE I Caere, Coll. Chigi, Siena ; Caere, Florence * ; Satricum, Delia Seta No. 10213 ; Rome, Comitium.* The mask is almost round, in very low relief, and separated from the base by a narrow " neck-space " ornamented with either two or four raised circles. The arched brows are thick, the eyes round and staring between raised rims to represent the lids. The nose is squat, with spreading nostrils. The coarsely treated ears are set very high. The mouth is a concave depression with a surrounding plastic contour ; the tongue protrudes between two rows of even teeth, which in some cases are rendered plasti- cally, in others are only painted. On the forehead, cheeks] and bridge of nose are little groups of three undulating lines which have been thought to depict tattoo marks, 1 but probably were merely intended to indicate wrinkles. Over the forehead small single locks, slanting inward towards the centre, all end in a spiral curl. The beard consists of flat, flame-like locks which leave the chin and cheeks free. From behind the ears two pearl-locks on either side hang down almost to the base and end in a double fringe. The head is surmounted by a flat band which terminates on either side in an outward curving volute. Above this is a thick torus, beyond which spring the convex flutings of the shell. The small base is decorated with varying motives : the example in Siena has a complicated meander ; that in Florence, a braid pattern ; the specimens from Satricum have a base plain above with a narrow band of elongated S below, or chequers in red, black and cream. V. Century. Colouring. Hair, beard, brows and eyelids are black ; eyes, mouth, tongue, and : * wrinkles," red ; eyeballs and teeth, white. The torus has diagonal bands of red, black and cream ; the flutings are cream outlined alternately with red and black. 1 Pellegrini. Studi e Materiali, i, p. 145, No. 2 ; Koch, op. cit., pi. xxxiii, 2. 1 Mus. Arch., Nos. 72, 997. 3 N.S. 1896, p. 31, fig. 9; Helbig, ii, p. 350, No. 1786 /. Broken: r. side of shell and most of base. 4 N.S. 1900, p. 143; G. Boni in Archaologia, Ivii, pt. i, p. 180. A. Reinach, Bull, du Musie hist, de Mulhouse, xxxvii (1913), p. 63. 6 GORGON 7 TYPE II Caere, Coll. Chigi, Siena. 1 The mask is practically identical with the previous type, save that the curls over the forehead lie more closely, and there are two protruding tusks at each outer corner of the mouth. But the neck-space is wider and is completely filled by a small torus, from which depend five large tongues. Below them a flat band curves down to the base in the middle and ends in volutes on either side. The outward curving volutes of the band which surrounds the head are set very high. The base has a pattern of double meander. V. Century. Colouring. Mask as before ; small torus and tongues in neck-space in red and black. TYPE III Caere, Coll. Chigi, Siena.* The face is less round, the ears are larger, the tusks more prominent. The hair is in curls over the forehead and in three pearl-locks with long fringed ends behind each ear. The beard is in longer, less distinct locks than in the previous types. The neck-space has two narrow semi- circular bands. On the base are two branches springing from a central palmette. V. Century. Colouring. As previous types. TYPE IV " Etruria," Kopenhagen * ; Monte Alcino, Leiden.* The face is round, the eyes large and staring. The tusks are enormous, and the tongue covers the whole chin. The locks over the forehead are longer, the beard far more deeply set than in earlier types. Two pearl-locks reach to the base on either side. In the ears are round earrings. The volutes of the torus rest just above the base, which is decorated elaborately with a broad border stripe in three parts ; a small red line, a white band with a row of red dots, and in the middle a broad red meander, the space filled with a black cross with dot fillings. Colouring. As previous types. TYPE V Rome, Mus. dei Conservatory 1 The mask is almost round ; the eyes almond-shaped between thick rims. The mouth has a plastic contour, tusks, and protruding tongue. The hair 1 Pellegrini, op. cit., No. 4 ; Koch, op. cit., pi. v, 5. Broken : shell. 2 Pellegrini, op. cit., No. 3; Koch, op. cit., pi. v, 7. Broken: left corner of base. 3 National Museum, Case 95, No. 32 ; Fiihrer durch die[Antikensammlung Kopenhagen, i, p. 163 ; Koch, op. cit., pi. vi, i. 4 Janssen, Terrakotten . . . te Leiden, pi. ii, 7, p. 5 ; J. Six, De Gar gone, p. 30, iii, 8*. 8 Pinza, Mon. Ant. Lincei, xv, p. 498, fig. 150 ; J.R.S., iv (1914), pi. xxxiii, 2. Broken : shell. 3 8 over the forehead is in two layers of locks curling in opposite directions. The beard is in long flame-like strands, the hair in two pearl-locks on either side. The parallel undulated lines painted on the forehead represent wrinkles. The small base is decorated with broken meander. Only the outward-curving volutes of the band which surrounded the head now remain, as all the rest of the shell is broken. VI. Century. Colouring. Hair, beard, brows, and pupils black ; cheeks, lips, tongue, and iris red ; broken meander, red and black. TYPE VI Caere, Coll. Chigi, Siena. 1 The large, round face has puffy cheeks, a big mouth, with pendent tongue. There are no tusks. The eyes are round and staring under heavy brows. The hair is in a single row of curls over the forehead, and there is no beard and no shell. Colouring. As previous types. TYPE VII Vignanello, Delia Seta No. 27403. The mask is very small and almost round. The hair is in short spiral curls over the forehead ; there are no side-locks and no beard. The brows arch over protruding eyes. The nostrils spread widely, the mouth is distended, with tusks and pendent tongue. V. Century. Colouring. The clay is red, and covered with a slip which gives a pale red tint to the flesh ; the hair, brows, and iris are black ; cheeks, lips, and tongue red ; eyeballs and tusks white. TYPE VIII Uncertain provenance. Delia Seta No. 25170 ; Delia Seta No. 16396. The mask is small and quite round ; the hair is in scalloped waves over the forehead, but there are no side-locks or beard. The eyes are round and prominent, the thick-lipped mouth is closed, but the tongue protrudes and almost covers the chin, and at each corner are two enormous tusks. Large disc earrings hang in the ears, and on the head is a crown of bosses. End of the VI. Century. Colouring. The flesh tint is cream ; the hair, mouth, tongue, iris, and crown are red ; pupils and circle round iris, black ; eyeballs and tusks white. TYPE IX . Veii, Mus. Villa Giulia. The head is in the shape of a dramatic mask with hollow mouth. The hair is in small scallops over the forehead, and there is no beard. The Pellegrini, op. cit., p. 144, No. I. SATYRS' HEADS 9 conventionalised eyebrows form thick ridges above large round eyes. The immense gaping mouth is embedded in rolls of flesh. There are two variants among these antefixae from the same site which are alike in general form, but vary in details. In the first the teeth are painted as an even row, and the pointed tongue protrudes. In the second the teeth are plastically rendered, uneven and pointed, with four small tusks in place of eye-teeth ; the tongue protrudes ; but here the eyes are smaller and crossed, and there is a semicircular band in the neck-space. All around the face writhe large serpents in such high relief that they are almost in the round. The shell is exceedingly curved, and is composed of long, narrow flutings. V. Century. Colouring. Hair, brows, eyes, black ; tongue, red ; teeth, and balls of eyes, white ; serpents, brown with black markings ; shell with flutings alternatingly red and black divided by white ridges. Unidentified. Ardea, Coll. Campana, Cat., iv, p. 25, No. 22 : " Large antefix with Gorgon and traces of colour." " Etruria," Antiquarium, Miinchen (1901, Christ), p. 24: "Italic antefixes ; in the middle of the palmette framing a Gorgoneion or animal." DIVISION II SATYRS' HEADS TYPE I Satricum, Delia Seta No. 10250 ; Uncertain provenance, Mus. Nazionale, Rome ; Palatine 1 ; Signia, Delia Seta No. 19086 ; Falerii, Temple of Mercury, Delia Seta No. 12495 a >* Velitrae.* The satyr's head is set upon a base which is partially covered by the beard. He has a wrinkled forehead, round, protruding, widely opened ^eyes with heavy arched brows. The nose is squat, the lips full and pouting, the equine ears point straight upward. The hair and beard are represented by a plastic mass : the mouche under the lower lip radiates outward and the moustache consists of two separate strands ending in spirals. Four locks of increasing length end on either side in spirals, the two longest resting on the base. On the head is a wreath of ivy-leaves, berries, and rosettes. The base is adorned with a pattern of meander. VI.-V. Centuries. Colouring. The hair and brows are black ; the eyes have a black pupil and red iris, and the lids are outlined black ; lips, cheeks, beard, and rosettes red ; mouche, moustache, and berries, yellow. The meander on the base is cream, the spaces filled with red above and black below. The example from Falerii has white lines and flecks painted on the beard, which in this case is black, to reproduce the glossy effect. 1 N.S., 1907, p. 453, fig. 25 ; J.R.S., iv, 1914, p. 185. Broken : all the upper part of head. * Helbig, ii, p. 337, No. 1779 c. Broken : all the central part of the face. 3 N.S., 1915, p. 76. Only the forehead and eyes preserved. I0 ANTEFIX^E TYPE II Satricum, Delia Seta No. 10248 l ; Signia, Delia Seta No. 19087. Forehead wrinkled ; very highly arched, plastic brows above round, prominent eyes. Nose squat, lips full and pouting. The hair is divided on the forehead into a series of little locks in relief twisted in opposite directions from the centre of the forehead towards the temples ; the side-locks hang in a solid mass to the base. The beard is plastically indicated, the moustache is in single straight strands. On the head is a wreath of ivy-leaves, berries, and rosettes. The base of the Satricum example is too obliterated to be decipherable ; on that from Signia a large prophylactic eye fills the space. VI.-V. Centuries. Colouring. Hair, beard, brows and eyes, black ; eyeballs and wavy lines on beard, white ; lips, cheeks, and rosettes, red. Satricum, Delia Seta No. 10245 ; uncertain provenance, Delia Seta No. 25169 ; Rome, Mus. dei Conservatori. 1 This type is larger in size than the preceding examples. The forehead is wrinkled ; the brows are less acutely arched ; the eyes are almond-shaped and protruding between thick lids outlined with black. The hair over the forehead is divided into little spiral curls in relief twisted in the direction of the temples. The beard is plastic, but broken up by a series of parallel undulating furrows to portray a ripple. The straight moustache is double. The hair descends in a solid mass behind the ears to the base. On the head is a wreath of ivy-leaves all pointing upward and with interlaced stems and a big bunch of berries below each ear. The base, which in the middle is quite covered by the beard, has a hammer pattern. VI.-V. Centuries. Colouring. The hair, beard and pupils of the eye are black ; the iris, lips, and cheeks red ; the moustache and berries, yellow ; wavy lines painted on beard are white ; hammer, red and black. The beard of No. 25 169 is red. TYPE IV Falerii, Temple of Juno Curitis, Delia Seta No. 2516.' A small head with wrinkled forehead, prominent eyes, and rather pointed nose. The hair is in curls, the long, plastic beard is pointed and the single moustaches sweep down in a straight line from the upper lip. The base is quite narrow, and the design is now obliterated. Colouring. Hair, beard, moustache and lips, red ; eyes and brows, black ; eyeballs, white. 1 Petersen. Rdm. Mitt., 1896, p. 176 ; Helbig, ii, p. 350, No. 1786 t. 1 Pinza, Man. Ant. Lincei, xv, p. 514, fig. 157 ; J.R.S., iv (1914). p. 182, pi. xxxii, a. N.S., 1887, p. 97 ; Helbig, ii, p. 345, No. 1785 e. SATYRS' HEADS n TYPE V Falerii, Larger Temple, Delia Seta No. 7274 l \ Smaller Temple, Delia Seta No. 7202. Large head with wrinkled forehead, thick brows, protruding eyes. The hair and beard are rendered plastically with three spiral side-locks, mouche, and straight single moustache. Six large five-petalled rosettes form the wreath. The ears are less upright and curve round the lowest rosettes. The base is plain above and with a hammer meander below. Colouring. Hair, beard, moustache, and pupils black ; lips, cheeks, iris, mouche, and rosettes red. Wavy white lines are painted on the beard. TYPE VI Caere, Coll. Chigi, Siena. 8 Vivaciously modelled head with low forehead, pointed nose, and promi- nent cheek-bones. The lower part of the face recedes. The eyes are flatly embedded, almond-shaped, and large. The mouth is open and the tongue protrudes ; the equine ears are set high. Compact, thick hair lies on the head, ending in spiral curls symmetrical from the middle outward and falling low on the forehead. The beard is plastically rendered, with lines radiating outward ; the single moustache is straight. No base. Koch considers the provenance from Caere unlikely. V. Century. Colouring. Few traces of colour remain. TYPE VII Caere. 1 The eyes are round, prominent and slightly oblique under heavy brows. The ears are set high and are very pointed. The hair is in a double row of curls over the forehead and a waved lock descends behind either ear to the base. The beard is in detached strands and the moustache in three separate strands. The mouth is open, and shows the teeth. The base is adorned with broken meander. The head is framed in a shell, concave in form and ending high above the base. It is decorated with five palmettes separated by lotus flowers, below whose petals the shell is pierced ; the whole is enclosed in a plain band as border. A torus surmounts the satyr's head, but stretches only from ear to ear, and from it rise five triangular points which produce a crown-like effect. V.-IV. Centuries. Colouring. Hair, moustache, mouche, and outside of ears are red ; pupils, eyelids, brows, and beard, black ; eyeballs and inside of ears, white. 