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No. 432. THE DEATH OF ORPHEUS. See Introduction, page 24

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MUSEUM -OF
FINE • ARTS
BOSTON iMr
CATALOGUE OF GREEK ETRUSCAN
AND ROMAN VASES
BY EDWARD ROBINSON CURATOR
OF CLASSICAL ANTIQUITIES

BOSTON AND NEW YORK
HOUGHTON, MIFFLIN AND COMPANY
(Che fitoewibc press?, Cambri&se

MDCCCXCIII

Copyright, 1893,
By the Trustees of the Museum of Fine Arts, Boston.
All rights reserved.

The Riverside Press, Cambridge, Mass., U. S.A.
Electrotyped and Pnuted by H. O. Houghton & Co.

PREFACE.

In the present catalogue the Museum of Fine Arts desires
to offer to archaeologists an exact description of the vases in
its classical collection, and to the general public some assist
ance in learning to appreciate the qualities which give Greek
vases an interest possessed by few classes of ancient monu
ments. The accomplishment of this twofold task is difficult
within the limits of one book, and especially so when the size
and character of the book are restricted, as those of a cata
logue must necessarily be. The technical description of a
vase, in the formulas now universally adopted in archaeologi
cal works, is dull if not incomprehensible to those who are
not specialists in the subject ; whereas the attempt to stop
and explain, in every case, why this or that fact is noted,
would undoubtedly lead to confusion in one class of readers,
and exasperation in another, and would moreover prolong
the descriptions indefinitely. Therefore the book has been
divided into two parts, — the Catalogue proper, which has
been prepared primarily for those who make a special study
of Greek ceramics, that they may be informed of what this
museum contains ; and an Introduction, intended for those
who are interested in the subject, but know little about
it. In the latter are included a rtsiimt of the history of
Greek pottery, with descriptions of the different types, an
account of the manufacture of Greek vases in the best periods
of the art, and a list of the Greek potters whose names sur
vive. For the illustration of characteristics which are de
scribed or alluded to, reference is constantly made to vases
in our collection, to which the Introduction therefore serves
in some degree as a guide or commentary.

iv PRE FA CE.
Should an apology be needed for the insertion of such an
essay in a catalogue, it is readily found in the fact that so
little attention is given in our country to the study of Greek
pottery. The majority of cultivated people still speak of the
red and black vases as " Etruscan," and are wholly unaware
of the great advances which, by the aid of these, are being
made in our knowledge of all departments of Greek life.
Whether for their artistic value, or as illustrations of the his
tory of that wonderful civilization of which they are the
modest but sympathetic witnesses, they are worthy of the
most careful study that can be given them, — a study which
brings its own reward in its fascination.
The author wishes to acknowledge his especial indebtedness
to Furtwangler's valuable catalogue of the vases in the Berlin
Museum, the method of classification in which he has fol
lowed so far as the great difference in the size and character
of the two collections made it practicable to do so.
The full-page illustrations were drawn by Mr. Hermann D.
Murphy, with the exception of No. 394, which is by Mr. Joseph
Lindon Smith. The drawings illustrating the forms of the
vases are by Mr. Robert S. Shedd. These are not reproduced
to scale, though as a rule the relative sizes of the specimens
are suggested. Where, however, clearness of detail, or other
considerations, rendered it advisable, this rule has been varied.
In a first attempt at a scientific classification of a collection
like the present, in which many of the specimens are of un
certain or unknown provenance, it is probable that mistakes
have occurred. The author asks indulgence for these, and
will be grateful to have his attention called to them.
Boston, September, iSgj.

CONTENTS.

PAGE
Introduction. I. Sketch of the History of Greek Vases  i
II. The Manufacture of Greek Vases  . . . 33
III. List of Greek Potters ... .  47
Early Greek Styles (Case 1) . . . . . ... 51
Prehistoric Italic Pottery (Case iA) . . . . . 68
Vases from Cyprus (Case 2)  71
Bucchero Ware (Case 3)  -93
Black-Figured Vases (Cases 4 and 5)  .112
Red-Figured Vases, not including those of Lower Italy (Cases
6 and 7)   14°
Vases from Lower Italy (Case 8)  176
Miscellaneous Late Greek Types (Cases 8 and 15)  193
Arrhetian (Roman) Ware (Case 15) .  . 199
Primitive Pottery from Armenia (Case 13) .  206
Vases and Fragments from Naukratis (Egyptian Room, Case 15) . . 207

LIST OF FULL-PAGE ILLUSTRATIONS.

No. 432. The death of Orpheus ... . .
No. 335. Helios in his chariot . . . . .
No. 336. Herakles and Pholos 
No. 372. Warriors riding on dolphins and ostriches . .
No. 394. Dionysos and a satyr . . ...
No. 419. The death of Orpheus '. ....
No. 424. Group of satyrs . . . ...
No. 426. Youth, accompanied by a dwarf leading a dog
No. 434. Domestic scene, three women 
No. 447. Youth and maiden before a grave stele . . .

Frontispiece
. . To face 126 126
136144
152IS4156160
162

ILLUSTRATIONS IN THE INTRODUCTION.

Fig. 1. Potter's wheel, from an archaic Corinthian pinax . . 36
Fig. a. Similar subject, from a similar source  . . 36
Fig. 3. Interior of a potter's workshop, from a vase in Munich ... 38
Fig. 4. Potter's kiln, from an archaic Corinthian pinax ... . . 40
Fig. 5. Potter polishing a cup, from a vase in Berlin .  . 41
Fig. 6. Athena and Nike crowning potters at their work, from a vase in Ruvo 45
Fig. 7. Buffet with vases stacked upon it, from a wall-painting in Corneto 46

INTRODUCTION.

i.
SKETCH OF THE HISTORY OF GREEK VASES.
BOOKS RECOMMENDED.
Unfortunately there is no good manual of this subject in English at the present
time ; but what relates to it in A. S. Murray's Handbook of Greek Archceology,
though condensed, is valuable.
Von Rohden. Article Vasenkunde, in Baumeister's Denkmdler des dassischen
Alterthums, Vol. III.
Dumont et Chaplain. Les ciramiques de la Grece propre. Begun in i88i|
continued by E. Pottier, and still unfinished.
Rayet et Collignon. Histoire de la ceramique grecque. Paris, 1888.
FuRTWANGLER, A. Beschreibung der Vasensammlung im Antiquarium des kgl.
Berliner Museums, 1885. Of great value for the classification of types.
Klein, W. Euphronios. Second edition, Vienna, 1886.
Hartwig, P. Die griechischen Meistersckalen der Bliithezeit des strengen roth-
figurigen Stiles. Berlin and Stuttgart, 1893.
Genick, A. Griechische Keramik, with Introduction and Description by A.
Furtwangler. Berlin, 1883. (Especially for illustrations of forms and
types.)
Lau. Die griechischen Vasen. With an Introduction by Professor Heinrich
Brunn. Leipzig, 1877.
Benndorf, O. Griechische und Sicilische Vasenbilder. Berlin, 1869-1883.
Jahn, O. Introduction to his catalogue of the vases in the Munich collection,
1854. Antiquated in many details, but still of great value.
On the inscriptions of makers and their favorites : —
Klein, W. Die grieckischen Vasen mit Meistersignaturen. Second edition,
Vienna, 1887.
Klein, W. Lieblingsinschriften auf griechischen Vasen.
Wernicke, K. Die griechischen Vasen mit Lieblingsnamen. Berlin, 1890.
Of all the productions of man, pottery is that which time
and vandalism spare the longest. His works in stone fall to
ruins, their parts are cut over into new and unrecognizable
forms, or disappear altogether in the lime-kiln. What he
makes in metal either corrodes from natural causes, or passes

2 INTRODUCTION.
into the melting-pot of one generation after another, con
stantly finding new shapes and uses. But pottery, once
baked, can never lose the character originally given to it.
The vase may break, but its fragments do not disintegrate,
and corrosion does not attack them. Buried in the earth,
they remain uninjured for ages, the glaze still bright and the
edges so sharp that the pieces may be put together and the
vase made to resume its original shape centuries after every
other monument of its time has vanished. Thus it is that
the site of many an ancient town is still marked by the pot
sherds scattered over its surface, though every vestige of its
streets, its buildings and their contents, has disappeared long
since. Because of this durability we can follow the history of
pottery in Greece back to a period long before the Greeks
became individualized as a race. In fact the earliest types
belong to an epoch so remotely prehistoric that we have not
yet sufficient data from other sources to enable us to fix their
age even within several centuries. This epoch is generally
spoken of loosely as the pre-Hellenic, but the discoveries of
recent years have made it obvious that it may be subdivided
into smaller periods, each marking a distinct stage in the de
velopment of the civilization of the early occupants of the
islands and shores of the Aegean. The principal witness to
that development, and to the different characteristics which
existed among these people, is the pottery they have left;
and while, as has been said, we are not yet able to assign de
finite dates to the various types of this prehistoric ware, we
can divide them, for our present purposes, chronologically
into two main groups, the earlier and the later. The former
comprises the pottery of Hissarlik (Troy), Thera, Rhodes,
and the earliest types of Cyprus ; the latter that of Mykenae,
the so-called " Geometric," and early " Island " wares. Our
knowledge of the second group has advanced rapidly in the
last few years, but of the chronology of the first we still have
but a vague conception. Speaking loosely, its dates may be
stated at 2000-1400 b. c.
The oldest vases found in any of the countries with which