1 Helbig, ii, p. 340, No. 1780 b ; Delia Seta, L'Arte Figurata (1912). fig. 128. * Pellegrini, Studi e Maleriali, i, p. 145, No. 5 ; Koch, Dachterrak., p. 70, pi. xviii, i. 3 Mon. Inst. Suppl., pi. ii, i ; Ny Carlsberg Cat., ii, p. 29, pi. 176, 3 ; Fenger, Le Temple Etrusco- Latin, fig. 55 ; Dunn, Baukunst der Etrusker u. Romer (2nd ed. 1905), p. 84, fig. 94. 12 ANTEFIX.E The ground of shell is blue, the design white with red and black touches ; border all round white. Meander of base red and black. TYPE VIII Falerii. 1 The hair, beard, ears and face are now blackened by traces of fire. The hair and beard are treated plastically ; the moustache is straight and very thick. The ears are placed in a line with the eyes, and are very large and spreading. A torus encircles the head and ends some distance above the base in five-petalled rosettes. Only a fragment of the shell now remains. V. Century. Colouring. Hair, beard, and eyes, black ; mouche and moustache, yellow ; shell, traces of red and black. TYPE IX Uncertain provenance, Florence ' ; Orvieto, " Temple of Jupiter." * The hair is in rough locks, the beard and moustache long and shaggy. The thick brows are traced right across the root of the squat nose. The mouth is wide open in a laugh, showing the teeth. V.-IV. Centuries. Colouring. The hair, beard, moustache, eyes, outlines of lids and brows, are black ; flesh, deep red. TYPE X Narce, Delia Seta No. 16028 ; Veii, Mus. di Villa Giulia. Uncertain proven- ance, Berlin. 4 The hair is in three rows of tight curls which merge into the beard ; below the mouche the beard is rippled by parallel grooves ; the long, straight moustache turns down at an acute angle on either side of the thick, open lips which leave the teeth uncovered. The eyes are obliquely set under heavy, frowning brows. The pointed ears curve round the contour of the skull. The hair hangs in a heavy mass to the shoulders. A torus surrounds the head, and, broadening out towards the centre, unites with the cap-like convex band surmounting the head.. The former is adorned with broad bands of red and black alternately radiating outward ; the latter with upright lines. Above this rises the shell. The base displays a hammer pattern. VI. -V. Centuries. Colouring. Hair, beard, brows, and fine hair depicted on the inside of the ears, are black ; mouche, moustache, cheeks, lips, and inside of ears, red ; eyeballs white. The shell and torus have designs in red and black on a cream ground. 1 Ny Carlsberg Cat., ii, p. 28, pi. 176, 2. Broken : left side, shell, and base. 1 Mus. Arch. Rom. IX, Case C. 3 Ann. Inst., 1881, p. 47. Panofka, pi. xlv. Broken : r. side of shell. ACHELOUS 13 TYPE XI Veii, Mus. Villa Giulia. The beard is plastic, with straight, single moustache ; the hair rises over the forehead like a crest or diadem, and hangs down in three pearl-locks on either side. The forehead is unwrinkled, and the eyes widely opened. A torus encircles the head, and behind it rises the marked curve of the shell which quite overshadows the head. The base of each fluting of the shell is marked by a half-circle in relief. V. Century. Colouring. Hair, beard, moustache, eyes and brows, black ; leaves of shell, black and red alternately. Unidentified. Coll. Beugnot, Bull. Inst. 1831, p. 216 : " Some coloured antefixae, one with the head of a Seilenos in high relief." TYPE XII / SEATED SATYR Caere. 1 The satyr is seated full face, with knees wide apart. He rests his left hand on his knee and raises his right with the palm turned outward. His hair is in long curls over the forehead ; the beard is plastic, with straight, single moustache. The equine ears are very large, and stand out against the background. He is clad in a lion's skin, the mask covers his head, the fore- paws are knotted on his chest. He is encircled by a thick torus ending in volutes curving outward, and beyond this rises the shell, composed of sixteen small flutings divided in the middle and each resting on two knobs. V. Century. Colouring. Flesh, dark red ; hair, beard, and ears, black ; lion's skin, yellow with red ears and muzzle ; torus striped diagonally with black, white, and red ; knobs below flutings of shell, red in a white circle ; flutings alternately red and black, with a white medial line. DIVISION III ACHELOUS Veii, Mus. Villa Giulia. The head is that of a mature man with plastic hair and beard, straight, single moustache, and mouche. The eyes are normal in size and correctly placed. The animal ears and short, thick horns are the usual type as shown on coins and gold work. The head is surrounded by a torus, beyond which rises the extremely concave shell. The back of each fluting of the shell is marked by a disc outlined with cream. There is a variant of this type which 1 Ny Carlsberg Cat., ii, p. 26, pi. 174, 2 ; and pendant, No. 1208. i 4 ANTEFIX.E is identical, save that the beard is in crinkled strands with straight single moustache and the hair over the forehead in tight curls. V. Century. Colouring. Hair, beard, moustache, eyebrows, and horns, black ; shell with flutings of red and black, alternately with white ridges. DIVISION IV FEMALE HEADS TYPE I Caere. 1 The heads are moulded directly on the master tile. The features are heavy, with round, staring eyes, arched brows, large ears, a straight mouth with full lips and a firm round chin. This type may be subdivided into three groups according to slight variations in the size of the heads and the treat- ment of the hair. (a) Hair parted and smoothed down over the head producing a cap-like effect : it hangs in a solid mass on either side of the neck. The ears are very large, and disc-earrings were apparently painted on the lobes. The lips are parted, but there is no smile. VI. Century. Colouring. Cream slip ; hair, black. No further traces of colour. (b) Caere. 1 The face is more oval, with enormous ears, bulging eyes surrounded by thick rims, and a small, bow-shaped mouth. The hair is in a solid, unparted mass above the forehead, and ends in small, tight scallops. (c)* The hair is parted and waved back in scallops over the forehead ; behind the ears it hangs down in two heavy masses, the first attempt at the later side-curls. In the large ears are disc-earrings treated plastically in relief and embellished by a painted design which varies in the different examples. The eyes are indicated by a slight swelling on which was painted the round iris between heavily painted lids. VI. Century. Colouring. Cream slip ; hair, eyes, brows, eyelids, black ; lips and pattern of earrings, red. ( d) Caere ; Vulci. 1 The hair is divided and waved, parted in long parallel grooves, and hangs down in a double mass behind either ear. The disc-earrings are so large 1 Man. Inst. Suppl., pi. iii, 4, 4 ; Berlin, A.Z., 1871, p. 123, C. 4 ; Philadelphia, Univ. Mus. MS. 1808, 1815 ; A.J.A., xxiv (1920), pp. 29 f, figs, i and 2 ; New York, Metr. Mus. G. R. 1032, 1033. 1 New York, Metr. Mus. G.R. 1035. 3 Man. Inst. Suppl., p. i; Berlin; Caere, "Temple of Hera"; Philadelphia, Univ. Mus. MS. 1909, 1912, A.J.A., xxiv (1920), p. 30, fig. 3. Mon. Inst. Suppl., pi. iii, 5, 5 a ; Berlin ; Caere, " Temple of Hera " ; Philadelphia, Univ. Mus. MS. 1810, A.J.A., xxiv (1920), p. 31, fig. 4 ; New York, Metr. Mus. G. R. 1028. 8 Michaelis, Strassburger Antiken (1910), p. 20, fig. 18 ; Furtwangler, Fuhrer Arch. Mus. Strass- burg (1897), No. 1770. FEMALE HEADS 15 that they cover the lobes of the ears. Other details as previous example. VI. Century. Colouring. Cream slip ; hair, eyes, brows, eyelids black ; lips, pattern of earrings, red. TYPE II Velitrae. 1 The head is small, with the hair parted and waved back in crinkled strands. Above each temple a strand is turned straight up above the hair (cf. Type XXIV). The hair hangs down on to the shoulders in a solid mass, but is enlivened by spiral raised lines to indicate curls. The eyes were painted on a slight almond-shaped swelling, rather obliquely set ; the slight curve of the mouth produces the effect of a smile. There are two whole examples, and fragments of at least two others. Clay, greyish. VI. -V. Centuries. Colouring. Eyes, black ; all other traces of colour have vanished. TYPE III Uncertain provenance, Delia Seta No. 26750. A small head with details painted only, not modelled. The face is oval, the eyes round, between almond lids ; the lips appear to be parted, since they are separated by a groove. The whole of the head is covered by a cap (?) which entirely covers the hair and is prolonged along the tile at the back. In the ears are small disc-earrings painted only. VI. Century. Colouring. The cap, brows, lids, and inner markings of ears, black ; eyeballs, white ; the eyes are dark red, outlined with a black circle ; ear- rings red. TYPE IV Caere.* The face is oval, the mouth curved, with full, parted lips ; the chin is firm and round. The eyes are indicated by an almond-shaped swelling between thick rims, and they are obliquely set beneath strongly plastic brows. The hair is in irregular scallops over the forehead and hangs in a double mass on either side of the face. VI. -V. Centuries. Colouring. Cream slip ; hair, eyes, and brows, black ; lips and necklace, red. TYPE V Satricum, Delia Seta No. 10194.* The face is a long oval ; there is very little modelling, for details are supplied in colours. The straight brows are broadly painted above round i N.S., 1915, p. 76, fig. 3. 1 Ny Carlsberg Cat., ii, p. 27, pi. 175, 2 a, 2 b; Philadelphia, Univ. Mus. MS. 1811 ; A.J.A., xxiv (1920), p. 32, figs. 5 and 6 ; Caere, " Temple of Hera." 3 Graillot, Melanges d'arch. et d'hist., 1896, pp. 140 ff., pi. i a; N.S., 1896, p. 34, fig. 5; Helbig, ii, p. 350, No. 1786 E ; J.R.S., iv (1914), p. 167, pi. xxv, 2. 4 1 6 ANTEFIX^E eyes between oblique, almond-shaped lids. The small, curved mouth has full, parted lips. The big ears have disc-earrings. No hair is visible, except the straight side-lock, for the head is covered by a veil (?) under the diadem, both painted with elaborate geometrical patterns. Round the neck is a necklace with pendants. The patterns of the earrings vary, some are rosettes, others a black cross with dot fillings on a red ground. VI. Century. Colouring. Flesh, cream ; hair, eyes, outline of lids, black ; lips, inner markings of ear, necklace, red ; eyeballs white ; geometric designs in red and black. TYPE VI Orvieto, Palazzo Faina, Nos. 373, I76. 1 The details are expressed by colour only. The hair is parted and waved back in sharply defined crinkled strands. The mouth is curved in a slight smile. The eyes are round, between almond-shaped lids. The diadem has a pattern of broken meander. VI. Century. Colouring. Flesh, white ; hair, eyes, outline of lids, black ; meander in red and black ; earrings, red. TYPE VII Praeneste ; Orvieto.* Oval face, with a firm, rounded chin. All details, eyes, brows, and lids are expressed in colour only, not plastically. The eyes are round between the almond-shaped lids ; the mouth is curved, and there is a slight swelling of the cheeks which almost produces the effect of a smile. The inner details of the ears are indicated by a red line only, and in the lobes are large disc- earrings. The hair is in scallops over the forehead, and is crowned by a double diadem adorned with vertical lines. VI. -V. Centuries. Colouring. Hair, now red, was once brown outlined with black ; eyes, brows, lids, black ; lips and earrings, red ; eyeballs, white ; diadem, vertical lines in red and black alternately on a cream ground. Clay, light red. TYPE VIII Caere.' The hair is waved in scallops over the forehead, and three waved tresses hang down behind either ear. The eyes and brows are painted only, the 1 D. Cardella, Mus. Etr. Faina (1888), No. 373. 1 Mus. of the American Academy in Rome. 8 Ashmolean Mus., Oxford : height, cm. 8 by 10.5. Ny Carlsberg Cat., ii, p. 26, pi. 175, I. figs. 40, 41 ; British Mus. Cat. Terrac., B. 624 ; Mus. Gregoriano, Helbig, i, p. 276, No. 437; Mon. Inst. Suppl., pi. ii, 4; Philadelphia, Univ. Mus. MS. 1813, 1814 ; A.J.A.. xxiv (1920), pp. 33 f., figs. 7 and 8 ; New York, Metr. Mus. G. R., 1031 ; Berlin, No. 6681, 13-17 ; Caere, " Temple of Hera." FEMALE HEADS 17 mouth is straight, with full lips. The large ears are correctly placed and support disc-earrings of various designs, eight or twelve petalled rosettes, a series of dots within circles, etc. The treatment of the diadem varies : in the first series it consists of a single band adorned with palmettes separ- ated by lotus-flowers, the curving stems linked by a band. In the second series the diadem is divided into two bands, the lower decorated with dots within circles, the upper with a wreath of laurel-leaves. V. Century. Colouring. Hair, brows, brown ; eyes, brown, with black outline and pupil ; lips and earrings, red ; eyeballs, white ; the diadem has red palm- ettes, lotus-flowers in white, red, and black, and blue band. / '" TYPE IX Aracoeli, Rome. 1 The face is oval, with almost straight brows above plastic almond eyes. The mouth is curved. The hair is in scallops over the forehead and is surmounted by a diadem. There is little modelling, for the artist has worked in broad planes and has relied upon colour to give animation. VI.-V. Centuries. Colouring. Hair and eyes, black ; brows, outline of lids, brown ; dia- dem red, with hammer pattern in black. TYPE X Perugia.' The face is oval, with rounded chin. The eyeballs are indicated by a slight swelling, upon which the round eye is painted between almond lids. The brows rise sharply from the root of the nose ; the mouth is small and straight, with full lips. The hair is in scallops over the forehead and in three pearl-locks on either side. The lobes of the big ears are hidden under large disc-earrings, and the diadem is divided into two concave bands. A torus surrounds the head and ends in volutes curving outwards. From this spring the flutings of the shell. VI.-V. Centuries. Colouring. Hair, eyes, outline of lids, black ; lips and earrings, red ; diadem with leaf-pattern on lower band, and circles on the upper ; the leaves of the shell are red and black alternately, with white ridges. TYPE XI Praeneste. 1 Very small head set in a shell now mostly destroyed. The face is oval. The eyes are indicated by an oval swelling between thick rims. The mouth 1 Mus. Conservator! ; Pinza, Mon. Ant. Lincei, xv, p. 503, figs. 153 a, b ; J.R.S., iv (1914), p. 183, pi. xxxii, i. * Museum No. 368; G. Bellucci, Guida Mus. Etr. Rom. (1910), p. 118, No. 204; Fenger, Le Temple Etrusco-Latin, figs. 37, 38 ; Dennis, Cities and Cemeteries of Etruria, ii, p. 432. 1 Mus. dell ' Aerarium, Palestrina. 1 8 ANTEFIX.E is small and straight. The hair is in scallops over the forehead and in a solid mass over the shoulders. The double diadem rises high in a cap-like crown. The ears are large, with traces of small disc-earrings which were painted only. The head is surrounded by a torus which ends in outward curving spirals. Beyond this is a broad convex band, and from this springs the shell, the flutings of which are indicated by painted curving stripes, consisting of two narrow black lines between broad red ones. The pattern on the base has almost disappeared, but seems to have been a meander. The clay is reddish. V. Century. TYPE XII Veii. 1 The face narrows considerably towards the chin, which is bony and protruding in structure. The eyes are formed by oval reliefs, upon which the round iris is painted between heavily outlined lids. The nose is fleshy, with somewhat spreading nostrils ; the mouth is large and curved, with full, parted lips. The hair over the forehead is scalloped and hangs down on either side of the neck in two waved strands. The lobes of the ears are covered by disc-earrings adorned with a protruding boss in the centre and a circle of dots round the edge. The diadem is ornamented with large circles with a dot in the centre. A thick torus encircles the head, and beyond it spread out the markedly concave flutings of the shell, each fluting quite separate from its neighbour. This type is unusual, however, because the root of the flutings is covered by a series of small scallops. VI. -V. Cen- turies. TYPE XIII Falerii, Larger Temple, Delia Seta No. 7274.' The face is very small, with pointed nose and chin. The eyes are almond- shaped ; the mouth has full, parted lips. The hair is in scallops over the forehead, but there are no side-locks. Disc-earrings are painted on the lobes of the ears. The diadem is prolonged behind the ears in a flattened band which ends in outward curving spirals on a level with the shoulders. The head is framed in a circle of flat discs which form a kind of shell. End of VI. Century. Colouring. Hair, eyes, outlines of lids and brows, black ; eyeballs, white ; lips and earrings, red ; the flat band is cream with a red border, and the discs are cream with black border and a red inner circle. 1 N.S., 1919, p. 27, fig. 10. Delia Seta, L'Arte Figurata (1912), p. 172, fig. 128 ; Helbig, ii, p. 340, No. 1780 g. FEMALE HEADS 19 TYPE XIV Orvieto, Opera del Duomo ; Lanuvium, British Museum, B. 619. Oval face with firm, cleft chin ; the nose is in the plane of the forehead ; the plastic brows are arched, the eyes very flat between thick almond- shaped rims. The mouth is straight, but a depression around it gives the effect of a smile. The hair is waved in thin crinkled strands, and on the head is a double diadem, the lower band decorated with meander, the upper now obliterated ; large disc-earrings hang in the ears. The shell is broken. VI. -V. Century. Colouring. Hair and brows, brown ; eyes and pattern of diadem, black ; lips and earrings, red. TYPE XV Orvieto, Palazzo Faina No. 374 ; Lanuvium, British Museum, B. 618. Uncertain provenance. Antiquarium, Munich. 1 The face is oval. The hair is arranged in close scallops round the forehead, and upon it rests a diadem ornamented with chevrons. There are traces of disc-earrings. The head was set in a shell, but both examples are so much damaged that details are hard to ascertain. VI. -V. Century. Colouring. Hair, brows, and iris, black ; lips and pupils, red ; chevrons on diadem, black and red alternately. TYPE XVI Falerii, Smaller Temple, Delia Seta No. 7212. Small head, with almond eyes between thick lids. The mouth is straight. The hair over the forehead is combed down in a straight fringe. The diadem covers the head like a cap, or polos, and behind it is a torus, from which radiate the flutings of the shell, which is now almost entirely destroyed. End of VI. Century. Colouring. Clay, red. All traces of painting are obliterated. TYPE XVII Caere. 1 The painted brows are strongly defined above round eyes in obliquely set almond lids. The small mouth is curved, and the lower lip very full. In the ears, which are large, and placed very high, are small earrings. The hair is parted and waved back, and the head is covered by a diadem and veil which flows down behind the ears to the base. Round the neck is a string of large beads, and the dress is indicated by fine lines held in place by semi- 1 Christ, A nliquarium (1901) p. 22, No. 390. 2 Mon. Inst. Suppl., pi. iii, 2 ; Ny Carlsberg Cat., ii, fig. 43 ; Pellegrini, op. tit., p. 145, No. 8. 20 ANTEFIX.E circular bands. The head is framed in a shell bordered by a plain band within which are palmettes separated by lotus-flowers, and beneath the petals of the latter the shell is pierced to allow a play of light and shade. The curve of the shell ends high above the base, which has a broken meander. This head is the prototype of the fine 1 1 1. -Century type illustrated in Arch. Zeit. 1872, pi. 41. Berlin, No. 6681 ; British Museum, B. 621. V. Century. Colouring. Hair, brows, eyes, lids, and veil, black ; lips, earrings, and diadem, red ; necklace, and meanders of base, red and black alternately ; dress, dark red. The design of the shell is in red, black, and white on a dark blue ground. TYPE XVIII Satricum, Delia Seta No. 10201 l ; " Etruria," British Museum B. 604. Uncertain provenance.* The brows are plastic, the eyes almond-shaped, and very flat ; the lids form a plastic rim, and a second little ridge marks the juncture of the lid and brow. The large mouth is open in a faint smile. The hair is in a double row of scallops over the forehead, and two thick pearl-locks hang down to the base behind either ear. The pattern of the dress varies, and there are three different sizes of this type, the smallest differing from the other in having a tripartite stepped base and a shell which reaches only to the level of the shoulders, instead of to the base, as in the other examples. The head is encircled by a flat band ending in outward, curving volutes which infringe upon the base. Behind this there is a torus, from which spring the recurved flutings of the shell. The base has a pattern of double meander. VI.-V. Centuries. Colouring. Hair, brows, and eyes, black ; lips, painted disc-earrings, and pattern on dress, red ; flutings of shell, cream, outlined alternately with red and black. TYPE XIX Ardea, Louvre, Campana 5156 (90).' The head is quite small, with prominent almond eyes, heavy lids, and straight mouth with closed lips. The hair is waved over the forehead, and three pearl-locks hang down to the base on either side. The head is encircled by a torus, behind which rises an elliptical palmette with eleven convex leaves, the whole being set against a background of the usual concave Graillot, op. cit., p. 157, fig. 6; N.S., 1896, p. 44, fig. 16; Helbig, ii, p. 350, No. 1786 i. Louvre, Coll. Campana, Graillot, op. cit., p. 158, fig. 7. The fact that this antefix formed part of the Coll. Campana does not exclude its provenance from Etruria, or even Satricum itself, as there were objects from Ardea, etc., besides those from Campania, in that collection. * Cat. Mus. Campana, iv, p. 25, No. 27 ; Koch, op. cit., p. 39, pi. vii, 3. FEMALE HEADS 21 shell, the last fluting of which on either side lies level with the long, high base decorated with a branched pattern. V.-IV. Centuries. Colouring. Hair, eyes, and brows, black ; leaves of palmette and shell outlined alternately red and black ; base, red pattern on cream ground. TYPE XX Lanuvium * ; Comitium, Rome * ; Rome (?).* A large head, with heavy features ; narrow, almond-shaped, obliquely set eyes ; closed mouth, with full lower lip, and big outstanding ears with disc-earrings. The hair is parted and combed forward in narrow, crinkled strands, with three pearl-locks on either side. Round the neck is a necklace with a pendant, and on the head a diadem decorated with a leaf pattern. Above this is a torus ending in double volutes, upon which rest palmettes. Round the torus is an open-work honeycomb pattern, a raised band with groups of three chevrons, and an outer row of moulded leaf-pattern. V. Century. Colouring. Hair, eyes, and brows, black ; lips and earrings, red ; neck- lace and design of diadem, purple ; petals of palmette, honeycomb, chevrons and moulded leaves, alternately black and purple. TYPE XXI " Etruria," National Museum, Kopenhagen. 4 The face is well modelled and full of expression ; the features are all correctly placed, with no sharp transitions of the planes. The hair is smoothly parted, the edge slightly waved. Two long pearl-locks on either side start one above, the other below, the ear. She wears a diadem, a necklace with three pendants, and a dress with a frill. Above the diadem a short torus with spiral ends supports a seven-petalled palmette shell with small petals and sharp ridges. From the shoulders rise a lotus-flower and leaf which both curve outward, their root masked by a rosette. The base is short but very high, and has a bold pattern of broken meander. IV. Century. This type is identical with that from Capua, Koch, op. cit., p. 56, and the provenance from Etruria is open to doubt. Colouring. Hair, brows, and eyes, black ; lips, diadem, necklace, and dress, red. Details of framing in red and black. 1 N.S., 1895, p. 46 ; British Mas. B. 605 ; Archceologia, liii, pi. vii ; Delia Seta No. 3798, pi. xlviii ; Lanuvium, Museum ; private possession. 1 N.S., 1900, p. 307, fig. ii ; J.R.S., iv (1914), p. 186. Broken : all the upper part to chin. 3 Delia Seta No. 25214. Broken : left side and all the shell. 4 Fuhrer durch d. Antikensammlung, p- 163 ; Koch, . cit., pi. xxxiii, i. 22 ANTEFIX^ TYPE XXII Caere. 1 The face is delicately modelled, with high forehead, prominent eyes, and small mouth. The coiffure is very complicated, for the hair is braided across the head and round the ears, forming an S-shaped coil held in place by a band and with the ends hanging free. Upon the back of the head is a low diadem, backed by a broader band from which springs a palmette consisting of five short convex leaves with broad, high ridges. The lowest rest upon the lotus-leaves, which curve outward, held in place by two broad upright S spirals bound in the middle by a band. The small re-entrant base has a parti-coloured hammer pattern. IV. Century. This head is also found again among the types from Capua (Koch, op. cit., p. 59), but the fact that in two different collections the provenance is marked as 11 Cervetri " lends weight to the veracity of the statement. Colouring. Hair, brows, and eyes, black ; lips, earrings, and dress, red ; details of framing, red and black on a cream ground ; base, white hammer meander on red ground. TYPE XXIII Satricum, Delia Seta No. 10228. Small head, roughly worked in coarse reddish clay. The features are very heavy, and the obliquely set eyes protrude from thick lids. The hair is in tight curls over the forehead, while three waved strands hang down to either shoulder. Large earrings with double circles hang in the ears, and on the head is a diadem of discs. Above this is a torus, behind which rises a shell of convex flutings separated by deep grooves. Beyond again are fragments of what must have been a perforated framing. VI. Century. Colouring. No traces remain. TYPE XXIV Monte Amiato, Chiusi. 1 A head imposing " for its size and skill." The features are heavy, with almond eyes between thick lids. The mouth is small, with full lip, and there is no smile ; indeed, the expression is one of rather mournful dignity. The hair is elaborately arranged ; it i? parted and crimped over the forehead, but a broad strand is turned straight up on either side above the brows, and then flows down on the shoulders in finely crimped locks. Above the head is a crown-like roll, and, beyond this, traces of a heavy shell. V. Century. Colouring. Hair, eyes, and brows, black ; lips, red. 1 Siena, Coll. Chigi, Pellegrini, op. cit., No. 9 ; Louvre, Campana, 5172 (149) ; Martha, L'Art trusque (1889), p. 283, fig. 191 ; Koch, op. cit., pi. xiii, 3. a // R. Mus. Arch, di Firenze (1912, Milani), i, p. 237, pi. Ixxxix, i. A very similar head from Corneto, beautifully preserved, is in the possession of Professor Allan Marquand, Princeton, N.J., and eleven other similar heads are in the Museum of Princeton University. FEMALE HEADS 23 TYPE XXV Tivoli, Mus. Villa Giulia. A small head with eyes summarily modelled between outlined lids. The mouth curves slightly, but the lips are closed, and there is no smile. The hair is in a straight fringe over the forehead and in five locks on each side. She wears a necklace and a veil or band over her head, partly covered by a sakkos which is well preserved behind. VI. V. Centuries. Colouring The flesh is dead white ; the hair, eyes, brows, and lids, black ; lips and veil, red ; sakkos, white with chequer pattern in red and black ; beads of necklace, red and black alternately. TYPE XXVI Uncertain provenance, Mus. Nazionale, Rome. The face is oval, with almond eyes obliquely set, small curved mouth, which gives the effect of a smile, hair in scalloped waves over the forehead and three crinkled locks on either shoulder. She wears small disc-earrings, a necklace, and a veil or band partly covered by a sakkos. VI. V. Centuries. Colouring. Hair, eyes, and brows, black ; lips, earrings, necklace and veil, red ; sakkos, cream. TYPE XXVII " JUNO SOSPITA " Satricum, Delia Seta No. 10229 ff 1 ; Signia, Delia Seta No. 19088 ; Antemnae * ; uncertain provenance * ; Norba * ; Caere. The type is always identically represented, but there are two sizes which sometimes both occur among the revetments of a single temple. The face is oval with sharply arched brows and round eyes between out- lined almond lids. The mouth is straight, the eyes large and outstanding. Behind each ear four locks hang down to the base, and round the neck is a painted necklace with pendants. The helmet covers the head and has a diamond sign painted in the centre of the forehead ; it is surmounted by a goat's skin, the face cut away, but the ears and horns standing out like a crest. Behind this there is a broad band with painted designs set against the semicircular concave background. The base has a meander pattern. V. Century. Colouring. Hair, eyes, brows, lids, and helmet, black ; necklace, lips, 1 Petersen, Rom. Mitt., 1896, p. 17, No. 4 ; Helbig, ii, p. 350, No. 1786 h ; A. Reinach, Bull. Mus. hist, de Mulhouse, xxxvii (1913), pp. 63 f. * N.S., 1887, p. 68. 