HISTORY OF GREEK VASES. 3
the Greeks were associated are those unearthed by Dr. Schlie-
mann in the lower strata of his excavations at His- Hissariik
sarlik, the site of Troy. Whether made by the an- vases-
cestors of the Greeks, or by a people closely affiliated with
them, they certainly represent the earliest type of culture of
the race to which the Greeks belonged, and therefore all his
tories of Greek ceramics begin with a description of them.
The vases of this class are extremely primitive ; still, they
are not suggestive of first attempts. Those found at Hissarlik
were evidently made for daily uses, not for exhibition or as
offerings to the dead. They are mostly hand-made, never
painted, the surface being polished by rubbing and glazed by
some process in the baking. The fundamental shape of the
vases is usually very simple, the sphere being one of its com
monest forms ; but by the addition of curving mouths and
handles, and of ornaments rudely modelled and attached to
various parts of the body, all sorts of curious forms are pro
duced, one of the most characteristic being a rough semblance
to a human figure, with features modelled upon the neck of
the vase, and breasts upon the body. When the vases are
decorated, which is rarely, the decorations consist of small
linear designs, usually angular, scratched in the clay with a
blunt tool. The fact that specimens of this ware were found
in several different layers of the ruins at Hissarlik indicates
that it continued to be produced for several centuries substan
tially without change in type.1
Specimens of pottery of characteristics similar to the Tro
jan have been found in several of the islands of the Aegean
and the eastern Mediterranean. While these resemble the
Trojan ware, they are of different clay, and sufficiently indi
vidual to be distinguished from it and from one another. As
a rule they are evidently not importations from a common
source, but the independent products of a similar state of civi
lization by various members of the same race, developing in
1 At present we have no specimens of this ware in our collection ; but for further
knowledge of it the student is referred to Schliemann's Ilios (1881) and his
Troja (1884), and to the first chapter of Dumont and Chaplain's CSramiques,
where it is fully illustrated.

4 INTRODUCTION.
different localities. Notable among these are the earliest
Earliest types found in Cyprus. The characteristics of Cy-
SLPe"an prian pottery will be described in their proper place ;
but it may be stated here that among the earliest of the Cyprian
types is one which, in form and to a certain extent in decora
tion, bears a close resemblance to the Trojan vases, though
of a more advanced technique. The vases of this class are
either red or black, the color being plain in both cases. They
are almost always decorated profusely with linear patterns,
the lines being heavily incised and generally filled with a
white paste to make them show more distinctly. Specimens
of these may be seen in Case 2.1
Another group of early prehistoric ware is that found in the
Theran island of Thera (Santorin), one of the most south-
vases. erjy 0£ tjie isiands 0f the Aegean. The number of
vases of this group found up to the present time is not large,
but they are of special importance in the early history of the
art, because they can be dated with some degree of proximity,
having been found in graves which were buried under a vol
canic eruption supposed, on geological evidence, to have taken
place about 1800-2000 before Christ. The stratum of soil
resulting from this eruption completely separates these graves
from the remains of the historic period.
These Theran vases have more variety of shape than those
above described, are generally wheel-made, and are flattened
on the bottom to enable them to stand up. The clay is that
of the island, pale, rather coarse, and contains foreign sub
stances. The decorations are painted in red, brown, and
black, and are usually motives from nature, such as animals,
and more especially plants.2
Of the other islands in which examples of the earlier pre-
1 A comparison of the illustrations in chapters 6 and 7 of Schliemann's Ilios
with the vases in this case, especially those on the upper shelf, will show the simi
larity. For a critical description of the vases of this type from the islands of the
Aegean and also from Cyprus, the student is referred to Diimmler's Mittheilungen
von den griechischen Inseln, in the Mittheilungen des dentschen Instituts in Athen
XI, 1S86, pp. 15 ff., and 209 ff.
2 These vases are described and illustrated by Dumont and Chaplain, ubi
supra, chap, ii, plates I & 11.

HISTORY OF GREEK VASES. 5
historic groups have been found, the most important is
Rhodes, where, at Ialysos in 1873, forty-three vases Earliest
were discovered intact. These are similar to the vases.
Theran in style, but are distinctly more developed techni
cally. The paste is fine, the forms are better, and the vases
are glazed. The decorations are painted, like those on the
Theran ware, and of a similar type, marine animals and plants
forming the most popular subjects, as they did in other local
ities of the early Aegean civilization. Here again we have
material for estimating the date, for with these vases was
found a scarab bearing the cartouche of Amenhotep III., who
reigned at the end of the sixteenth century before Christ.
Consequently, these vases could not have been earlier than his
time, though it is of course possible that they were later.1
Before passing to the later group of prehistoric Greek ware,
attention must be called to the early Italic pottery, of which
there are specimens in Case 1 A. Although the actual date
of these may be much later than that of the vases which have
been described, they are the product of a civilization as prim
itive as the oldest of them. They are the work of the ances
tors of the Romans, as is now commonly agreed, and our
examples come from the two most famous cemeteries in which
they have been found, one, that of the Pascolare, on the shores
of the Alban Lake, the other on the Esquiline, within the
line of the Servian walls.
The vases from the Alban cemetery were found in graves
which had been buried under three eruptions of the Monte
Albano, and probably belong among the most ancient speci
mens of pottery found in Italy. Those from the Esquiline
resemble them, the chief characteristics being that they are
hand-made, of coarse, heavy, red clay, generally small, colored
a dirty black, and imperfectly baked and glazed. The forms
are primitive and usually simple. The decorations, when
there are any, are incised, not painted.2
1 On these vases see Fr. Lenormant, in the Gazette Archiologique, 1879, pp. 197
ff. ; pis. xxvi & XXVII ; and Dumont and Chaplain, III, pi. III.
2 There is an account of the Alban cemetery and its discovery in Lanciani's
Ancient Rome, chapter ii.

6 INTRODUCTION.
We come now to the second, or later, group of prehistoric
types, of the chronology and characteristics of which we have
much more satisfactory knowledge than of the earlier. Of
this group we shall describe first the so-called " Mykenae "
ware. The vases of this class derive their name from the fact
Mykenae that they were nrst lound ln large numbers during
type. the excavations of Dr. Schliemann at Mykenae,
where they prevailed to the exclusion of other types so com
pletely as to lead to the belief that they were of local manu
facture. The same type was also found abundantly in the
ruins of Tiryns, only a few miles distant from Mykenae, and
specimens have been brought to light elsewhere in that dis
trict. The same kind of pottery, however, has been found,
although less abundantly, in many other Greek settlements,
especially among the eastern islands of the Aegean, in Cy
prus, and even in Egypt. It is at present a question whether
they all originated in Mykenae and that vicinity, or whether
there were several places which produced them. The fact,
however, that by far the greater number have been found in
the immediate vicinity of Mykenae is sufficient warrant for
the name which has been given to them, and affords good
reason for believing that this was the most important, if not
the only place of manufacture.
Mr. Flinders Petrie, who has recently made careful studies
of the civilization illustrated at Mykenae and other similar
sites, has substituted the name Aegean for Mykenean, in de
scribing these and other works of their period, finding the
latter name too restricted. It is due to his investigations
that it is now possible to fix an approximate date for these
vases, since he has found specimens in Egyptian tombs which
can be dated with a considerable degree of accuracy. From
his deductions it appears that the Mykenae style of pottery
flourished from about 1400 to 1 100 b. c, the period of its
highest development being about 1250. In other words, this
ware is several centuries older than the age of Homer, and
it also antedates, by a considerable period, the Dorian inva
sion. Certain advances noticed in the technique and decoration

HISTORY OF GREEK VASES. 7
of these vases has led to their division chronologically into
two classes. The earlier of these is either of a fine, reddish
clay, highly polished, with linear decorations painted in either
violet, red, or white, or a pale greenish yellow clay, decorated
with violet. In both cases the decorations are always painted,
not incised. The later group, which is by far the larger and
more important of the two, and to which our specimens in
Case I, Nos. i to 6 belong, shows that the art of Mykenae
at its highest period was by no means primitive, and that it
represented a civilization which, for its time and surround
ings, was far advanced. The clay is fine and carefully purified,
the forms are simple, and although rarely graceful 'are well
adapted to their purposes. The vases are light in weight, and
have a firm, lustrous glaze. The color is either a greenish
yellow or a warm pink, and the decorations are painted either
a bright red or a color which, according to the firing, runs
from red through brown to black. These decorations are
based upon linear motives, with an inclination on the part of
the artist towards wavy rather than angular lines, so that his
ornaments developed into spirals ; and, as in the Theran and
early Rhodian styles, both animal and vegetable forms of
marine life are common. Birds, fishes, and other animals are
represented on these vases, but as yet only one or two in
stances of the human figure have been found. According
to the system of decoration employed, this second group
of Mykenae ware has been subdivided into two classes, —
an earlier, in which the vase is generally covered with a
florid pattern, borrowed from sea plants and animals, and a
later, in which the decoration is more sober, and usually con
fined to linear forms.1
Another important type of later prehistoric vases is that
which from its decoration is known as the " Geometric "
1 The most important works on the Mykenae ware are those of Furtwangler
and Loschke, Mykenische Thongefasse, Berlin, 1879 ; Vorhellenische Thongefdsse
aus dem Gebiete des Mittelmeer, Berlin, 1886. It is also illustrated in Schlie-
mann's Mycence, 1878, and his Tiryns, 1885. The essays of Mr. Flinders Petrie
referred to above, regarding the date of this ware, are The Egyptian Bases of
Greek History, in the Journal of Hellenic Studies, 1890, pp. 271 ff., and Notes on
the Antiquities of Mykenae, ibid., 1S91, pp. 199 ff.

8 INTRODUCTION.
style. Its chief seat of manufacture was Athens, and from
the fact that its largest and most characteristic examples
Geometric have been found in the vicinity of the Dipylon Gate
Kpyion — outside of which was the principal cemetery of the
vases. cjty — jt js aiso referred to as the Dipylon style,
though this name is properly applied only to one class of geo
metric vases. The geometric type is easily distinguished from
the Mykenean and Theran wares, to which it offers a com
plete contrast in many particulars. The clay is always of a
pinkish tone; its shapes are primitive and of considerable
variety ; its size varies from the very small, like Nos. 8 and
9, in Case i, to the colossal, one specimen of it, in Athens,
measuring four feet in height. Its most distinguishing fea
ture, however, is its system of decoration, which, instead of
being taken from plant or animal life, consists chiefly of vari
ous combinations of lines into meanders, zigzags, groups of
concentric circles, triangles, etc., whence it derives its name.
In the later specimens, zones or friezes of men and ani
mals begin to appear among the geometric patterns ; and in
these we see the first stages of that system of decoration
which became universal in the best periods of Greek ceramic
art. The dates of this ware are uncertain, but there seems no
doubt that it is of later origin than the Mykenae style ; and.
it probably attained full development after that declined, that
is to say, towards the year iooo b. c. It flourished for a
long time, although other styles grew up about it, and did
not disappear altogether until the end of the seventh cen
tury, if not later.
Although associated principally with Athens, geometric
vases have been found in many other localities, in some cases
having been evidently imported, as, for example, the superb
specimen from Cyprus in the Metropolitan Museum of New
York, published in Cesnola's Cyprus, pi. xxix, but in others
they were apparently a local product which was strongly in
fluenced by the Athenian style. Our collection includes a
number of interesting pieces of this ware, in Case i, some of
which were unearthed in Athens itself (Nos. 7 to 10). One

HISTORY OF GREEK VASES. 9
large specimen (No. n) is from Crete, and one (No. 13) from
Thebes.1 The geometric style was also developed in the Greek
colonies in lower Italy, and a comparison of our specimens of
the Italic geometric ware, Nos. 15 to 18, with that of Athens
will show at once the difference between the two.2
During the period in which the Dipylon style was passing
through its development in Athens, a number of distinctive
types were growing up in other localities, especially among
those islands in which the influence of Oriental art was
strongly felt, and, side by side with this, the purely Greek
spirit was making its first efforts to assert itself. In the island
of Rhodes there flourished a type in which the decorations
were both profuse and elaborate, consisting of large Rhodian
flowery patterns, and bands of animals, among them style-
sphinxes, chimaeras, griffins, and other Oriental creations, the
faces being always drawn in outline, the bodies in solid color,
and the background filled with rosettes, stars, and other
devices, apparently borrowed from Eastern designs. At the
same time the forms are simple ; and certain of them, like the
amphora and kylix, show the first stages of the shape which
in its developed form was maintained throughout the best
periods of Greek art. Both this characteristic and the man
ner in which the decoration is distributed over the surface are
distinctly Hellenic, and supply the link between the historic
and the prehistoric styles of Greek pottery. The Rhodian
ware seems to have flourished principally in the eighth and
seventh centuries before Christ, and the later vases of this
1 On the vases of the Dipylon style see especially (broker, Die Dipylonvasen,
in the Jahrbuch des archdologischen Instiluts, 1886, pp. 95 ff., and authors quoted
by him. Also an essay by G. Hirschfeld, Vasi arcaici atenesi in the Annali
dell' Instituto, 1872, pp. 131 ff. The colossal vase in Athens referred to above is
described in this essay, and illustrated in the Monumenti, IX, pis. xxxix & XL.
2 A curious development of the later geometric ware of Athens, in which the
usual patterns are combined with animals, in the " island " style, has been found
in a group of vases excavated from tombs in and about Phaleron, the early port
of Athens. Of these we have no specimens, but their characteristics may be
studied in chapter viii of Dumont and Chaplain's Ceramiques, pp. 101 ff., and
more in detail in an essay by J. Bohlau, Friihattische Vasen, in the Jahrhcch des
archdologischen Instituts, 1887, pp. 33 ff., pis. Ill, IV, & v.

IO INTRODUCTION.
style bring us definitely within the historic epoch, as upon
them inscriptions begin to appear, showing that the Greek
alphabet was already in use. The most important of these
later vases is illustrated in Salzmann's work (see below), pi.
Lin. The inscriptions on it are dated by Kirchhoff at the
beginning of the sixth century B. c.1
Another and contemporary style is that known as the
The "Me- " Melian," from the fact that the few examples of it
Han "style, hitherto found are traced with some probability to
the island of Melos. On these the human figure plays a
prominent part, though drawn by a primitive hand. The
faces, as in the Rhodian ware, both of the human figures and
animals, are usually drawn simply in outline upon the natural
color of the vase. In these vases we find the beginnings of
the illustrations of Greek mythology, though the subjects are
expressed in types which show that the Greek artists were
still largely dependent on their Oriental models.2
Cyprus was one of the most prolific islands in the produc
tion of pottery, from the earliest times down to a
late period, and it produced a number of types which
are quite distinctive, both in form and decoration. Lying as
it does at the eastern end of the Mediterranean, in immediate
proximity to the centres of Egyptian and Oriental civilization,
and being rich in metals, especially copper, it possessed a
flourishing population centuries before the beginning of Greek
civilization. Perrot, in his account of Cyprus,3 fixes the date
of the Greek colonization of the island in the tenth and ninth
centuries b. c, at which time it appears to have been occu
pied entirely by Phoenicians. The relations between the old
and new settlers were more friendly than in most of the sites
occupied by the Greeks, and consequently the art which
1 developed there was strongly tinctured with Phoenician tastes
and ideas. Nevertheless, in the early centuries of their his-
1 The principal work upon the Rhodian ware is that of Auguste Salzmann,
La Nlcropole de Camiros. It is also described at length by Dumont and Chap
lain, chap. x.
2 For the characteristics of the Melian type see Conze's Melische Thonge-
fdsse, Leipzig, 1862.
3 Perrot and Chipiez, Histoire de PArt dans PAntiquiU, III, p. 495.

HISTORY OF GREEK VASES. II
tory the Cypriote Greeks developed as markedly as all others
of their race, both politically and intellectually. In the
archaic period of sculpture, their artists were very productive,
and great numbers of statues have been found in the excava
tions of General di Cesnola and others, which show the char
acteristics of early Hellenic art, combined in a curious way
with Oriental peculiarities. Dr. Max Ohnefalsch-Richter, to
whose investigations we are indebted for a beginning in the
determination of the chronology of the arts of Cyprus,1 be
lieves that this artistic development continued uninterrupt
edly until the beginning of the fifth century b. c, when in
the wars between the Greeks and Persians, the Cyprians chose
the Oriental side, and therefore remained isolated from the
Hellenic world for a century or more. As a consequence,
their artistic production either ceased altogether for this
period, or was continued by the reproduction of their archaic
types. Certainly development stopped, and when it revived,
in the fourth century, Cyprus, like the rest of Greece, suc
cumbed to the overpowering influence of Athens. The
sculptures of the island which can be attributed to the fourth
century are modelled closely after Attic types.
As it was with sculpture, so it was, presumably, with pot
tery, though of the latter there are several Cyprian types
which are much earlier than the beginnings of Greek sculp
ture, and indeed than the Greek colonization of the island.
Reference has already been made to one type resembling that
found at Hissarlik. This ware, characterized by its red or
black color and its incised decorations, which consist of
zigzags and geometric patterns usually covering the vase, is
probably the oldest produced in the island ; but an examina
tion of the specimens on the upper shelf of Case 2 will show
that there is a great difference in merit among them, some
being much more perfect, both in shape and finish, than
others, a circumstance which indicates that this style was
popular for a long period, during which it underwent consid
erable development. It undoubtedly continued to be pro
duced after other styles grew up.
1 Kypros, the Bible and Homer, by Max Ohnefalsch-Richter, Berlin and Lon
don, 1893.