3 Delia Seta No. 26745 ; Berlin, Panofka, Terrak. d. Kgl. Mus., pi. x ; Rome, Mus. Nazionale ; Campana, Cat. Mus., iv, p. 6, Nos. 105, 108. * N.S., 1901, p. 547, fig. 28. 5 24 ANTEFIX^ and inside of goat's ears, red ; goat's skin, yellow ; background, red design on cream ground ; base, cream meander, the spaces filled with red above and black below. DIVISION V SATYR AND M^NAD TYPE I Satricum, Delia Seta Nos. 10255-10269*; Falerii ; Falerii, Temple of Mercury, Delia Seta No. 1 2468 * ; Falerii, Smaller Temple, Delia Seta No. 7216'; Lanuvium ; Rome, Island'; Velitrae. T Of this group there are nine combinations from Satricum alone, and the composition could be endlessly varied, for it embodies the phases of a ritual dance, the approach, courting, pursuit, and capture of the maenad. In the examples from Satricum the satyr has a plastic beard and hair which hangs down in a heavy mass between his shoulders. He has a mouche in rays and a double straight moustache. He is crowned with ivy-leaves and is usually nude, but occasionally a skin is knotted by the forepaws on his chest. Sometimes he holds a serpent. The maenad has hair waved in scallops and falling in a heavy mass behind, round, painted eyes between heavily outlined lids, lips parted by a groove, a thick nose and large ears. As the details are painted only there is scope for great variety of expression. She wears a diadem, a long chiton, and sometimes a mantle, and frequently holds the tcp6ra\a. The work is coarse, but effective. The satyr follows the msenad with hesitating steps, lays his hand upon her arm, is astonished at his repulse, attempts to seize her, while she tries to ward him off. In the group from the Smaller Temple at Falerii the couple advance amicably, the satyr lays his right hand upon her shoulder and holds a rhyton in his left, whilst she places her left hand on his shoulder and holds a fruit or egg in her right. Here the satyr is remarkable in having equine legs. On one antefix from Lanuvium they peer eagerly into the distance, the satyr holding a serpent in his left hand and screening his eyes with his right hand, an action which recalls the phrase VTTOO-KOTTOV x*P a > preserved from a drama of ^Eschylus, 8 with an explanation that this movement of the 1 N.S., 1896, p. 37, figs. io, n ; Graillot, Melanges d'arch. et d'hist., 1896, pp. 144 ff, pi. ii; Helbig. ii, p. 351, No. 1786 m. Ny Carlsberg Cat., ii, p. 32, pi. 179, 4. Bull. Com., 1911, p. 65 ; Helbig, ii, p. 337, No. 1779 s. N.S., 1896, p. 38, fig. 12 ; Helbig ii, p. 341, No. 1781 a. Furtwangler, M.W., p. 250, fig. in text; Tomassetti, La Campagna Romana, ii, fig. 58; Bri ish Mus. Cat. Terrac., B. 615, D. 734-8. 746, 748 ; Lanuvium, Museum. N.S., 1896, p. 38, fig. 13 ; J.R.S., iv (1914), p. 189 ; Helbig, ii, p. 216, No. 1510. N.S., 1915, p. 76. Nauck, Fragm. Trag. Gr., 2nd ed., fr. 339 (Hesychius, s.v. fnr6, Butt. Com., 1910, pi. xm xi. pp. 27-35 : Mengarelli, Bull. Com., 1911. P- 64 ; Hauser, Oesterr. Jahresh 1906, p. 116 ; Peten Arch Anz., 1902! p. 51 ; Savignoni, Rom. Mitt., 1906, p. 77. note i ; Mrs. Strong, J.R.S., iv (1914). fig. 21. 42 AKROTERIA double volutes like the central akroterion of the Athena temple on the Acropolis l is a group entirely modelled by hand and touched up with a tool. It consists of two warriors in mortal combat. The one on the left has been forced on to his left knee and awaits the final blow of his adversary who has got within his guard. He is bearded and his lips are parted by the effort he has made. He wears a crested helmet, a very full, short chiton almost covered by a cuirass, thigh-pieces and greaves, and carries a round shield and a short curved sword. E. Saglio (Diet, des Antiq. iii. pp. 305- 307), has shown that this type of 0o>/m was first found in Ionia and thence introduced to Western Greece about the mddle of the VI. Century. Rizzo (Bull. Com. 1911, pp. 32-35) has fully discussed the armour and weapons, which are a mine of information for the war panoply of the period. The best parallel to the curved sword is on a OTT^XT; from Iconium in Lycaonia.* His adversary, whose lower limbs only are preserved, was attired in like manner and hastens forward eagerly to strike the fatal blow. The figures are well modelled and have an extraordinarily animated appearance. The lower outer edge of the border is decorated with wave pattern projec- tions. The plain surface of the reverse is painted with a rough sketch of the scene depicted in relief upon the obverse. There are also fragments of a left arm, a crest and parts of two shields, the first decorated with a leaf-pattern in red and cream, the second with whirligigs hi red and black. The first mentioned fragments may have formed part of the victorious warrior ; the second shield probably belonged to a group forming the lateral akroterion. VI-V. Centuries. Colouring. Flesh, dark red ; hair and beard, black ; helmet, red with a cream crest with a red border ; chiton, red with a cream border edged with black at the lower hem ; cuirass, cream with details, such as the strings to fasten the shoulder-pieces, in red and black ; Trre^i/ye?, cream outlined with black and red alternately ; thigh-pieces and greaves, red with a cream border. The victor has a red chiton with a wide cream border. Interior of the shield, red with a cream border. The wave pattern below the cream border is black outlined with cream. (ii) Rome, Esquiline. 1 The mutilated torso of a wounded Amazon from shoulders to waist. She wears a chiton and cuirass with shoulder-pieces (eVw/uSe?), which 1 Hans Schrader, Archaische Marmor-Skulptur (Gratz, 1909), pp. 5-9, fig. 7. G. Perrot, Hist, de I'art, iv, p. 741, fig. 359. 8 Bull. Com., 1875, p. 54; Rizzo, Bull. Com., 1911, p. 34; Daremberg et Saglio, Diet, des antiq., iii, 2, pp. 1302-5, s.v. " Lorica " ; Deonna, Statues de terre cuite dans I'antiquiU, p. 103, fig. 3; Petersen, Rom. Mitt., 1896, p. 179; Graillot, Melanges d'arch. et d'hist., xvi (1896), p. 162, note 6; Milani, Mus. Ital., i, p. 93, note 8 ; Wiegand, Ny Carlsberg Cat., ii, p. 19; J.R.S., iv (1914), p. 186, fig 25. AKROTERIA 43 come low down over the breast and are fastened by little cords which are threaded through a buckle at the flap of the shoulder-pieces, and then through a couple of rings attached to the cuirass above the waist. Over the shoulders hangs a rider's cloak which fills the space between the body and the extended left arm. Below the left breast is a wound from which the blood flows down in streams. Height, m. 0-21 x 0*37. End of VI. Century. Belonging to this torso is the fragment of a leg from knee to ankle, partially covered by a greave ; the calf is very full and the ankle slender. Height, m. 0-23. The figure was made of fine, well-worked clay ; the modelling is excellent. Colouring. Flesh, cream ; the black chiton has a red border edged red and black band ; the cuirass is cream, each separate piece outlined in red ; the upper edge (visible under the left arm) is decorated with small eight-pointed stars in black and red ; around the waist runs a red meander. The shoulder-pieces are in two parts, the upper, square portion adorned with a large black star and separated by a line of black squares from the lower, rounded part, which has a black field bordered with red and black. These eVftj/zi'Se?, with their decoration, resemble those depicted on the stele of Aristion, the work of Aristokles. 1 The fastening cords are red ; the cloak is cream outside, lined with red, and ornamented with an elaborate design of chequers in red and black. The greaves are brownish yellow with a red border. (iii) Caere.* A warrior on horseback. The warrior, fully armed, bestrides one horse and leads another. He has a helmet surmounted by a high crest. Beneath the helmet one little spiral curl escapes on to his forehead ; he has a smooth beard and a flowing moustache. His eyebrows are very arched above almond-shaped eyes between heavily outlined lids ; his lips are closed. He wears a chiton and cuirass with fringed tabs over the shoulders and a cloak hangs over his left shoulder, passes across the back, under the right arm, and then the end is thrown over the left shoulder, thus leaving only the right side of the chest and back uncovered. He has greaves and apparently, soft boots with pointed toes. His right arm is bent and he probably held a couple of spears in his closed fist. His left hand, which held the reins, is broken. The horse-trappings are ornamented with con- cave discs, but there seems to have been no saddle cloth. From the proportions of this figure and the quality of the clay it appears to have belonged to the series of warriors which decorated the kymation. 1 Conze, Attische Grabreliefs, pi. ii, I ; Brunn-Bruckmann, Denkm&ler, No. 41 a. Ny Carlsberg Cat., ii, p. 21, pi. 172. 44 AKROTERIA In that case this group must have formed the left lateral akroterion and there must have been a companion piece to balance it on the right. Restorations : a large part of the helmet and crest ; the trunk to the hips, with the exception of the right arm ; the horses' legs except the hoofs ; the tail of one horse ; the support behind. Height, about m. 0-715. VI.- V. Centuries. Colouring. The mounted horse is black with a red mane and tail ; the led animal is cream. The warrior has dark red flesh, black eyes, outline of lids, hair, beard and moustache ; cream helmet, crest outlined red and black ; red chiton ; cream cuirass ; cream mantle lined with red and with a broad red border ; cream greaves and red boots. (iv) Caere. 1 Figures of warriors who crowned the raking cornice of a pediment. The increasing size of the figures which culminated in the central one, m. 0-60 in height, shows that they were placed in such a way that the largest formed the central akroterion of the edifice. This arrangement is very unusual, but at a later period the temple of Luni was adorned in similar fashion. 1 The disposition of the figures in the Ny Carlsberg Museum is arbitrary save for the central one. Besides these nine warriors there are five heads in Berlin and others may have been lost. These warriors all wear the same type of armour, although the details are varied, but it is a curious fact that no weapons have been preserved ; there also seems to be no trace of the shields so prominent in the groups from Falerii, Satricum and Signia. All the warriors have dark red flesh and flowing beards and moustaches which leave the lips uncovered. First warrior on the left. Height, about m. 0-25. He falls backward, wounded in the neck, where a small hole is visible ; there is also another hole or wound on the helmet. He is evidently dying, for he rolls up his eyes so that only the whites show, his lips are drawn back in a last spasm, his right arm hangs limply and he sinks upon his bent right knee. This head displays even greater realism than the celebrated head of the dying warrior from Satricum. He wears a helmet surmounted by a crest-holder and a chiton covered by a cuirass. Broken : left arm and leg, right wrist, right foot ; the head has been broken, but belongs. Colouring. Flesh, dark red ; helmet, cream with black cheek-pieces ; chiton, reddish brown ; cuirass, cream with a belt of small, black, dot-filled squares. No. 2. Height, about m. 0-27. He stands almost in profile, looking towards the central figure. Broken : both arms, left leg at the thigh. 1 Ny Carlsberg Cat., ii, pi. 19, pi. 170. Milani, Mus. Hal., i (1884), p. 89-112, pis. 3-7 ; Mus. Arch, di Firenze, pi. c. AKROTERIA 45 The head does not belong to the body, for there are traces of red hair on the back, whilst the hair on the head is black. Colouring. Helmet and cuirass, cream ; chiton, reddish brown with a black border. No. 3. Height, about m. 0-355. He also looks towards the centre. Broken : both arms, left leg, right leg above the knee ; the head has been broken, but belongs. Colouring. Hair and beard, reddish brown ; helmet, cream ; chiton, reddish brown ; cuirass, cream with a belt of black squares filled with large red dots. No. 4. Height, about m. 0-25. His right arm is raised and sharply bent at the elbow in the act of striking. He wears a helmet and cuirass with large shoulder-pieces. The figure is broken at the hips, and the left arm is broken at the shoulder, the right at the wrist. Colouring. Helmet, cream ; cuirass, cream with a belt consisting of red diamonds filled with black dots and enclosed between red lines ; on the tabs is a swastika in red and black. No. 5. The central figure, height, m. O-6O. 1 He is presented frontally to the waist, but his legs are in profile to right. He is bearded and two long curls hang over either shoulder, one reaching almost to the waist. He wears a crested helmet with an elaborate decoration of two spirals over the forehead and two large spirals before the ears, like irapa^vaOL^ ; this Hauser * considers the " tettix," a tuft of hair which constituted the warrior's scalp-lock, and was covered by a gold ornament to protect it from the enemy. His cuirass has long eVayu'Se? fastened by cords to a ring on the corselet, vr repine? without a fringe and greaves furnished with a pad to protect the ankles ; his feet are bare. The sleeve of his chiton is visible on his right shoulder. His right arm is raised and bent at the elbow as if he held a sword, but the forearm is broken ; the left arm is broken from the shoulder. The head has been broken, but belongs. Colouring. Hair, beard, eyes and brows, black ; eyeballs, white ; chiton, black bordered with cream ; helmet, black with a cream crest edged with red ; cuirass, cream outlined with black and with a broad belt round the waist of black squares filled with red dots ; greaves, cream with a black pattern ; pads, black. The ground of the slab is black. No. 6. Height, about m. 0-34. He steps towards the centre, his back turned towards the spectator. His long hair ripples down his back almost to his waist. Broken : left leg at the ankle, right leg at the thigh. The head has been broken, but belongs. Colouring. Hair, reddish brown ; helmet, cream with a black crest i Ny Carlsberg Cat., ii, pi. 171 ; Castellani Cat. de Vente (1884), No. 488. .Oesterr. Jahresh., 1906, pp. 114-26, figs. 41 and 42. 46 AKROTERIA edged with red ; chiton, reddish brown ; cuirass, cream patterned with black ; greaves, cream. No. 7. Height, m. 0-26. He leans forward and raises his left leg extremely high, as if it rested upon some projection ; his right arm is raised. Broken : left arm at the shoulder, right just below the shoulder ; left leg at the calf, right at the thigh. Colouring. Hair and beard, reddish brown ; helmet, cream ; chiton, red with a white border ; cuirass, cream with a belt of chequer pattern in black ; greaves, cream. No. 8. Height, of head m. o-io ; of the rest of the body, m. 0-13. It is not certain if these fragments belong together. He steps forward with the left foot advanced. Only the torso is preserved. Colouring. Chiton, red with a white border ; cuirass, cream with a belt of black dot-filled squares. No. 9. Height, m. 0-20. He sinks down in a heap with his head bowed. Broken : both arms ; left leg, right leg at the knee. Colouring. Beard, reddish brown ; helmet, cream with black nose and cheek pieces ; chiton, red with a border of white dots ; cuirass, cream. In the Antiquarium, Berlin, are other fragments belonging to this series and illustrated by Wiegand. 1 (a) Head turned to the left. Height, m. 0-115 ; well worked on both sides. He wears a helmet with a crest set in a holder elaborately decorated with squares filled with dots. Hair, red. Wiegand, fig. 6. (b) Head and torso turned left because the right half of the head is unfinished. The appearance of the trunk suggests that he was overthrown. His cuirass has very long eVw/uSe? with square ends fastened by cords to a ring above the belt, which is ornamented with black squares filled with red dots, a design repeated on the upper part of the en-to/uSes. Wiegand, fig. 7. (c) Head turned three-quarters to left. Height, m. 0-8. He wears a helmet with a wide, low ridge, on either side* of which arose the double crest. Wiegand, fig. 8. Colouring. Hair and helmet, red ; the cartilage of the ear shows a black line inside. (d) Fragment of head turned to left. Height, m. o-io. His helmet has a long, stiff crest. Wiegand, fig. 9. (e) Fragment of a head turned right covered with a lion's skin. Height, m. 0-29. Wiegand, fig. 10. (/) Head full face. Height, m. 0-095. Broken: chin and neck. There are, besides these, a torso, two thighs, one leg with greaves, one left and one right foot. 1 Ny Carlsberg Cat., ii, p. 20 a-tn, figs. 6-10 ; Berlin Inv. T.C., bb. 81. AKROTERIA 47 (v) Velitrae. 1 Fragment of a human leg from the middle of the thigh to half-way below the knee. A short chiton with many folds partly covers the thigh Possibly it was part of the central akroterion. Colouring. Flesh, dark red ; chiton, cream with a black border. TYPE VI" PALMETTES " (i) Satricum, Delia Seta No. ioi88. 2 Fragments of a great pierced palmette which formed the akroterion of the sixth-century temple. The leaves of the palmette rise from a calyx flanked by two volutes with palmettes and leaves. Colouring. Cream ground, details in red and black. r (ii) Rome, Via di Monte Tarpeo. 1 Part of the early decoration of the temple of Jupiter Optimus Maximus. The left side of a palmette modelled in relief. On the reverse side the surface is plain and the motive of the decoration in relief on the opposite side is repeated in the same colours. TYPE VII " UNCERTAIN MOTIVE " (i) Rome, Palatine. 4 A fragment found at the top of the " Steps of Cacus," from the revet- ment of a temple. It was found with the fragments of the horse, Types II, iii ; but it seems later than the horse in treatment, although it is so broken and shapeless that it is difficult to define. KYMATION MOULDING (i) Caere. 5 The head of a ram with curly horns which formed the protruding angle of the kymation. It should be compared with the ram's head, the end of a marble kymation found at Eleusis and now in the National Museum,. Athens, which has been dated in the VI. Century. 6 Yet this head from Caere is even better modelled, the hair is no longer rendered by regular rows of tight curls and the masterly modelling produces an effect of the utmost realism. The head projected at least m. 0-24 beyond the roof, because for 1 Apparently this is referred to in N.S., 1915, p. 75, as "human arm (m. 0*23 by 0*7) with sleeve reaching almost to mid-arm, painted white with a double black border." 2 Helbig, ii, p. 354, No. 1786*. 3 Bull. Com., 1896, pis. xii-xiii, 4, pp. 119, 189 ; N.S., 1896, p. 186 ; J.R.S., iv (1914), p. 183. N.S., 1907, p. 539, fig. 61 ; J.R.S., iv (1914). P- l8 4- 6 Ny Carlsberg Cat., ii, p. 22, pi. 174, i ; Fenger, Le Temple Eirusco-Latin, fig. 47. ' 6 Winnefeld, $gtes, Berliner Winckelmannsfestprogramm (1899), p. 19, pi. i. 8 48 AKROTERIA the whole of that extent there are traces of circles painted red and black. The clay is light with black particles. Height, m. 0-14 X 0-34. V. Century. Colouring. Traces of red on the crown of the head, faint traces of red and black beneath. (ii) Veii, Museo Villa Giulia. A ram's head decorating the angle of the kymation, beautifully modelled in naturalistic fashion. VI.-V. Centuries. Colouring. Cream slip. GUTTER-PIPES (i) " Statonia " (Pitigliano). 1 The kymation of the long side of a temple consisting of two elements : (a) fluting which curves outward ; (b) fascia on which were set at intervals lions' masks with gaping jaws. Some of them were pierced to carry off the rain-water, whilst every alternate one was purely ornamental. Height, m. 0-155. VI.-V. Centuries. (ii) Velitrae. 1 Fragments of kymation from the temple under Sta. Maria delle Stimmata. It consists of three elements : (a) narrow fluting ; (b) fascia (painted with guilloche pattern ?) ; (c) covering almost the whole extent from top to bottom are lions' masks set at regular intervals to serve as spouts for the discharge of water from the roof. To some of these slabs still adhere, set at right angles to the kymation, a plain slab decorated only with a pattern of spirals linking palmettes and lotus-flowers. These painted slabs ceiled the roof formed by the overhanging eaves, and should be compared with those found at Satricum. Early V. Century. Colouring. Clay, greyish yellow covered by a cream slip. All colour has disappeared. The roof slab has a cream design on a red ground. COLUMEN (i) Satricum, Delia Seta No. 10054.* The right half of a slab, square in section at the bottom and triangular at the top with an angle of seventeen degrees. This slab is extremely important, as it gives the exact dimensions of the columen, from which the angle of the pediment can be ascertained. It is bordered at the sides by a convex band which decreases in relief towards the top until it merges into N.S., 1898, p. 435, fig. 3. N.S., 1915, p. 76, figs. 4, 5. 3 Rizzo, Bull. Com. (1911), pp. 48-52, figs, ii, 13 ; J.R.S., iv (1914), p. 171, pi. 19 ; Petersen, Rom. Mitt., 1896, p. 180 ; Helbig, ii, p. 352, No. 1786 n. AKROTERIA 49 the plane of the slab which was fastened to the wooden beam beneath by nails, the holes for which are still visible. The subject represented was a monomachia treated in very high relief. A warrior facing to left advances impetuously to strike his adversary. He wears a helmet with Traparjvad&es, but now shorn of its crest, a chiton, cuirass, chlamys, thigh-pieces, greaves and a triangular protection which hangs down in front below his chiton ; this last is possibly the fao-nip, or ) Female head, Delia Seta No. 10051. It is not certain if this and the following fragment belong to the scene. The hair is waved and crownec with a diadem. (q) Back part of a female head, Delia Seta No. 10278. The hair hangs down in a heavy mass behind and is looped up by a band behind the ears. 1 Rizzo. op. cit., p. 41. * Rizzo, op. cit., p. 41 ; Petersen, op. cit., p. I 7 9,g: Helbig, 11. p. 352, No. 1786 a. 54 AKROTERIA (r) Part of a round shield upon which is an emblem of a centaur, Delia Seta No. 10081. (s) Gorgoneion in relief, Delia Seta No. 10090. It has crossed eyes, the curved mouth is deeply embedded in the puffy cheeks and the tongue protrudes. (t) Many fragments of hands, arms and feet, horses' legs and lions' paws. (vii) Bolsena (?). Small head of a woman. The hair is in tight curls all round the fore- head. The eyes consist of a triangular swelling between the lids with heavily marked rims. The brows spring from the root of the nose in sharply arched ridges. The lips of the small, bow-shaped mouth are tightly closed. The head is broken off at the neck and is in a very battered con- dition. V. Century. Colouring. Cream slip for flesh ; hair, brows, eye-lids and iris, black ; lips, red. (viii) Bolsena (?). Small head of Athena. The face is rather long, with firmly modelled cheeks and full chin. The eyes are recessed within their sockets and the rather thick lids are carefully worked. The eyes are marked by a small incised circle for the pupil within the large incised circle of the iris. The full lips are quite straight. In her ears are large disc-earrings. The top of the head was left rough, because the hair and helmet were worked separ- ately and applied to the head when finished. This gives a disagreeable- effect to what is otherwise a well-worked head. V. Century. Colouring. Flesh, cream ; lips and earrings, red. 1 Museo Archaeologico, Florence, Room IX, Case C. Idem. FRIEZES FRIEZES INTRODUCTION FRIEZES upon buildings were a common feature of Assyrian art, where the exploits of the king were commemorated in this manner, and the Hittites also employed this form of ornamentation. Excavations at Neandria in the Troad, 1 at Gordion in Phrygia,* at Ak Alan in Pontus, 3 and above all at Larisa in ^olis, 4 show that the practice of employing terra-cotta friezes nourished in Asia Minor in the sixth and fifth centuries B.C. The relief from Palaikastro 8 proves that in Crete also this usage prevailed. From Kythnos in the Cyclades ' comes a slab with two bands of figures : on the upper, a charioteer drives a biga ; on the lower, a nude youth on horseback gallops towards a tripod. Even on the Acropolis 7 a scene of chariot-races was found, but both these last two examples are single slabs, and there or else- where on the Greek mainland friezes are not forthcoming. Sicily, so rich in splendid terra-cotta revetments, has thus far produced no samples of a continuous figurative frieze. The fact suggests that series of slabs used as a frieze and also the subjects stamped upon them, were brought direct to Latium and Etruria from Asia Minor, possibly by way of Crete. The subjects also derive from Oriental sources and almost all have their counterpart among the finds from the aforementioned sites. Even the details of dress, armour or harness can be paralleled upon Hittite or Assyrian monuments. Studniczka * has endeavoured to show that the chariots derive from Syrian models as well as the hogged manes of the horses which superseded the earlier flowing manes which, like the triga, are considered by him Assyrian- Another motive derived from Hittite art 9 is the warrior hidden 1 Keldewey, Neandria, sistes Berliner Winckelmannsprogramm. 2 G. u. A. Korte, Jb. d. Inst. Ergdnzungsheft, v (1903). 3 Macridy Bey, Mitth. Vorderas., Ges. 12, Jhrg., 1907, heft 4. 4 L. Kjellberg, Uppsala Universitets Arsskrift (1903) ; Arch. Am., xxi (1906), p. 265. B A.B.S.A., xi (1904-5), p. 300, pi. 15 ; Savignoni, Rom. Mitt., xxi. (1906), pp. 64-82, fig. i. E. Pettier, B.C.H., xxii (1888), p. 500. 7 Pettier, op. cit., p. 499. 8 Jb. d. Inst., xxii (1907), pp. 195 f. 9 F. Poulsen, Der Orient u. die friihgr. Kunst (1912), p. 115. 57 58 INTRODUCTION behind his shield which is found again on the reliefs from Prinia 1 in the VII Century. Nachod * has demonstrated that the type of chariot seen on the reliefs from Pitigliano, Toscanella and Velitrse is the original Etruscan type with a parapet composed of three closely united guards which might be entirely or partially open, resembling, in fact, the chariot from Monteleone. 1 This is the type described by Furt- wangler as " kleinasiatisch-ionische Wagenform," 4 but all the evidence goes to prove that Nachod is correct and that, while this is the earlier Etruscan type, the chariots on the Praeneste frieze and the goad carried by the woman driver, denote Ionic influence. It is noteworthy that the winged horses of the Velitrae frieze have flowing manes, whereas the manes of the horses without wings in the same scene are hogged. This may be due to religious conservatism which by such small details marked the supernatural character of the steeds. The same reason, too, probably applies to the bearded deities of the Assembly relief, since all the other protagonists on these friezes without exception are clean shaven. The latest friezes are those of the chariot-race. The chariots are very small and light with the four-spoked wheel of the Greek mainland. But instead of the long almost hieratic garment of the Greek charioteer as worn by the Charioteer of Delphi or those from Sicily, commemo- rated on the terra-cotta arulae, 8 these competitors wear the eminently' practical costume of a skin-tight chiton and a close-fitting cap, thus conforming closely to the Oriental prototype to which they and the almost identical frieze from Larisa go back. An admirable catalogue of these friezes was made by G. Pelle- grini 7 who gave a full bibliography of the earlier literature concerning the Velitrae friezes. In consequence, I have cited only more recent authorities and a few modern illustrations of the various scenes. For convenience the number of the relief in Pellegrini's catalogue will always be quoted first. 1 L. Pernier, Annuario della R. Scuola Arch, di Atene, i, pp. 90-8, fig. 19. 1 Der Rennwagen bei den Italikern (1909). 3 G. Richter, Metropolitan Mus., Gr., Etr., and Roman Bronzes, No. 40, pp. 12-29. Kleine Schriften, ii, p. 322. 