12 INTRODUCTION.
Contemporary with the Mykenae ware, and with some re
semblance to it, was another Cyprian type, usually pale yellow
in color, and decorated with combinations of lines and zigzags
in brown or red, the shape of the vase being as a rule fan
tastic. These vases frequently have numerous small rings,
modelled in the same clay, upon various parts of the neck
and body. A favorite form of decoration on them consists of
parallel bands of triangles composed of cross-hatched lines.
The most characteristic types of Cyprian vases are of pale
yellow, decorated either with groups of large concentric cir
cles, frequently painted upon the sides or front of the vase,
instead of encircling it, or with pictures in which fantastic
animals play a prominent part. The commonest form of
these vases is the round jug, with a small neck and mouth.
The shape of the body varies from the squat or spherical to
the oval, the latter being either upright or horizontal, as the
case may be. According to the results of Richter's investi
gations the vases of this class belong in the period iooo-
600 b. c. In the pictorial decorations the influence of the
Orient is forcibly apparent, Assyrian and Phoenician motives
being much more prominent than those of Greece. Curiously
enough, human figures disappear altogether at the very period
when they begin to form the principal theme upon pure
Greek vases, that is, in the seventh century b. c.1 The con
centric circles, sometimes combined with animals, but never
with human figures, continue to appear down to the fifth
century, and in a few cases even to the fourth.2
To the same period belong the red vases decorated with
concentric circles, of which we have a number of examples in
Case 2.8
1 Ohnefalsch-Richter, Kypros, German edition, p. 367.
2 Ibid., p. 365.
8 On Cyprus and Cyprian art, the best works are Perrot and Chipiez, His-
toire de P Art dans PAntiquiti,No\. Ill, Phhiicic, Chypre (of which ihere is an
English translation) ; Max Ohnefalsch-Richter, Kypros, the Bible and Homer, 2
vols., Berlin and London, 1893 (especially the explanation of the plates, at the
end of the volume of text) ; and L. P. di Cesnola, Cyprus (chapter on pottery
by A. S. Murray). Accounts of the English excavations in the island are given
by Messrs. E. A. Gardner, Hogarth, Tubbs, and Munro in the Journal of Hellenic
Studies for 1888 and the following years.

HISTORY OF GREEK VASES. 13
The earliest style which belongs entirely within the histori
cal period is the so-called " Corinthian," but before describing
this a word must be said about a numerous class of small vases
which resemble the Corinthian, though they apparently repre
sent an earlier stage of art, and hence are designated "Proto-
by Furtwangler as "Proto-Corinthian." This name vb!
is somewhat misleading, inasmuch as it implies a closer con
nection with the Corinthian ware than has yet been established
for the vases to which it is applied. Their origin has not
been determined, and there is scarcely any other early pottery
which has been found in such widely different localities, in
the mainland of Greece, the islands, and also in Sicily, lower
Italy, and Etruria. In Case 1 will be found a number of ex
amples of it, Nos. 19 to 28, which are characteristic of the
size, shapes, and decorations of this class as a whole. The
vases are generally small, thin, and delicately made, and the
clay is always pale, either yellow or pink. The decorations
are usually linear, in brown or red, but bands of running
animals like those on No. 19 are common, and a few speci
mens of human figures have been found. Even mythological
subjects appear, though up to the present they are rare.1
According to Dummler this style is as old as the Dipylon,
but it seems to have flourished principally in the eighth and
seventh centuries, before the Corinthian became important.
It continued, however, to be manufactured during the period
of that style, and indeed after the rise of the black and red
vases, since examples of it have been found which date as
late as the sixth century, and possibly even the fifth. Our
little amphora, No. 27, probably belongs among the latest
specimens, for while the decoration is distinctly that of the
proto-Corinthian type, the shape of the vase is that of the
best amphorae of the black-figured style.
The most striking peculiarity of the Corinthian style is the
1 The best example of this class yet found is in Berlin, published by Furtwangler
in the Archdologische Zeitung, 1883, p. 153, pi. x, No. 2. It represents Herakles
attacking the Kentaurs, with a strong resemblance to our relief from Assos of the
same subject. On the vases of this class see also Dummler, Jahrbuch, 1887, pp.
18 ff., and authorities there quoted.

14 INTRODUCTION.
almost purely Oriental character of its decorations. Hence
n ¦ ,w it is frequently cited as an illustration of the influ-
Corinthian t. j
s{yle- ence of the Orient upon Greek art generally, at a
certain epoch ; but its true significance seems to be more spe
cific, and to indicate rather the influence of the Orient upon
one particular city, as the ware was evidently not produced
generally throughout Greece, nor was it sold to the exclusion
of other and more Hellenic types during the period of its pro
duction. Although it has been found in various places in
Greece and Italy, the indications are strongly in favor of a
common origin, and that at Corinth itself or its immediate
vicinity. Many of the best specimens of it have been un
earthed in and about Corinth, and it was undoubtedly ex
ported thence to Sicily and Italy, where it was extensively
imitated, the imitations being now generally classed as Italo-
Corinthian ware. The date of its origin is unknown, but is
probably not much earlier than the seventh century. It
flourished principally in the seventh and sixth centuries, al
though it continued to be made later, still with its archaic
characteristics. It may be said here, with regard to every
style of the historic period, that while the date of its origin
can be determined at least within a generation, the period of
its disappearance is difficult, if not impossible, to fix ; for it is
not to be understood that any one of the styles we are now
describing succeeded another in the sense that the older
ceased as the newer appeared. It has been proved by the
contents of many graves that earlier and later types continued
to flourish side by side, frequently for a long period ; and the
ultimate displacement of one by the other cannot always be
dated with our present knowledge.
The characteristics of the Corinthian ware are as follows :
The clay is a pale yellow, with either a greenish or a brown
ish tinge. It does not have a high lustre, and the glaze is
generally of an inferior quality. The vases are never colossal ;
in shape they usually show a tendency towards spherical and
squat forms. The decorations are occasionally stripes or
lines, but the most characteristic are bands of figures, usually
animals borrowed from Oriental works of art, such as lions,

HISTORY OF GREEK VASES. 15
bulls, and fantastic creatures, sphinxes, human-headed birds,
and the like. Human figures occur, and even mythological:
scenes, in the later specimens of the style. The figures are
always strongly Oriental in character, painted in a black sil
houette, with certain portions picked out in red or violet ;
and in this ware, for the first time, we find the artists indi
cating the details of their figures by means of incised lines,
lightly drawn with a sharp tool, a practice which became gen
eral in the following epoch. The field, or ground surrounding
the figures, is scattered with rosettes, stars, flowers, and other
devices, which have no other object than that of filling the
space and making the band a solid piece of decoration. Our
collection of this ware, in Case 1, though containing no piece
of exceptional importance, is admirably representative of its
average character.
While Corinth was producing its peculiar pottery, and ex
porting it to all parts of the Greek world, other cities were
manufacturing wares of their own, which also found a market
in many places. We have already seen that the Rhodian
and the so-called proto-Corinthian vases continued to be
made in this period ; and among the other types which have
attained prominence those of Naukratis and Cyrene must be
mentioned. Naukratis, a Greek colony on the delta of the Nile, was
founded about 650 B. c. That its commerce quickly
became extensive is testified by the remains which
have been found there by Mr. Flinders Petrie, and include
almost every type of Greek pottery made, from the time of
its settlement to the Roman Empire; but the amount and
character of its influence upon Greek art, which was just de
veloping when the colony was established, cannot be fully
determined until the site shall have been more thoroughly
explored. As a stepping-stone between Egypt and Greece,
we should expect to find it one of the mediums through which
Egyptian ideas found their way into the Greek world. In
fact one early type of Greek sculpture, the so-called "Apollo,"
which is strongly Egyptian in character, has been traced with