5 Kekul6, Terrak, von Sic., p. 460, pi. liv, i ; Mon. Ant. Lincei, xix (1908), col. 134 ; Memoirs of the American Academy in Rome, ii (1918), p. 25. L. Kjellberg, Uppsala Univ. Arsskrift, 1903, pp. 93-5. 7 " Fregi arcaici etruschi in terra-cotta a piccole figure " in Studi e Materiali, i (1899-1901) ed. L. Milani, pp. 86-1 18. TYPE I " PROCESSION OF ANIMALS " (i) " Statonia," Pitigliano. 1 Found among the debris of a temple in the locality called " Poggio Buco." At the same time were discovered the lateral akroterion of a horse (Type II, ii) and the gutter-pipes with lion's heads (i). Each slab consists of three elements : (a) a border of recurved flutings, which are here stunted in appearance ; (b) a medial figured field ; (c) a border of guilloche in relief. The inner clay of the slab is greyish-yellow and full of particles of mica and silica, but in order to render it more resistant to the heat of the furnace, it was covered with a thin layer of reddish clay carefully purified to produce a smooth surface. The only trace of the once vivid colour of these reliefs is a cream slip. The procession of animals consists of a stag grazing alternating with a winged griffin, one advancing with raised head, the second seated. The stags are alike in attitude, but vary as to the details of their horns. The griffins have thick necks, recurved wings and widely open beaks. Height of slab, m. 0-215 x 0-520 ; height of field, m. 0-135. VI. Century. Processions of animals are a frequent motive on ceramics or metal objects from the VIII. to the VI. Century. Similar grifl&ns, characterised by the absence of crest, are found on Etruscan monuments of the VII. and VI. Centuries, especially upon bucchero ware. A terra-cotta frieze of animals adorned the seventh-century temple of Neandria in the Troad. 1 TYPE II " RIDERS IN SINGLE FILE " (i) " Statonia," Pitigliano. 1 Found at the same time and place as the previous frieze. Border of recurved fluting above, guilloche in relief below. Three riders gallop t left. The horses are thickly built, with flowing manes indicated by parall< lines on their necks. Each rider varies slightly in attitude. They have long hair and are unarmed. Their raiment was probably supplied in colour. Height of slab, m. 0-215 X 0-525 ; height of field, m. 0-135. VI. Century. i Pellegrini, p. 89, No. i, fig. i ; N.S.. 1898, p. 436 ; Class. Rev., xiii (1899). P- 3*9 I Cat. Coll., Arndt (1908), p. 37 (Munich, Antiquarium). * Koldewey, Neandria, sis/. Berlin Winckelmannprogram ; Koch, Rom. Mitt., a '' V Pellegrini, p. 90, No. 2, fig. 2 ; N.S., 1898, p. 437 : Moretti, Ausonia. vi (1911), p. 152, fig- 3 I Cat. Coll. Arndt (1908), p. 37 (Munich, Antiquarium). 59 60 FRIEZES This frieze should be compared with the fragments from Mykene, 1 Athens * and Corinth ' where a nude youth rides to left, or that from the island of Kythnos in the Cyclades,' where he gallops towards a tripod. In Velitrae ' was found a marble relief bordered by the same recurved fluting which closely resembles this example, but is rather later in date. The scene is depicted with even more life and vivacity, the horses have hogged manes and are less heavily built. One rider has fallen and is dragged along by the reins. (i) " Statonia," Pitigliano.' The same scene to right. (ii) Toscanella. 7 A procession of four riders walking their horses to left. The horses are very high with barrel-like bodies and long tails. The first and third riders are unarmed ; the second and fourth carry a large, round shield which entirely conceals their body and a spear. The treatment of the eyes is very archaic. There are traces of black on the third horse. Height of slab, m. 0-19 x 0-36 ; height of figures, m. 0-09. The clay is dark red. Second half of VI. Century. TYPE III " ARMED RIDERS IN PAIRS " * (i) Caere ; Velitrae. 9 Two warriors ride almost at a gallop to left. Their small, thick-set horses have hogged manes and long tails. The near rider carries a long spear and a round shield which completely covers his own and his com- panion's body. The shield is decorated with whirligigs. The flutings of the border are separated by a narrow groove. Height of slab, m. 0-318 X 0-31 ; height of field, m. 0-206. Middle of the VI. Century. Colouring. Flesh, red ; hair, black ; white garments with black details ; shields, purple border with design in purple and black. First horse, pale red with dark red reins and bridle ; second horse, black with cream bridle and reins. Ground, black ; flutings alternately black and cream. E. Pettier, B.C.H., xii (1888), p. 496. Pettier, op. cit., p. 495. 3 D. Robinson, A.J.A., x (1906), p. 166, pi. xii, 17 ; Pottier, op. cit., p. 497. Pottier, op. cit., p. 500 ; now in the Louvre, Invent. M.N.B., 579. 5 G. Moretti, Ausonia, vi, (1911), pp. 147-54, pi. vii ; J.R.S., v (1915), p. 204. Sammlung Arndt, Munich, Antiquarium. Pellegrini, p. 96, No. 6, fig. 5 ; Louvre, Ant. Coll. Campana Cat., iv, p. 31. 1 Pellegrini, p. 99, Nos. 12, 13, Man. Inst. Suppl. pis. i, 3, 4 ; Helbig, M Manges Perrot ( I Q03), p. 170, fig. 3 ; Castellani, Cat. de Vente (1884), No. 481, 5 ; British Mus. Cat. Terrac., B. 627 ; Ny Carlsberg Cat., ii, p. 31, pi. 177, 4, 5 ; Berlin, Antiquarium. N.S., 1915, p. 84, fig. 12. FRIEZES 6l Helbig ' has pointed out that from the earliest times the Roman eqmtes seem to have possessed horses ; but that they were not a troop of cavalry, since they dismounted to fight. They rode to battle mounted on one horse and accompanied by a second ridden by their squire. A similar frieze was found at Larisa in ^Eolis * ; there also the riders are in pairs, their spears arranged in a heraldic design. (ii) Velitrae ; Rome, Palatine 4 ; Comitium ; Veii. 1 Three pairs of armed riders gallop to left. The horses are slim and well formed, with hogged manes and long tails. The near warrior has a crested helmet and shield and raises his hand to wield his weapon. The first brandishes an axe, the second a dagger or long curved knife, the third a spear (?). The off rider possibly wears a leather cap. The slab consists of four elements : (a) fluting ; (b) a fascia decorated with double meander in relief enclosing squares alternately filled by an eight-pointed star and a swan with wings now closed, now raised. Colouring. Flesh, red ; weapons, black ; shield, whirligigs in purple and black with purple border ; horses, red and cream alternately. Ground, bright blue. (iii) Satricum, Delia Seta No. ioo33. 7 The slabs consist of (a) fluting ; (b) torus painted with imbrications ; (c) field with figures in relief. On this frieze two groups of horsemen who ride abreast are alternately repeated. The near one is dressed in Oriental costume with long, closely adhering ava%vpl<=<;. He draws his bow and takes aim, but on one group turns backward to shoot. In all cases save one the heads are turned full face. It is unlikely that the near rider is an Amazon, as has been suggested, for the flesh is painted red. On one slab the near rider flourishes a whip. The horses are slender and well formed, and the attitudes well express rapid motion. Indeed, the whole frieze, even in its battered condition, makes an impression of dash and energy. Early VI. Century. 1 Helbig, L'Equitatus Romain (Comptes rendus Acad. Inscript. et Belles -Lettres, 1904), pp. 90 ff ; Stuart Jones, Companion to Roman History, pp. 195 f. * L. Kjellberg, Uppsala Univers. Arsskrift (1903). PP- 9 ff., No. 6. 3 Pellegrini, p. 104, No. 19, fig. 10. * Pellegrini, p. 106, No. 22 ; J.R.S., iv (1914), p. 184, pi. xxxiv, r ; Helbig, Melanges Perrot (1903), p. 169, note 4. Heads of two horses to left. 6 N.S., 1900, p. 320, fig. 21, fragment of two feet only; p. 326, fig. 28, fragment of two warriors galloping to left ; J.R.S., iv (1914), p- 186. Mus. Villa Giulia, two horses galloping to left. 7 N.S., 1896, p. 31, fig. 7 ; Mengarelli, Atti del Congresso Intern, di Sc. Star. (1903), v, p. 269 ; Petersen, Rom. Mitt., xii (1897), p. 182 ; Graillot, Melanges d'arck. et hist., 1896, p. 143, fig. 5 ; Pellegrini, p. 94, No. 4, fig. $a ; Helbig, ii, p. 349, No. 1786 a. 62 FRIEZES Colouring. Red flesh ; near horse, cream with red harness ; off horse, red. These riders recall the Scythians of vase-paintings who are dressed in similar costume and turn backward to shoot, thus illustrating the words of the Scholiast on Iliad &, 323 : rous/iei/ Kpfjra^ rrjv vevpav eXrceiv eVt rbv patrrov . . . TWV SKV&MV ovic eVt TOV (JLCKTTOV a\X* 7rl Tov wfiov \KOVT(OV. A good parallel is the amphora from Vulci in the Museo Gregoriano. 1 There the Scythians have looped the reins round their bodies in order to leave their hands free. As many of the riders from Satricum have their hands fully occupied in aiming their bows, it is not unlikely that they adopted the same device for the control of their horses. (iv) Satricum, Delia Seta No. 10034. Slab similar to the previous number, but the horses, whose hind-quarters only remain, are standing quietly to right. (v) Praeneste (?), Delia Seta No. 16375.' The numerous pieces of this frieze were bought from a dealer and said to come from Praeneste. Two horses galloping almost abreast to right, the near one mounted by an Amazon or a male rider. The reliefs were fastened to the wooden framework of the temple by metal rods and it has been suggested that they decorated the raking cornice which would account for the fact that some are turned to right, others to left, and also explain why some of the horses rush on with great impetus, for there might have been a crescendo of movement as the apex was approached. Yet a slanting position does not seem a happy one for such a theme, and the motion probably increased as the middle of the facade was reached. Many of these friezes are turned in both directions and some of them were proved by excavations to have decorated the interior of temples, as at Velitrae. The clay is greyish and so coarse that a thick coating of strong colour had to be applied to hide its inequalities. The figures are almost in the round, boldly modelled, but somewhat stunted and thick-set. The horses have thick necks, blunt noses and sturdy legs. The Amazons have plump limbs with excessively developed thighs and calves. All the details" are plastically rendered. The horses' bridles and headstalls are ornamented with concave discs ; the reins of the Amazons have knots or metal bosses at frequent intervals. The colouring is conventional, for the near horse is alternately red or bluish-black. The flesh of the Amazons is white, that of the male riders, red. End of VI. Century. The best preserved fragments are : (a) No. 16375. An Amazon riding to right wearing a chiton and greaves. Two long pearl-locks hang over her left shoulder. 1 DGmmler, Rdm. Mitt., ii (1887), pp. 185 f. * Helbig, ii, p. 342, No. 1783. FRIEZES 63 Colouring. White flesh ; black hair ; bluish-black horse. (b) No. 16376. A man rides one horse and is accompanied by a second two legs of the horses. Colouring. Rider, red flesh, black chiton. First horse, crimson ; second horse, black. (c) No. 16378. Red bodies of horses galloping to left. (d) No. 16379. Very rubbed ; forequarters of horses to left. (e) No. 16380. Fragment of two horses to left, the fetlocks and hind- hoofs resting on a base. Colouring. Black horse with white eyeballs and black eyes ; red base. (/) No. 16381. Heads and bodies of three horses to right with the leg of the rider, to which belong the fragments with the fore and hind-legs of the horses. Colouring. First horse, black with a red mane ; second horse, cream with red harness. (g) No. 16383. Two horses' heads to right. (h) No. 16384. Ditto. (t) No. 16385. Ditto to left. (j) No. 16386. Two horses. (k) No. 16391. Legs of horses. (/) The body of an Amazon presented frontally. Colouring. White flesh ; black chiton with a red border over the shoulders and a white one round the neck. (m) Chest and arm of male rider with a lion's skin knotted on the chest. The arm, with red flesh, is bent at the elbow with the palm outwards. (vi) Unknown provenance, Mus. Villa Giulia. 1 A fragment with the heads of two horses to left ; their necks are strained forward and their mouths open with the lips drawn back as if they were galloping furiously. The scale is smaller than those of the previous number. The fine clay is bright red. Much rubbed. V. Century. Colouring. Cream (?) with dark red harness. Black, wavy lines depict the manes. TYPE IV. " CHARIOTS AND WARRIORS" (i) " Statonia," Pitigliano. 1 This frieze was found at the locality called " Poggie Buco " with Type I, i and Type II, i and, like them, has a heavy stunted fluting above and a guilloche below the main field. But the relief is higher, the execution more accurate. 1 Helbig, ii, p. 342, No. 1783. * Pellegrini, p. 92, No. 3, fig. 3 ; N.S., 1898, p. 437; Helbig, Melanges Perrot (1903), P- 169: Savignoni, Rom. Mitt., xxi (1906), p. 68, note 2. IO 6 4 FRIEZES Almost in the middle of the slab is a chariot drawn by two horses upon which the driver stands ; he holds a whip with a double lash. Beside him stands a warrior. The chariot is a mere platform with a solid parapet like the chariot from Monteleone and the wheel has eight spokes. This Nachod l considers the original Etruscan type of chariot. The horses are yoked to a very long chariot-pole and step forward quietly : they have flowing manes. An armed man on foot follows the chariot, grasping a sword in his right hand. Three others lead the procession, the first two armed with round shields, crested helmets with fixed cheek-pieces and two spears each ; the third carries one spear only. Height of slab, m. 0*26 X 0-55 ; height of field, m. 0*155. VI. Century. There is nothing to show this is a religious procession except the sedate- ness of gait. The Luynes relief * and that found at Palaikastro * display much more animated scenes, with horses at full gallop, either the departure to battle or the actual assault. But on these reliefs the horses either stand still or move forward slowly in the style of a solemn cortege. Only in the scenes of chariot-races is there any rapid motion. (ii) Toscanella * ; Rome, Palatine. 