1 6 INTRODUCTION.
great probability to Naukratis. In this respect, however, the
pottery thus far unearthed there has been disappointing. It
bears no evidence of having influenced the development of
the later characteristic wares of Greece or of having assisted
in any way in that development. In fact it seems rather to
have been influenced by other wares. At the time when the
colony was established, Corinthian pottery was at its height,
and, as remarked in the Introduction to our Naukratis frag
ments, p. 207, the potters of Naukratis seem to have adopted
that style as a part at least of their decorative scheme. The
resemblance between a certain class of Naukratis vases and
those of Rhodes is very close, but which, if either, borrowed
from the other is yet to be shown. Yet Naukratis did pro
duce one type which, though it had no effect upon other
Greek types, is interesting and individual. This is its white
ware.1 The red clay is covered with a slip which is generally
pure white, and on this the decorations are painted in dark
brown shading to yellow. The interior or reverse side is
sometimes black, with lotos and other patterns in white and
red, sometimes white with linear decorations in brown and
yellow. The fragments of this ware are frequently of extreme
delicacy and lightness.2
The Cyrene pottery, like that of Naukratis, is white, — that
cyrenaic 1S> the red clay is covered with a white slip, and the
type- surface is usually entirely covered with decorations,
which are drawn in black, sometimes with liberal touches of
red, the details being incised. On the outside of the vases
these decorations consist mostly of narrow bands of geometric
and plant motives, carefully drawn, with one or two bands of
figures around the middle of the larger specimens, such as
amphorae. Characteristic of this ware are its drinking-bowls,
the interiors of which are decorated with large round pictures,
the subjects being generally either convivial or mythological.
1 See p. 209, Nos. N i-N 49. The specimens are in the Egyptian Room.
2 On the pottery of Naukratis, see Flinders Petrie, Naukratis, two volumes,
London, 1886, 1891 ; and especially the essays by Cecil Smith, in Vol. I, pp 47 ff.,
and E. A. Gardner, in Vol. II, pp. 38-54 ; also E. A. Gardner, Two Naucratite
Vases, m the Journal of Hellenic Studies, 1887, p. 1 19 ; and Pottier, in Dumont and
Chaplain, chap, xix, pp. 293 ff.

HISTORY OF GREEK VASES. 1 7
The Cyrenaic type is closely allied to the Naukratian, but is
apparently an independent production.1
We turn now to Athens, which was gradually assuming
the lead in the ceramic art, as she was in all others. EariyAthe-
Her extensive commerce gave her potters an oppor- nian ware-
tunity of studying and comparing the wares produced in all
parts of the Aegean and the Mediterranean ; and with the
unerring instinct for form and the intellectual breadth which
always characterized the Athenians, they were quick to ap
preciate and adopt what was best in each, thus laying the
foundation for a style which was to be much better than any.
Not satisfied with the natural color of the clay, they began
to intensify it artificially (see p. 34) ; but, more than this,
the Athenian potters seem to have been the first to realize
the fact that dignity is an essential element of the beauty of
a vase, whether it be large or small. Some sense of this in
stinct was expressed in the colossal specimens of the Dipylon
style described on p. 8 ; but in the sixth^century they began
to apply the principle on a much higher plane, by reducing
the variety of shapes to a comparatively small number, strip
ping them of all ornamentation which could disturb the sim
plicity of the form, making this rely for its effect upon no
other qualities than subtlety and vigor of outline, and redu
cing the colors to the sober black and red. The result was
that by the end of the sixth century the pottery of Athens
had practically driven all others from the market ; and for
nearly two hundred years her potters set the styles for the
whole of Greece, and held, to a great extent, the monopoly
of the export trade. We find superb specimens of their art
alike upon the shores of the Black Sea and in the cemeteries
of Etruria, and, with rare exceptions, to the exclusion of all
but local wares and imitations. There were other centres of
1 For the characteristics of the Cyrene type the student is referred to an essay
by Puchstein, Kyrendische Vasen, in the Archdologische Zeitung, 1881, pp. 217 ff.,
and pis. X-XIII ; and Pottier, in Dumont and Chaplain, chapter xix. The most
famous example of the group is the so-called " Arkesilaos " cup in the Biblio-
theque Nationale at Paris, published best by Babelon, Le Cabinet des Antiques & la
Bibliotfiique Nationale, pi. XII.

1 8 INTRODUCTION.
production, notably among the Greek colonies in southern
Italy, but until a late period their productions were modelled
closely upon those of Athens.
A possible' exception to this rule, belonging to the period
chalkidian when Athens was beginning the development of the
vases. styie which was to be distinctively her own, is a small
group of vases, chiefly amphorae, which have been identified
as Chalkidian by the inscriptions upon them ; though whether
they originated in Chalkis itself, or in one of its flourishing
colonies in lower Italy, is not yet known. In shape and in
decorations these vases bear a close resemblance to the early
black-figured ware of Athens. Certain minor differences
have been pointed out, as, for example, that on the Chal
kidian amphorae there is usually a band of diagonal zigzags
around the body, just above the rays which encircle the
bottom ; but this band does not always exist, and until we
are furnished with better materials for comparison than have
yet been published, the inscriptions must remain the princi
pal means of distinguishing the Chalkidian vases from others
like them. These present certain marked differences from
the inscriptions on early Attic vases, namely, the V is always
curved like a C ;'the A is always pointed at the bottom, \/ ; '
-\- is used for E; and ^,4", or ty for X. The drawing on
these vases is always spirited, and the designs have the quality
of original work, not imitations.1
The beginning of the independent movement at Athens
appears to have taken place during the second quarter of the
sixth century. Previous to that the Athenian potters were
strongly influenced by other styles, and especially by that of
Corinth ; though even from the time of the Dipylon type
they seem to have had a greater preference for human figures,
and for the illustration of myths in the subjects which they
chose for decoration, than the potters of any other city. On
1 On the Chalkidian Vases see Kirchhoff, Studien zur Geschichte des griechischen
Alphabets, 4th edition, pp. 122 ff., who first identified the group; also Pottier, in
Dumont and Chaplain, chap, xviii ; and von Rohden, hi Baumeister's Denkmdler,
Vol. Ill, p. 1966. A special work upon the subject, by G. Lbschke, is now (1893)
in course of preparation.

HISTORY OF GREEK VASES. 1 9
the earliest Attic vases which show Corinthian influence, we
find some of the most interesting illustrations of Greek my
thology which have come down to us. The best example of
this class is the famous Frangois vase, in the Museo Arche-
ologico of Florence,1 which is proved to be of Athenian origin
by the inscriptions, which are in Attic letters, and by the
illustration of distinctively Attic myths upon it. Here the
influence of Corinth is betrayed by the squat form of the
vase, by the division of the decorations into several bands of
equal importance, and by the introduction of winged and
other animals, drawn in the " Oriental " style. These ani
mals, however, are subordinated, and the greater part of the
vase is taken up with a series of pictures illustrating some of
the most purely Greek legends. The vase bears the signa
tures of its maker, Ergotimos, and its decorator, Klitias.
In our collection there is an interesting example of this
transition from the Corinthian to the black-figured style of
Athens, a so-called " Tyrrhenian " amphora in Case 4, No.
308. Its decoration is distinctively Corinthian, being divided
into four bands, and consisting of the usual sphinxes, lions,
and human-headed birds, with a few human figures on the
neck. The background of each band is filled with flowers,
in the Corinthian manner, the lowest band being decorated
with rays, a pattern which was used almost without exception
for this part of the vase in the black-figured style. The clay,
instead of being yellow, is reddish, and of a tone which sug
gests Athenian origin. In this again the transition from the
earlier to the later type is shown, the clay being deeper in
color than the earliest Attic vases represented in Case 1, but
not so deep as that of the other vases among which it stands.
Its maker had probably already begun to use the artificial
mixture of which we have spoken. The form of the vase is
poor, the neck being too large and the shoulder weak ; but
having reached this point, it was not long before the Athenian
potters carried their art to a degree of perfection represented
by the best specimens in Cases 4 and 5. The clay rapidly
1 Published in the Monumenti dell' Instituto, IV, pis. LIV-LVIH, and in many
handbooks.

20 INTRODUCTION.
became richer in tone; the middle band of decoration grew
Biack-fig- constantly wider, at the expense of the others, until
ured style, faey became mere borders above and below it, with
occasionally a minor band on the shoulder or the neck. The
shape developed in grace and vigor, and on the larger vases
the artist, instead of surrounding the body with his band of
figures, divided them at the handles into two groups, each
representing one scene. The quality of the paint or glaze
was improved, until it became a rich, lustrous black, of per
fectly uniform surface, and with this the figures were drawn in
silhouette upon the deep orange-red of the background. The
flesh of the women was always painted white ; that of the men
was left black. Details were indicated in the silhouette by
means of finely incised lines, and the effect of the drawing
was heightened by red and white as accessory colors, though
the use of these gradually declined as the art progressed.
A singular convention which was practised through all the
stages of the black-figured style was that of making the eyes
of all female figures, whether women or animals, almond-
shaped, and those of male figures perfectly round. The eye
was always drawn in full front, even although the face was in
profile. In the early stages of the style the garments were
commonly decorated with patterns, either incised or picked
out in colors, but the artist did not attempt to draw folds,
leaving the draperies in stiff, solid masses. This fault was
gradually corrected, and in proportion as the skill in repre
senting folds increased, the patterns diminished.1
Soon after the character of the black-figured style became
established, its decorative system was divided into two classes.
In its first stages, as we have seen, the entire body of the
vase was left red, the only black parts being the figures and
other decorations ; but while the style was still new, variety
was introduced by painting the vase black, and leaving only a
panel or band of red for the decorations. This innovation
did not drive out the older style, but the two developed to
gether and under the same conditions. Therefore, it is not
1 For the technical characteristics of this style see the second part of the
Introduction, p. 41.