1 Recurved fluting above. Here the scene is even more tranquil. The horses stand facing to right and the driver holding the long reins is on the chariot which has a higher, more encircling parapet and a six-spoked wheel. A warrior armed with a crested helmet, cuirass, round shield and spear is about to mount the chariot. In front of the horses walk two men similarly armed and a leader, or augur, who wears a long, stiff mantle and carries a curved rod. The clay is red ; all traces of colour have dis- appeared. Height of slab, m. 0-26 X 0-56 ; height of field, m. 0-18 VI. Century. The motive of the warrior about to mount the chariot seems to be an Oriental one. A similar scene is stamped on a vase fragment found on the Acropolis, Athens,' on an ex-voto relief from Eleusis, 7 and is frequent on b.f. vases to depict the departure of Amphiaraos. 1 Der Rennwagen bei den Italikcrn, No. 37, pp. 52, 70, 71 ; Studniczka, Jb. d. Inst., xxii (1907), p. 195- 1 Babelon, Cat. Ant. de la Bibl. Nat., pi. iv ; O. Rayet, Gaz. Archiol., 1883, pp. 305-8, pi. 49 ; H. Koch, Rdm. Mitt., xxx (1915), p. 39, fig. 23. 3 A.B.S.A., xi (1904-5), pp. 300-4, pi. 15 ; Savignoni, Rdm. Mitt., xxi (1906), pp. 64-82, fig. i ; H. Koch, op. cit., p. 40, fig. 24. Louvre, Ant. Coll. Campana Cat., iv., p. 26; Pellegrini, p. 94, No. 5, fig. 4; Nachod, op. cit., No. 38 ; Pottier, B.C.H., xii (1888), p. 507, fig. in text ; Furtwangler, Kleine Schriften i ii, p. 322 ; Helbig, Melanges Perrot (1903), p. 168, fig. I ; Christ, Antiquarium, Miincken (1901), p. 8, No. 914. N.S., 1907, p. 541, fig. 64, hind-legs of a horse, and leg of warrior encased in a greave ; fig. 65, wheel, and foot of warrior about to mount ; J.R.S., iv (1914), p. 184. Pottier, op. cit., p. 493, fig. in text. 7 Pottier, op. cit., p. 500. FRIEZES 65 (iii) Toscanella. 1 The same scene to left. (iv) Caere ' ; Veil * ; Corneto.* Scenes complete upon one slab with concave, recurved fluting above and a narrow fillet below. Two horses stand to right, harnessed to a chariot upon which stands the driver. He wears a short chiton and has long, thick hair. Behind him a warrior puts his foot on the chariot and grasps the stanchion to assist himself to mount. He has a crested helmet and a metal cuirass over a short chiton and carries a spear. Both horses have thick forelocks, slim bodies and long tails. The reins are tied in a knot and passed through a ring on the horses' collars. The chariot has a low, thick platform, a five-spoked wheel and a triangular projecting hood or antyx which protected the legs of the occupants. At the sides are curved handles or rims and, on the right, the stanchion with which the passenger pulled himself up and steadied himself. Nachod ' considers that this type of chariot shows strong Ionic influence. Height of slab, 0*31 m. VI. Century. Colouring. Flesh, Trrepvyes, crest, shaft of spear, reins, stanchion and rims of chariot, red ; hair, borders of garments, spear-head, antyx, details of manes, eyes of men and of horses, black ; chariot, harness, chitons, cream. The details of the off-horse are usually indicated in colour only. Ground, dark red. The fluting is red, black and cream alternately, outlined by a groove of black or white. The narrow fillet below is black or purple. (v) Caere. 8 The same scene to left. Louvre, height, m. o-n X 0-13. Berlin, height, m. 0-315 X 0-43. (vi) Caere.* Fragments of a slab with four horses standing to right. In type and harness they exactly resemble the previous number. The fourth horse is outlined only on the background, with the exception of his head which he tosses. Height, m. 0-20 X 0-12. The second fragment shows the lower part of the chariot with the antyx. Colouring. First and third horses, dark red with cream manes striped i Christ, Antiquarium, Munchen (1901), p. 8, 915 ; Furtwangler, Antiquarium (1907), P- i? ' Korte, Jb. d. Inst, Ergdnzungsheft, v (1904), p. 159, note 28 ; Nachod, op. cit., p. 52. * Pellegrini, p. 98, No. 10 ; Berlin, Antiquarium ; Mon. Inst. Suppl., pi. ii, 2 ; Ny Carlsberg Cat., ii, p. 30, pi. 177, 2 ; British Mus. Cat. Terrac., B. 626, 2, 18-20 ; Nachod. op. cit., p. 60. No. 74 a-c. 3 Mus. Villa Giulia ; pale red clay ; no colour. The work is less fine than that from Caere. * Mus. Municipale ; Nachod, op. cit., p. 60 d. 5 Op. oil., p. 60. * Pellegrini, p. 97, Nos. 8, 10, fig. 7 ; Ant. Coll. Campana Cat., iv, p. 31 : Berlin, Antiqua 7 Ny Carlsberg Cat., ii, p. 30, pi. 171, i. 66 FRIEZES with black ; second and fourth horses, cream, with red mane striped with black. Chariot-pole, dark red ; reins and harness, black with a cream border. (vii) Caere. 1 Here the warrior has already mounted the chariot and the horses pace forward to right with raised heads. The driver holds the reins in both hands and the warrior, holding the spear in his left hand, steadies himself by holding on to the stanchion with his right. Details of the harness and chariot are as the previous number. Height of slab, m. 0-323 X 0-365. VI. Century. Colouring. As before. This type, where both men stand in the chariot, seems to be an abbrevia- tion of the hunting scenes of Oriental art. A frieze from Gordion in Phrygia * shows two men on a chariot preceded by an armed retainer on foot. In the background are small stags at which the driver seems to be aiming his bow. It is a common theme of Assyrian art, either as a departure to war or a lion-hunt. 1 TYPE V " CHARIOTS WITH WINGED HORSES " (i) Praeneste, Delia Seta No. 27038.' Found in the locality called Columbella. It is composed of three elements : (a) high, narrow, convex flutings ; (b) a fillet ; (c) the field with figures in very low relief, painted with strong, crude colours to hide the inequalities of the clay. The procession advances toward the left, led by a man wearing a short chiton and crested helmet who holds in his left hand a curved trumpet. After him trot three winged horses drawing a chariot driven by a woman who holds the reins in both hands and a goad in her right. A warrior is just about to step on to the chariot. He appears to wear a linen corselet and a crested helmet. The chariot has a low parapet in front and an orna- mental rail round the sides ; the wheels have eight spokes. These chariots, according to Nachod, are under strong Hellenic influence. On the farther side of the horses is a dog. The second chariot, the antyx decorated with a palmette, has two horses without wings and is driven by a man in a short chiton and crested helmet who holds the reins with both hands and a goad in his right. Beside the horses walks a man wearing a chiton, petasos and 1 Pellegrini, p. 99, No. n ; British Mus. Cat. Terrac., B. 626 ; Ny Carlsberg Cat., ii, p. 30, pi. 177, 3 ; Berlin, Antiquarium ; Man. Inst. Suppl., pi. i, i. 1 G. u. A. K6rte, Jb. d. Inst. Engdnzungsheft, v (1904), pp. 157-60, fig. 141. 3 Perrot, Hist, de I' art., ii, pi. xii, figs. 307, 351. 4 N.S., 1905, pp. 124 f, fig. i ; 1915, p. 80, note 2 ; Nachod, op. cit., p. 62, No. 77 ; Helbig, ii, p. 217, No. 1514. FRIEZES 6/ greaves, and carrying a curved rod or lituus in his left hand, whilst he raises his right with the palm turned outward. The features are scarcely modelled. The number of the slab in the series is marked on the plain back in large cyphers ; this bears the number V. above on the left and VI. on the right. Height of slab, m. 0*250 X 0-565. VI. Century. Colouring. Flesh of men, dark red ; of the woman, white ; the eyes, very large, are outlined black, with a white eyeball and black iris. Trumpeter, white chiton, with dark red border and girdle, helmet with crest white, yellow and red, white greaves. First and third horses, red with white manes, white wings, with feathers marked in red and black ; second horse, white ; dog, white. Woman driver, dark red hair, white chiton with dark red border. Warrior, white helmet, cuirass and greaves ; dark red chiton. Second chariot : first horse, white ; second, red ; red harness. Augur, white chiton, petasos, greaves and lituus. Driver, white helmet ; white crest with a red edge ; white chiton with red border. Chariots, white with red rails. Ground, black. The flutings are white, the grooves separating them being coloured red, white and black alternately. The winged horses and the woman driver seem to imply a legendary subject or the passage of the heroised dead. In the analogous scenes on the Hagia Triada sarcophagus l the drivers are women, although in one case the chariot is drawn by winged griffins. But here the chariot which follows has a steed without wings and is in no way supernatural. From other examples it appears that wings were sometimes added to otherwise natural beings to denote super-excellence of speed ; as, for instance, the ivory reliefs from Corneto * where both the horses drawing the chariot and the hunter on foot are winged. A chariot with winged horses is a frequent motive on gems and signets,* and is figured on the Monteleone chariot. 4 (ii) Prseneste." Part of the same scene to right. Broken and much rubbed. Only part of the driver of the second chariot with the horses, the augur beside them, and the right leg of the warrior mounting the first chariot, are preserved. Height, m. 0-27 x 0-30. (iii) Rome, Palatine.' Fragment from a similar frieze. The bodies of two horses standing to left with heavy collars. Beside them is a man in a short chiton with four 1 Mon. Ant. Lincei, xix (1908), pp. 55-62, pi. iii. * Mon. dell' Inst., vi, pi. xlvi, 2, 3 ; Ann. Inst., xxxii (1860), pp. 478-81. 3 Furtwangler, Ant. Gemmen, ii, pi. vii, i ; iii, p. 74, figs, 57" 60 - G. Richter, Metropolitan Mus. Gr., Etr., and Roman Bronzes, No. 40. 8 Local Mus.; N.S., 1908, p. no, fig. i. Pellegrini, p, 106, No. 22 ; J.R.S., iv (1914). P- J 9i, pi- xxxiv, 2. 68 FRIEZES long locks hanging over his shoulder. In his raised right hand he holds a curved rod. He turns his head to look back at those who follow. End of VI. Century. Colouring. Near horse, white ; off-horse, red ; red and black harness. Man, red flesh ; black hair ; white chiton ; rod with red shaft. The colours are heavy, crude tones like those of the Praeneste frieze. (iv) Velitrae 1 ; Rome, Esquiline ; Palatine. 1 A procession to right led by a man in a petasos and short chiton who carries a long staff surmounted by a caduceus. Next comes a chariot drawn by three horses with proudly arched necks and hogged manes. Beside the horses walks a man with long hair, carrying a spear slantwise over his shoulder. On the chariot are two men, the driver who holds the reins in both hands, and a passenger who grasps the stanchion. The chariot has a solid parapet and a six-spoked wheel. Immediately behind prance the two horses of the second chariot, who have long manes and large, recurved wings. The driver holds the reins in both hands and a whip with double lash in his right. His companion wears a short chiton and a long mantle weighted down at the corners by acorns. He rests his right hand on his hips and lays his left on the driver's shoulder. All the men are clean-shaven and have long hair which hangs in a heavy mass over their backs and shoulders. The border above is of concave, recurved flutings separated from the field by a narrow fillet. The slabs recently found at Velitrae have a convex moulding painted with imbrications between the fluting and the field, as Naples No. 1032. Height of slab, m. 0-36 x 0-71 ; height of field, m. 0-20. Middle of VI Century. Colouring. Red flesh ; black hair ; white garments ; horses red and black alternately ; ground, bright blue. (v) Velitrae. 4 The same scene to left, but a man on foot follows the chariot with winged horses. 1 Pellegrini, pp. 101 f, Nos. 14, 15, fig. 8 ; Naples Mus., Nos. 131, 134, 136, 137, 142-4 ; Velitrae Mus. Municipale, N.S., 1915, p. 79, fig. 6 ; Helbig, Melanges Perrot (1903), p. 169 ; Pollak, Rom. Mitt., xxi (1906), pp. 314-30, pi. xvi ; G. Moretti, Ausonia, vi (1911), p. 152, fig. 2. * Bull. Com., 1875, p. 51, pis. vi-viii, I ; Pinza, Man. Ant. Lined, xv (1905), p. 212, fig. 90 ; Nachod, op. cit., p. 52, No. 396 ; Springer-Ricci, St. dell' Artc, i, p. 419, fig. 759 ; J.R.S., iv (1914). p. 188 ; Dennis, Cities and Cemeteries of Etruria, 3rd ed., ii, p. 494 ; Montelius, Civ. prim, en Italic, pi. 361, 17. * Fragment with recurved wing of horse and the reins which pass behind it. Height, m. 0-095 x 0-08 ; Mus. Nazionale, one fragment with the bodies of the second driver and his companion ; another fragment with the body of the companion only ; a third has the fluting and convex moulding with imbrications. N.S., 1896, p. 291 ; J.R.S., iv (1914), p. 184, pi. xxxiv, 4-6. 4 Naples Mus., Nos. 1031, 1036, 1037, 1043 ; Pellegrini, p. 102, No. 16 ; Velitrae, Mus. Mun., N.S., 1915, p. 80, fig. 7. FRIEZES 69 TYPE VI" CHARIOT-RACES " (i) Velitrse l ; Rome, Palatine. 1 This frieze resembles Type III, ii, in that it consists of three elements : (a) fluting; (6) fascia with meander in relief enclosing squares filled alternately with an eight-pointed star and a swan with wings, now closed, now raised ; (c) field of relief whereon is a race to right. A chariot leads the way drawn by three horses galloping at utmost speed. They have slender bodies, long tails and hogged manes. The chariot is very small and light with a four-spoked wheel. The driver has a short, tight chiton and a conical cap with a tassel. He holds a whip in his right hand and leans forward to encourage the horses. In the background, a few paces behind, is a biga ; the driver is bare-headed and turns his head to look back at the second biga, which gains upon him. Under these last horses runs a hare. The figures are well worked and the scene is full of animation and cleverly adapted to the space. Height of slab, m. 0-36 x 071 ; height of field, m. 0-20. VI.-V. Centuries. Colouring. Horses, cream and red alternately, with muscles and harness in black. Drivers, red flesh ; black hair ; cream chitons. Ground, bright blue. A somewhat similar design appears on the fragment of a plaque found on the Acropolis, Athens, in March 1888.' Among the friezes at Larisa in ^Eolis 4 were slabs of a chariot-race where hounds and hares filled the spaces below the horses' bodies. This motive is reminiscent of the Oriental hunting scenes where such creatures are more logically introduced. 1 TYPE VII" ASSEMBLY OF DEITIES " (i) Velitra. 6 The five deities are seated one behind the other in the conventional arrangement shown on the Treasury of the " Siphnians " at Delphi or the Parthenon frieze. They face towards the left and are approached by two i Naples Mus., Nos. 1032, 1036. 1041, 1045, 1046 ; Pellegrini, p. 102, Nos. 17, 18, fig. 9 ; Velitra. Mus. Mun., N.S., 1915, pp. 82 f, figs. 9, 10. * N.S 1907 pp. 273, 452, fig. 21, part of a wheel ; fig. 23, the body of a horse ; neck of horse and hands' of the driver ; horses' feet ; p. 54. fig- 62. legs of horses with chariot-pole and leg of hare fig. 63, hare ; four horses galloping right, height, m. o-H X 0-17. In a Republican house the Lararium were found two slabs of this frieze ; the fluting is perfect, but on one example swans have been stamped upside down, J.R.S., iv (1914). P- l8 4- a Pottier, B.C.H., xii (1888), p. 499- * L. Kjellberg, Uppsala Univ. Arsskrift (1903), pp. 94-6 I Koch, Rom Mitt., xxx 15). P- < e G. Loescheke, A.Z., xxxix (1881), pp. 30-52, pis. iii-x. Naples Mus., Nos. 1033, 1042 ; Pellegrini, p. 105, No. 21. fig. 12 ; Velitre, Mus. Mun.; N.S.. 1915, p. 83, fig. ii. 70 FRIEZES worshippers or ministrants, the foremost wearing a short chiton and carrying a bow in his right hand, whilst he raises his left in salutation. The second wears a longer chiton reaching to below the knees. The first deity is a mature, bearded man, clad in a chiton and himation, seated upon a folding stool and holding a long sceptre in his right hand. Behind him sits a younger unbearded god who holds a curved staff or lituus in his right hand and catches hold of the back of his stool as he twists round to speak to his neighbour who leans forward, supporting his chin on his right hand with his elbow propped on his knee. His other arm is tucked behind him and on his head is a conical cap or tutulus. The fourth divinity is also bearded and sits bolt upright, holding his sceptre and with his left arm lying on his knee, an attitude repeated by the last who raises his right hand as if to attract attention. This is the only instance of bearded figures in these friezes, and these beards were evidently considered to confer dignity upon the gods who are much bigger than their worshippers, partly owing to their greater importance, but also because the artist was governed by the rules of isocephaly. Second half of VI. Century. Colouring. Ground, bright blue. Colour disappeared. (ii) Unknown provenance. 1 The same scene to right. Fragments : the first bearded divinity holding a sceptre. Coarse clay. Height, m. 0*13. TYPE VIII " SYMPOSIUM " (i) Velitrae * ; Rome, Palatine * ; Caere. 4 Above the relief is a convex moulding painted with imbrications, sur- mounted by the fluting. Upon two klinai lie two pairs of banqueters ministered to by attendants. On the kline to right reposes a youth and a woman who support themselves on their left elbows propped upon folded cushions. The youth wears a chiton and himation and has a fillet or wreath round his head. He raises his right hand and addresses his companion, who turns round to listen. She has a chiton with a little, short-sleeved bodice and a tutulus and holds a goblet. At the head of the kline is a small attendant, and at the foot, in the background, a second carrying a fillet in his right hand. On the second kline reclines a youth dressed like 1 Florence, Mus. Arch.; Pellegrini, p. 107, No. 23, fig. 13. 1 Naples Mus., Nos. 1031, 1032, 1035, 1036; Pellegrini, p. 105, No. 20, fig. n ; Velitrae, Mus. Mun.; N.S., 1915, p. 81, fig. 8. 3 Mus. Nazionale : fragment with the first kline, parts of the two bodies, table, dog, and duck ; Pellegrini, p. 106, No. 22 ; J.R.S., iv (1914), p. 184, pi. xxxxiv, 3 ; Helbig, ii, p. 216, No. 1508. 4 Louvre, Sala di Caere, No. 358 ; Ant. Coll. Campana Cat., iv, p. 31 ; Pellegrini, p. 97, No. 9, fig. 6. FRIEZES 71 the former one, but holding a rhyton in his left hand and raising his right. His companion, a woman, wears a long chiton and tutulus and holds a flower in her right hand, a goblet in her left. At the foot of the kline is a cup- bearer, holding an cenochce in his left hand and extending his right towards the f casters. Between the two klinai stands a girl flute-player, facing right, blowing the double flute. She has long hair and a short, stiff garment or bodice over a thin chiton reaching to her ankles. Before each kline is a low table beneath which is a dog and a duck. On the frieze from Caere the second figure lying on the first kline is a youth who holds a large knife in his left hand and in his right a goblet which he balances on his hunched-up knees. The fourth feaster held a lyre. The klinai are Ionic in type, like those of the terra-cotta sarcophagus from Caere, 1 and are covered by a mattress with overlapping ends and a folded cushion for each guest. The scene is lively and full of homely details. Here no law of isocephaly is observed, for the heights of the figures vary considerably. A precisely similar scene was reproduced on a frieze at Larisa in ^Eolis, 2 and also on a ceramic tripod from Tanagra, except that the flute-player turns to the left.' Height of slab, m. 0-36 x 071 ; height of field, m. 0'20. End of VI. Century. TYPE IX" DANCES " (i) " Statonia," Pitigliano.* Two small fragments from a frieze which must have adorned the exterior of the temple. The first represents the upper part of a female figure leaning forward with left arm raised and head covered by a cap. The second shows the lower part of the dress and feet of a woman whose knees are bent, almost in the attitude of kneeling, intent upon raising the hem of her garment. In front of her right leg is the left leg of another figure in nearly the same attitude. The proportions are almost identical with the procession of chariots. VI. Century. (ii) Rome, Palatine. 1 Found at the top of the " Steps of Cacus." A fragment with two maidens from head to waist, advancing to left. Much rubbed. eight, m. 0-073 X 0-084. VI. Century. Savignoni, Man. Ant. Lincei, viii (1898), pi. xiii. L. Kjellberg, Uppsala Univ. Arsskrift (1903), pp. QO ff ; Koch, R6m. Mitt., xxx (19x5), P- 9- Loescheke, A.Z., xxxix (1881), pp. 3<>-52,pls. iii, iv. N.S., 1898, p. 438, No. 7 ; Class. Rev., 1899, P- 329- N.S., 1907. p. 273, fig. 15 ; J.R.S.. iv (I9M). P- I8 4- II 72 FRIEZES (iii) Unknown provenance, Delia Seta No. 25I74. 1 A much-rubbed fragment. In the left lower corner stands a stork towards whom three men advance with grotesque movements. They have long hair hanging down their backs and wear short, girt chitons and the second carries a wine-skin on his shoulders. So does the fourth man who ambles towards the right. Their postures recall the movements of the Kordax as shown on b.-f. vases. Height, m. 0-15 X o~+$. Second half of VI. Century. TYPE X UNCERTAIN MOTIVE (i) Etruria.* " Fragments of an archaic Etruscan frieze not yet put together." i Pellegrini, p. 107, No. 24, fig. 14 ; Helbig, ii, p. 283, No. 1672. 1 Cat. Coll. Arndt (1908), p. 37. INDEX OF MUSEUMS Athens : National Mus., p. 47 Berlin : Antiquarium, pp. 12, 14, 16, 20, 23 40, 46, 60, 65, 66 Boston : Mus. of Fine Arts, p. 51 Caere : Mus. Municipale, pp. 14-16 Corneto : Mus. Municipale, p. 65 Florence : Mus. Archeologico, pp. 6, 12, 22, 35. 44. 54. 7 Kopenhagen : National Mus., pp. 7, 21 ; A/y Carlsberg Mus., pp. 11-13, J 5 I ^ J 9 24, 34, 42-7, 60, 65, 66 Lanuvium : Mus. Municipale, pp. 21, 24, 28 Leiden : University Mus., p. 7 London : British Mus., pp. 16, 19-21, 24, 60, 65, 66 Munich : Antiquarium, pp. 9, 19, 39, 59, 60, 64, 65, 72 Naples : Mus. Nazionale, pp. 61, 68-70 New York : Metropolitan Mus., pp. 5, 14, 16 Orvieto : Opera del Duonto, pp. 19, 39 ; Palazzo Faina, pp. 16, 19 Oxford : Ashmolean Mus., p. 16 Paris : Bibliotheque Nationals, pp. 27, 64 ; Louvre, pp. 9, 20, 22, 41, 60, 64, 65, 70 ; Coll. Beugnot, p. 13 Perugia : Mus. Etrusco-Romano, p. 17 Philadelphia : University Mus., pp. 14-16 Praeneste : Mus. del FAerarium, p. 17 ; Mus. Municipale, p. 67 Princeton : University Mus., p. 22 ; Collec- tion of Professor Marquand, p. 22 Rome : Mus. dei Conservatori, pp. 7, 10, 17, 42, 68 ; Mws. Gregoriano, pp. 16, 38, 62 ; Mus. Nazionale, pp. 9, 23, 24, 61, 67, 68, 70 ; Mus. of American Academy in Rome, p. 16 ; Mus. di Villa Giula, pp. 3, 6, 8- 13, 15, 18-21, 23-8, 31, 36-8, 41, 47-54. 6l ~3. 65, 66, 72 Siena : Coll. Chigi, pp. 6-8, n, 22 Strassburg, Archceologische Mus., p. 14 Velitrae : Mus. Municipale, pp. 9, 15, 24, 37. 47-9. 60, 61, 68-70 GENERAL INDEX Achelous : pp. 4, 13 Ak Alan : pp. 35, 57 Amazon : pp. 42, 50, 51, 61, 62 Antemnae : p. 23 Ardea : pp. 9, 20 Athena : pp. 5, 26, 35, 40-2, 54 Athens, Acropolis : pp. 4, 5, 40, 42, 57, 64, 69 Bird : see Griffin Caere : pp. 4, 6-8, n, 13-16, 19, 22, 23,38 40, 41, 43, 44, 47, 60, 65, 66, 70, 71 Camerina : p. 39 Campania: pp. 3, 34 Capua : pp. 21, 22 Chariot : pp. 57, 58, 63-9 Chiusi : p. 22 Corneto : pp. 22, 65, 67 Daemon : pp. 4, 26, 40 73 74 GENERAL INDEX Damophilos and Gorgasos : pp. 313 Dance : pp. 5, 24, 71, 72 Delphi : pp. 5, 58, 69 Eos and Kephalos : pp. 4, 40, 41 Etruria : pp. 3, 7, 9, 20, 21, 31, 32, 34, 39, 57. 72 Eucheir, Diopos and Eugrammos : pp. 31, 33 Falerii : pp. 4, 9-12, 18, 19, 24, 25, 27, 36- 8, 41. 44 Female head : pp. 4, 14-23, 49, 53, 54 Gordion : pp. 35, 57, 66 Gorgon : pp. 6-9, 34, 41, 52, 54 Griffin : pp. 4, 36-8, 49, 50, 59 Harpy : pp. 4, 27 Horse: pp. 4, 38, 43, 49, 5i~3. 57-^9 ' winged : pp. 38, 58, 66-8 Juno Sospita : pp. 4, 5, 23 Jupiter: pp. 32. 34 Kythnos : pp. 57, 60 Lanuvium : pp. 4, 19, 21, 24, 28 Larissa : pp. 35, 57, 58, 61, 69, 71 Latium : pp. 3, 57 Lion : pp. 41, 48. 53, 54, 59, 63, 66 Maenad : pp. 4, 5, 24-6 Narce : p. 12 Neandria : pp. 57, 59 Norba : p. 23 Orvieto : pp. 12, 16, 19, 39, 40 Palaikastro : pp. 57, 64 Palmette : pp. 4, 28, 47, 48 Perugia : p. 17 Praeneste : pp. 16, 17, 62, 66, 67 Prinia : p. 51 irarvia dijpwv '. pp. 4, 28 Rome : pp. 6, 7, 9, 10, 17, 21, 23, 24, 28, 3i, 32, 37. 39, 42, 47. 51. 61, 64, 67-71 Rosarno Medma : pp. 5, 35 Rosette : p. 28 Satricum : pp. 6, 9, 10, 15, 20, 22-4, 26-8, 36, 44, 47, 48, 50, 52, 61, 62 Satyr : pp. 4, 5, 9-13, 24-6 ; seated : p. 13 Sea Monsters : p. 39 Signia : pp. 9, 10, 23, 44, 49, 50 Spoleto : p. 28 Statonia (Pitigliano) : pp. 38, 48, 58-60, 63, ?i Syracuse : pp. 34, 35, 52 Tivoli : p. 23 Toscanella : pp. 58, 60, 64, 65 Veii : pp. 4, 8, 12, 13, 18, 32-4, 37, 48, 61, 65 Velitrae : pp. 9, 15, 24, 37, 48, 49, 58, 60, 61, 68-70 Vignanello : pp. 8, 51 Vulca of Veii : pp. 32, 33 Vulci : pp. 14, 27, 62 Warriors : pp. 41-7, 49-53, 57, 60, 61, 64- 7 Winged Beings : p. 28 Printed by HtutU, Wutton & Vinty, Ld., London and Aylesbury, England. 12 PLATE II. i FIG. i. ANTEFIX, GORGON-, SATRICUM, I, i. FIG. 2. ANTEFIX, GORGON, CAERE, I, i. FIG. 3. ANTEFIX, GORGON, ROME, I, v. FIG. 4. ANTEFIX, GORGON, UNCERTAIN PROVENANCE, I, viii. PLATE III. FIG. i. ANTEFIX, SATYR'S HEAD, SATRICUM, II, i. FIG. 2. -ANTEFIX, SATYR'S HEAD, FALERII, II, i. FIG. 3. ANTEFIX, SATYR'S HEAD, SATRICUM, II, iii. FIG. 4. ANTEFIX, SATYR'S HEAD, ROME, II, iii. PLATE IV. FIG. i. ANTEFIX, SATYR'S HEAD, FALERII, II, v. -ANTEFIX, SATY CAERE, II, vii. FIG. 3. ANTEFIX, SATYR'S HEAD, UN- CERTAIN PROVENANCE, II, ix. FIG. 4. ANTEFIX, SATYR'S HEAD, VEII, II, xi. PLATE VI. FIG. i.. ANTEFIX, FEMALE HEAD, CAERE, IV, \a. FIG. 2. ANTEFIX, FEMALE HEAD, CAERE (PROFILE), IV, \a. PLATE VII. FIG. i. ANTEFIX, FEMALE HEAD CAERE, IV, ib. Vi m FIG. 2. ANTEFIX, FEMALE HEAD, CAERE, IV, ic. FIG. 3. ANTEFIX, FEMALE HEAD, CAERE, IV, id. FIG. 4. ANTEFIX, FEMALE HEAD, CAERE, IV, iv. PLATE VIII. FIG. i. ANTEFIX, FEMALE HEAD, CAERE (PROFILE), IV, iv. FIG. 2. ANTEFIX, FEMALE HEAD, PRAENESTE, IV, vii. FIG. 3. ANTEFIX, FEMALE HEAD, CAERE, IV, viii. FIG. 4. ANTEFIX, FEMALE HEAD, CAERE (BRITISH MUSEUM), IV, viii. PLATE XII. FIG. i. ANTEFIX, FEMALE HEAD VEII, IV, xii. FIG. 2. ANTEFIX, FEMALE HEAD, FALERII, IV, xiii. FIG. 3. ANTEFIX, FEMALE HEAD, ORVIETO, IV, xiv. FIG. 4. ANTEFIX, FEMALE HEAD, UNCERTAIN PROVENANCE, IV, xv. PLATE XI. FIG. i. ANTEFIX, FEMALE HEAD, PERUGIA, IV, x FIG. 2. ANTEFIX, FEMALE HEAD, PRAENESTE, IV, xi. PLATE XII. FIG. i. ANTEFIX, FEMALE HEAD, VEII, IV, xii. FIG. 2. ANTEFIX, FEMALE HEAD, FALERII, IV, xiii. FIG. 3. ANTEFIX, FEMALE HEAD, ORVIETO, IV, xiv. FIG. 4. ANTEFIX, FEMALE HEAD, UNCERTAIN PROVENANCE, IV, xv. PLATE XIII. FIG. i. ANTEFIX, FEMALE HEAD, CAERE, IV, xvii. FIG. 2. ANTEFIX, FEMALE HEAD, SATRICUM, IV, xviii. FIG. 3. ANTEFIX, FEMALE HEAD, " ETRURIA," IV, xviii. r FIG. i. ANTEFIX, SATYR AND MJENAD, SATRICUM, V, i. FIG. 2. ANTEFIX, SATYR AND M/E.VAD SATRICUM, V, i. FIG. 3. ANTEFIX^:, SATYRS AND MAENADS, FALERII, V, ii. PLATE XVI. FIG. i. ANTEFIX, HARPY, SATRICUM, VII, i. PLATE XVII. FIG. i. AKROTERION, BIRD, FALERII, I, xi. 16 FIG. 2. AKROTERION, WINGED HORSE, CAERE, IT, i. PLATE XVII I. FIG. i. AKROTERION, THREE-HEADED DAEMON, ORVIETO, III, i v . FIG. 2. AKROTERIOX, Eos AND KEPHALOS, CAERE, IV. i. FIG. 3. AKROTERION, WARRIORS, FALERH, V, i. PLATE XIX. FIG. i. AKROTERION, WARRIORS, FALERII (REVERSE), V, i. FIG. 2. AKROTERION, WARRIORS, FALERII (DETAIL), V, i. F IG> 3 . AKROTERION, AMAZON, ROME, V, ii. PLATE XX. FIG. i.- COLUMEN, WARRIORS, SATRICUM, i. p IG 2 . MUTULI, SATRICUM, n. PLATE XXII. F IG L SINGLE SLABS, FEMALE HEAD, BOLSENA (?), vii. FIG 2. SINGLE SLABS, HEAD OF ATHENA, BOLSENA (?), viii. - X ' W H 18 PLATE XXVI. FIG. i. FRIEZES, ARMED RIDERS, VELITR^E, III, ii. FIG. 2. FRIEZES, ARMED RIDERS, SATRICUM, III, iii. FIG. 3. FRIEZES, ARMED RIDERS, SATRICUM, III, iii. PLATE XXVII. FIG. i. FRIEZES, AMAZONS, PRAENESTE, III, v. FIG. 2. FRIEZES, AMAZONS, PRAENESTE, III, v. PLATE XXVIII. FIG i.- FRIEZES, HORSES' HEADS, UNKNOWN PROVENANCE, III, vi. FIG. 2. FRIEZES, CHARIOT AND WARRIORS, STATONIA, IV, i. PLATE XXIX. IWTfTff? i 1 I FIG. i. FRIEZES, CHARIOT AND WARRIORS, TOSCAXELLA, IV, ii. m #< 55- x f TKm FIG. 2. FRIEZES, CHARIOT AND WARRIORS, TOSCANELI.A, IV, iii. PLATE XXX. FIG i. FRIEZES, CHARIOT SCENE, CAERE, IV, iv. FIG. 2. FRIEZES, CHARIOT SCENE, CAERE, IV, vii. PLATE XXXI. FIG. i. FRIEZES, CHARIOTS AND WINGED HORSES, PRAENESTE, VI, i. FIG. 2. CHARIOT WITH WINGED HORSES, VELITR/E, VI, iv. FIG. 3. FRIEZES, CHARIOT WITH WINGED HORSES, ROME, VI, iv. PLATE XXXII. FIG. i. FRIEZES, CHARIOT RACE, VELITR^E, VII, i. FIG. 2. FRIEZES, SCENES OF CHARIOTS, SYMPOSIUM, ETC, ROME. UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles This book is DUE on the last date stamped below. * Form L9-Series 444 3 1158 00671 5139 A 000098219 9