HISTORY OF GREEK VASES. 21
to be inferred that a vase painted black is necessarily later
than one of which the body is left red. The shape of the
vase and the character of the drawing are the best tests of its
age, and these show that several of the black vases in Case
5, Nos. 311 and 312, for example, are earlier than such pieces
as 320 and 321, in Case 4.
With the appearance of the black-figured ware there comes
a new element into the study of Greek vases, the importance
of which is becoming more recognized every day. Artists»
This is the signature of the maker or designer of sisnatures-
the vase, a subject which is being actively investigated at the
present time, and with valuable chronological results. There
are a few scattered examples of signatures on the types im
mediately preceding the black-figured, but with the develop
ment of this they became quite common. By their means
the characteristics of the styles of many Athenian potters
have been determined, and the fact established that potters,
like sculptors, sometimes handed down their art from father
to son, thus creating a sort of family school.
The practice of signing vases appears to have been com
mon in Athens during the sixth century and the early part of
the fifth, but to have been rarely followed elsewhere, and
to have been practically given up when the red-figured style,
to which we are now coming, attained perfection, though
there are a few instances of later signatures. An account
of the artists whose names are now known would carry this
Introduction far beyond its intended limits, and is not neces
sary here, as there are so few signed specimens in our col
lection ; but for the benefit of students who may wish more
detailed information on the subject, a list of Greek potters,
with a statement of the styles in which they worked, is given
in Part III, compiled from Professor W. Klein's valuable book
Die Griechischen Vasen mit Meistersignaturen (second edi
tion), Vienna, 1887.
While it is true that both types of black-figured vases which
have just been described were manufactured contemporane
ously, there is no doubt that those painted black with a red
panel gradually gained in favor at the expense of the others,

22 INTRODUCTION.
and this led, by a natural process of evolution, to the next
important stage in the history of Greek pottery, the introduc-
,, JC J tion of the red-figured ware. In this, the old colors
Red-figured ° . . .
vases. were retained, but with their relations completely
reversed. In other words, the figures, instead of being painted
black upon a red ground, were red upon a black ground. The
method by which this effect was obtained is explained in the
second part of the Introduction, and it only remains here to
trace the history of this style, which carried Greek pottery to
the highest point of its development, and was retained, almost
exclusively through its decline, until wheel-made vases disap
peared altogether.
Until recently it was believed that the red-figured vases
originated in the period immediately following the Persian
wars, and their appearance was regarded as one of the indica
tions of the new spirit with which the art of Athens was in
spired as a result of her victories. Investigations of late
years, however, have shown that the style came into existence
much earlier ; and its origin is now generally attributed to the
time of the Peisistratids, that is, the last quarter of the sixth
century b. c.1 At the time of its appearance, art in general was
already well advanced, and therefore we cannot trace a gradual
transition from the black to the red figured vases, as we have
done in the earlier styles. It seems to have been adopted
substantially in the form that it always retained, although
there are a few vases, especially of the kylix type, in which a
kind of evolution may be observed, the figures on the outside
being red on black, and those on the inside black on red.
It is chiefly in the character of the drawing that we can
Severe follow the development of this style. On its earlier
5tyle- specimens, the class which is known as the " Severe
red-figured style," the figures are still quite archaic. The faces
are almost always in profile, the eye invariably en face. The
1 On the date of the red-figured style see Studniczka, in the Jahrbuch des
archdologischen Institute, 18S7, pp. 159 ff.; Dummler, Jahrbuch, 1887, pp. 168 ff.;
Furtwangler, Sammlung Sabouroff, the Introduction to the Vases, p. 3, also his
Berliner Winckelmannsprogramm, 1890, p. 38 ; von Rohden in Baumeister's
Denkmdler, Vol. Ill, p. 1984.

HISTORY OF GREEK VASES. 23
distinction between male and female eyes which characterized
the black-figured style disappears altogether, all eyes being
long and narrow. The incised lines also disappear entirely,
giving place to equally fine lines in black. The hair is painted
a solid black mass, with a sort of fringe of fine lines indi
cating the ends; and to separate it from the background a
narrow red line is left around it. In the earliest vases of the
style, this line is a sharp zigzag.; later it becomes a simple
curve which follows the shape of the head. The beard is
always pointed, and the moustache is a small line drawn
around the upper lip. The faces have little variety of expres
sion, but great attention is paid to the representation of
muscles and muscular action, doubtless under the influence
of the sculpture of the period. The draperies are drawn with
an abundance of symmetrical folds, which as a rule do not fall
naturally, but are stiff and mannered.
In the black-figured style the pictures are usually of mytho
logical subjects, but in the severe red-figured vases scenes
from the daily life both of men and women, the palaestra,
the school, the banquet, and the household, become common,
under the influence, it is supposed, of Epiktetos, one of the
great vase-painters of this period.
We have the names of a number of the masters of the
severe style, the most famous among them being Euphronios.
Our Museum is fortunate in being able to exhibit, as a loan,
one of the ten extant vases which bear his signature, No. 388,
and from this we can see that in his work the severe style
reached its highest point. Though the heads are still archaic,
and the figures show the characteristics from which the style
derives its name, they are drawn with a hand that is abso
lutely sure, and the design as a whole fills its space without
effort or awkwardness. The distribution of lines and figures
over the surface shows a perfect appreciation of the princi
ples of decorative design.1
1 For a knowledge of the vases and masters of the severe style, the student is
referred to the important work of Paul Hartwig, Die griechischen Meisterschalen
der Bliithezeit des strengen rothfigurigen Stiles, Berlin and Stuttgart, 1893. — On
the vases forming the transition from this to the fine style, see the essay by Hol-
werda, Attische Vasen des Uebergangsstils, in the Jahrbuch des archdologischeti
Instituts, 1889, pp. 24 ff.

24 INTRODUCTION.
The severe style appears to have lasted until about 460,
Early fine, when a marked and sudden change took place. On
styie.herolc' the vases of that time the faces lose their archaic
character completely and become noble and dignified. The
eye is in profile when it should be, the chin is short and
round, and the body is drawn in heroic proportions. Dignity
is the quality which chiefly characterizes both the figures and
the subjects. The action, which in the severe style is iften
violent, is here always sober and restrained ; and the indescrib
able calm, to which the sculptures of the period owe much
of their impressiveness, is also strongly felt in these vase-
paintings. The figures display much more individuality than
those of the severe style, and the artists evidently aimed
especially at the representation of character.
This abrupt transformation must naturally have been due
to some especial impulse, which is now generally agreed to
have been the influence of the great painter Polygnotos, who
came from Thasos to Athens about the year 463. 1 Although
none of his paintings have been preserved, even in copies, we
have in various authors some account of his style and of his
influence upon Attic art. Both in the subjects he chose and
in his manner of treating them, his tendency was evidently
idealistic. Aristotle esteemed him the greatest of all Greek
painters, and speaks several times of the " ethic " nature of his
work, referring to his practice of illustrating the character
of his subjects rather than their emotions. Technically his
paintings seem to have had the same broad, masterly qualities
that distinguished the art of Pheidias. It was natural that
the vase-painters should have felt the influence of such men
as quickly as other draughtsmen, and it is extremely inter
esting to observe how immediately their work reflects the
change which came over the greater arts with the advent of
these two masters. This is the beginning of what is known
as the "Fine style" of red-figured vases, and we have an
excellent example of its characteristics in the superb Or
pheus vase, Case 6, No. 432. (See the frontispiece.)
1 This attribution of the origin of the "fine style" to the influence of Poly
gnotos we owe to Dummler, in the essay cited above. See also Furtwangler in
the Berliner Winckelmannsprogramm, 1890, pp. 30 ff.

HISTORY OF GREEK VASES. 2$
This is probably one of the earliest specimens of the new
style, for the lines of some of the garments still have a remi
niscence of archaic art, and in one or two of the figures the
eyes are not quite in profile ; but the feeling of the greatest
period is there, manifested in the beautiful faces, the heroic
types, both of men and women, the absolute simplicity with
which they are drawn, and the absence of all sensationalism
in the method of telling the story. The subject is a tragic
one. Orpheus, having spurned the charms of the women of
Thrace after the loss of Eurydike, is put to death by them.
This offers an opportunity for melodramatic treatment, yet
the brutality of the murder is barely suggested. The fact
itself is all that the artist has cared to represent, and he has
done this without any sentimentality. If there is any exag
geration, it is on the side of calm, not emotion; and in this
respect, — in the spirit in which the artist approached his
subject, — this vase is a worthy companion of the great
sculptures of the Pheidian epoch.1
Among the vases of this style is a group which is quite
distinctive, both in form and decoration. These are Nolan
the Nolan amphorae, so called because they have amPhorae-
been found in large numbers in the graves of Nola, in Cam
pania. It was formerly thought that they were of Nolan
manufacture, but they have been found elsewhere, and it is
now believed that they came from some Athenian pottery
which made a specialty of this ware. Specimens may be
seen in Case 6, Nos. 423-425. These show the character
istic form, glaze, and decoration. The form is always slender,
giving the vase a perpendicular character. The handles are
sometimes flat, as in our specimens, and sometimes twisted.
The glaze is a rich black, distinguished for its brilliancy ; and
for decoration one side always contains a single upright fig
ure, usually of a youth in a mantle, the other side generally
one or two similar figures, also upright, their lines accentuat
ing the character of the vase.
It is not to be supposed, of course, that all the vase-paint
ers of this time were of equal merit, or that all their works
1 Other examples of the same style may be seen in Nos. 398, 433—435-

26 INTRODUCTION.
had the same grandiose character, but even the smaller and
inferior vases show the same influence in their technique, if
not in conception. The faces, even when poorly drawn, are
of the type described, and the draperies have a certain rigid
ity of line which is not archaic, yet is less free than in the
drawings of later vases.
The heroic qualities of the fine style appear to have given
Fine st le place, even during the Periklean age, to others in
later type. which a greater refinement of drawing was sought
at the expense of largeness of style. The figures become
less grand, but more graceful and pretty. The artist is no
longer content to leave the hair a solid black mass, but draws
it with broad wavy strokes. The lines become exquisitely
fine, especially in the draperies, which are drawn with great
freedom, though with an extremely delicate touch, and the
tendency to make them transparent becomes a marked charac
teristic. It is surprising that these symptoms of the decline
should appear in vase-paintings before they do in sculpture,
yet inscriptions on vases of this type prove that they belong
in the period 440-430, the very years in which the Parthenon
was being completed.1
In this period, the second half of the fifth century, the
white Attk white lekythoi decorated in bright colors began to
lekythot. appear. In one sense these are the most distinc
tively Attic of all vases, for they are the only kind which the
Athenians made exclusively for their own use. They are
found in large numbers in Attika and its immediate vicinity,2
but never elsewhere. The fact of their being painted in
colors on a white ground does not make them absolutely
unique, as vases thus decorated are to be found in the severe
style, though they are not common ; and in our collection
there are specimens of lekythoi with a white ground belong
ing to the early period of the black-figured style (see Nos.
335. 336, in Case 4). But in all these earlier examples the white
1 On the date of vases of this class see especially Furtwangler, Sammlung
Sabouroff, Introduction to Vases, p. 5, and pi. lv, with accompanying text.
2 A few have been found at Tanagra, in Boeotia, two of ours probably came
from Eretria, on the island of Euboea, etc.

HISTORY OF GREEK VASES. 27
is comparatively hard, and of a greenish or yellowish tint,
whereas in the lekythoi of which we are now speaking it is a
thin layer of milky white pipe-clay, which, certainly in the
majority /di cases, is not protected by any glaze or varnish,
being easily scratched and soluble in water. This white
coating was applied to the shoulder and body after the vase
had been through its firing. Its smooth, even surface was
obtained by polishing, and upon this the picture was outlined
in brown or black, the draperies and other accessories being
filled in with bright colors, — brown, red, yellow, blue, violet,
and, rarely, green. When the vase is not protected by a
glaze these colors are extremely delicate and yield to a slight
rubbing. The drawing is always sketchy, and evidently
done with rapidity, but it varies considerably in quality
according to the skill of the artist.1
These lekythoi were used by the Athenians in their funeral
ceremonies and anniversaries, being deposited either in or on
the graves by the friends and family of the deceased. Hence
the subject usually has reference to these ceremonies, the
commonest scene being the meeting of two persons in front
of a gravestone which is decorated with fillets and other offer
ings. They continued to be made and used, without material
change in style, during the whole of the fourth century at
least, and Pottier thinks their disappearance may have taken
place as late as the second century.2 We have several inter
esting specimens of them, Nos. 450-452, from Athens, and
448, 449, which were found in Euboea, though they are proba
bly of Attic make. The latter two are the oldest, the draw
ing having the characteristics of the early period' of the fine
style. No. 448 has an especial archaeological interest because
of the inscription At'^as KaXo's between the two figures, which
evidently refers to the deceased. Personal inscriptions of
this kind are rare on these lekythoi.3 No. 450 shows a later
1 On the history, purpose, and technique, of the white lekythoi, see the excellent
monograph of Pottier, Lecythes blancs attiques, Paris, 1883, and the essay by
Furtwangler in the Archaologische Zeitung, 1880, pp. 134 ff.
2 Ubi supra, p. 3.
3 They are in fact so rare that Pottier, p. 115, says they never exist.

28 INTRODUCTION.
type of drawing, though of a fine character, and probably be
longs to the early years of the fourth century.
Returning now to the red-figured vases, the drawing upon
Red-figured them continued to retain the qualities last described
decline. ' through the first half of the fourth century, in which
it was distinguished by freedom and grace of line. Some of
the most beautiful vases in existence belong to this period,1
but as a rule the forms are inferior in vigor and dignity to
those of the fifth century, and certain innovations which be
trayed a decline in taste were introduced in the decorations.
The first of these was the addition of gilt to indicate jewelry,
fillets, wings, and other small details. The use of accessory
colors, which had been universal in the archaic styles, had
become more and more restricted, until, in the vases of the
heroic style, it disappeared altogether. Its reappearance in
the fourth century was indicative of that desire for change
which led the art downward, slowly at first, but with con
stantly increasing rapidity.
Another novelty, showing the same tendency, was the
scheme of painting the principal figure of a group, and some
times minor figures like cupids, in bright colors, while the
others were left in red. This practice was by no means univer
sal, but it seems to have been highly thought of, as it is seen
on some of the finest of the vases exported from Athens.
But the most serious innovation was the substitution of
gilded reliefs for drawings as decorations. At first
Vases with . . , ,
plastic deco- these appear in an entirely subordinate way, with
out affecting the form of the vase itself, as may be
seen on the little lekythos, No. 464, in Case 7. The relief is flat,
and occupies no more of the surface than a drawing would.
The vase is as carefully made and glazed as ever, but for the
first time in the history of Greek ceramics, we find the potter
relying upon a mechanical device for his decoration, the relief
being pressed in a mould, not modelled in free hand.
1 Such, for example, as the Peleus and Thetis vase in the British Museum,
Salzmann, Nkropole de Camiros, pi. 58, and the vases from the Crimea, pub
lished passim, in the Comptes-rendus de la Commission Archiologique de St.
Petersbourg, 1859-81.

HISTORY OF GREEK VASES. 29
This artifice became popular very quickly, and the cooper
ation of vase-makers with the makers of terra-cotta figu
rines, which it brought about, resulted in producing a hy
brid object, common in the fourth century, and often very
beautiful, which is neither vase nor figure, but a combination
of both. It is in the form of a head, a whole figure, or even
a group, with the mouth and handle of a jug rising from it.
The plastic portions are treated in precisely the same manner
as the Tanagra figures, that is, they are covered with a white
coating, over which they are painted in natural colors, while
the mouth and handle are covered with a fine, black glaze.
We have but one specimen of this class, and that of inferior
quality, the head, No. 465, in Case 7.
The appearance of these plastic vases marks an advanced
stage in the decline of pottery. From this time the forms of
the wheel-made vases grow steadily poorer, and the drawing
upon them more indifferent, until it becomes almost a cari
cature of the style it assumes to represent. The mould is
gradually substituted for the wheel, and probably the early
part of the third century marks the final disappearance in
Athens of the wheel-made and hand-decorated vases. By
that time her export of this ware seems to have ceased ;
metal vases had come into general use among the wealthy;
and when clay cups and bowls were used, they were made in
moulds taken from those of gold, silver, and bronze. Of this,
the last stage of Greek pottery, there are examples in Case 8.
Among the Greek colonies in southern Italy the art lasted
somewhat longer. They had been great importers of Attic
vases from an early period, but until the middle of
the fourth century b. c. they seem to have devel- southern
oped no style of their own. During the second half
of that century, however, three distinct types sprang up
there which, while they resemble one another, are quite dif
ferent from any produced in Greece itself. From the dis
tricts in which they have been found, these types are known
as the Apulian, the Lucanian, and the Campanian.
Of these, the Apulian is by far the most numerous. Speci-

30 INTRODUCTION.
mens of it have been discovered in large numbers in the
graves of Ruvo, Canosa, Bari, and other towns of
Apulia.1 It is readily distinguished by its decora
tions, which are of the most elaborate and florid nature, and
usually cover the entire surface of the vase from lip to base.
Not only are the principal pictures crowded with figures, fre
quently arranged in two or three rows, but all the smaller
spaces are filled with borders and patterns, usually of a
flowery character. Primarily these decorations are of the
red-figured style, but white and yellow are used extensively
as accessory colors, and crimson is frequently added. Many
of the figures are painted white, with the features and other
details drawn in yellow. Both colors, as well as crimson, are
used in the draperies, with a view to giving them greater
brilliancy of effect. The women always wear gay head
dresses, and an abundance of jewelry, which is indicated in
yellow. The drawing is generally spirited, but sketchy and
careless. In the background of the principal pictures are
scattered flowers, fillets, scrolls, and other devices. A charac
teristic minor decoration on these vases is the flowery scroll
or vine, much less compact in design than earlier scrolls of
the same kind, the tendrils being twisted into loose spirals.
Frequently a head is introduced in the middle of this scroll,
sometimes rising from a flower.
The forms of the vases show the same " barocco " tenden
cies as the decoration. Occasionally they are copied from
good Attic types, but more frequently they are elaborated
from these by the substitution of ornate or fantastic handles,
elongated necks or high bases. Specimens of the Apulian
ware may be seen in Case 8. Nos. 493 and 494 are interest
ing as being among the earliest specimens of this ware, the
style showing the strong influence of Athenian art. The
decorations are distributed as they would be on Athenian
vases, and are sober in character, the principal indication of
1 According to Fr. Lenormant and others the seat of the manufacture of the
so-called Apulian ware was Tarentum. See Lenormant's papers : Comptes rendus
de I'Acadimie des Inscriptions, 1879, p. 291; The Academy, 10 January, 1880;
Gazette Archiologique, 1881-1882, pp. 102 and 186; La Grande Gi -tee. Vol. I,
p. 93 ; also Rayet and Collignon, Ciramiqice grecque, p. 302.

HISTORY OF GREEK VASES. 31
the coming change being in the use of yellow and white and
in the sketchy drawing. Nos. 496-498 show the style at its
height, when hardly an inch of the vase was left undecorated,
and Nos. 513-515 in its decline, when ribs and flutings took
the place of painted decorations on the greater part of the
surface. The Lucanian vases have been found principally at Ar-
mento, Anzi, Pisticci, and Paestum. In the use of
colors and in other general characteristics they re
semble the Apulian, from which certain minor differences
enable us to distinguish them. On the Apulian vases the
heads are usually small in proportion to the bodies ; on these
they are disproportionately large, and have big, staring eyes.
On the Apulian vases certain details, like the wreaths in the
hair, are always painted, but on these they are often left in
the red of the vase.1 In the drapery we occasionally have
another means of determining, for on some of the Lucanian
vases there are figures, both men and women, wearing gar
ments which are neither Greek nor Apulian, and are there
fore presumably local. As a rule, also, the Lucanian vases
are less crowded with figures than the Apulian. Nos. 528
and 529, in Case 8, are specimens of the Lucanian type.
The Campanian vases come mostly from Cumae, Nola, and
Capua. On these the love of bright colors is carried
even farther than on the Apulian, but the surface
of the vase is not so completely covered with decoration, and
the composition of the pictures, as well as the general charac
ter of the design, shows the influence of Greek work more
strongly, being less florid and confined to fewer figures.2
The production of these southern Italian types appears to
have been carried on actively until the second half of the
third century b. c, by which time the character of their art
had deteriorated considerably. The latter part of that cen
tury marks the gradual conquest of the region by the Ro-
1 See von Rohden in Baumeister's Denkmdler, Vol. Ill, p. 2007.
2 Of this ware we have no specimens. Characteristic examples of it are re
produced in the Annali dell' Instituto, 1873, PL IK, and the Monumenti dell'
Instituto, VIII, pi. XXXIV, 1, and X, pi. XXV.

32 INTRODUCTION.
mans. Capua fell in 211. Tarentum was conquered for the
last time in 209. The presence of Hannibal in the country
at that time, and the expensive sieges which many of the
principal cities underwent before their capture, used up their
resources and their energies alike. Both skill and spirit had
sunk lower and lower, and probably by the year 200 the
manufacture of painted vases had ceased entirely in Italy as
well as Greece.1
1 As the Etruscan "eucchero" ware had no influence upon the develop
ment of Greek pottery, a description of it has not been included in this sketch,
but is given in the special introduction to Case 3, p. 93, and in the notes at the
head of each group of vases in that case.

II.
THE MANUFACTURE OF GREEK VASES.
BLUMNER, H. Technologie und Terminologie der Gewerbe und KUnste bei
Griechen und Rbmern, Vol. II, pp. 1-137. Leipzig, 1879.
Brongniart. Traite des arts ceramiques. Second edition, Paris, 1854.
Jahn. Ueber ein Vasenbild welches eine Tdpferei vorstellt. Leipzig, 1854.
Rayet et Collignon. Histoire de la dramique grecque. Introduction.
It is both curious and unfortunate that although the pro
duction and exportation of pottery was one of the principal
industries of the Greeks, and especially of the Athenians,
their writers have left us almost no information about the
methods or instruments which were employed in its manu
facture. What few references there are to the subject in
ancient literature are summed up by Blumner in the work
cited above, and a glance at these will show that, had we no
other sources of information, we should be practically igno
rant regarding the manner in which the beautiful shapes and
decorations of the Greek vases were produced. Luckily,
however, there is no form of art in which the successive
stages of production are so clearly indicated in the finished
work. Indeed, one of the secrets of the power of fascina
tion of a Greek vase is the fact that it brings the spectator
close to the personality of its maker. The simplicity and
subtlety of its lines, and the free-hand character of its decora
tion, bear evidence in themselves to the absence of mechani
cal aid in its production. With a little experience and obser
vation, one can follow, step by step, the processes by which
it was created ; and these show that its perfection depended
upon little else than the skill of the potter's eye and hand. In
default, therefore, of written testimony, much may be learned
from a careful examination of the vases themselves.
The clay used by the Greek potters was generally soft and

34 INTRODUCTION.
thin in texture, and considerably more porous than that com
monly used. The best was reputed to be that found in a bed
at Cape Kolias, a few miles from Athens ; but Athens
The day. jtseif furrnsned an excellent quality, in the vicinity
of the quarter called the Kerameikos. This was probably the
kind most used by the Athenian potters, and was of a pink
ish color which, in baking, deepened into an orange tone com
monly designated as red. The composition and color of the
clay used by the potters of different cities varied, naturally,
according to the localities in which it was found ; but it may
be roughly divided into two classes, the pale yellow famil
iar in the vases of the Corinthian style, and the pink which
was found in many places in Greece, Italy, and Sicily. As
the art developed, the latter became by far the more popular,
and its color was generally deepened by artificial means. Con
sequently, while in the early period we see a variety of pale
clays left in their natural colors, in the finer and later periods
the orange appears almost to the exclusion of all others.
The first stage in the manufacture of the vase was the
Its preparation of the clay, which, however fine in qual-
preparation. jj;y, required to be thoroughly washed, or purged,' to
remove all lumps and foreign substances, such as gravel,
which would have produced flaws in the vase. It is worth
noting that in the vases of the Mykenae style (see page 6)
this process was perfectly understood and carefully performed,
the texture of the paste being as smooth and fine as that of
any of the later styles, and susceptible of being drawn out
very thin on the wheel. As a rule, however, the process of
cleansing and preparing the clay, like that of improving its
color, attained perfection only gradually.
In the better periods, to which we shall confine this de
scription, the clay having been thoroughly purged was then
kneaded, either by the hands or feet, water being used freely
to keep it pliable. It was at this stage that other substances,
chiefly oxide of iron, were mixed with it to improve its quality
and color. Of the ingredients of the Greek potter's paste no
comprehensive account has yet been published. The analyses
usually quoted are those made upon vases found in Italy, the

MANUFACTURE OF GREEK VASES. 35
best being those of the Nolan type, of which Bliimner (Tech-
nologie, II, p. 56) gives the following summary, deduced from
the reports of various experts : 1 —
Silica . . . 52-60 parts.
Alumina  I3-J9 " (In one case 27-)
Lime . . . .... 5-10 "
Magnesia .  1-3 "
Ferric Oxide  12-19 " (In one case 24.)
It is of course highly desirable that a thorough chemical
examination of the various types found in Athens itself
should be made, for purposes of comparison. This is still to
be done, however, and as a beginning the following table is
submitted. It is the result of analyses made in the labora
tory of Harvard University, of several specimens sent from
Athens for the purpose. They are all of the best type of
Attic ware, covered with a fine black glaze : ¦ —
Analyses of Greek Pottery.
June, 1893.

Sample.

I. Handle of vase.

II. Fragment of jar
(large vase).

III. Fragment
of jar.

IV. Neck
of vase.

Analyst

Widtsoe

Lyon

Widtsoe

Lyon

Widtsoe

Lyon

Widtsoe

Silica (SiO.>) 

54-24 10.0318 26
6.11 5-542.12

54.01 10. 1 1
18.60 6.07 S-52

56-57 8.42
18.78 5.24
[4-40] 2.982.14 1.34

56.65 8.88
18.41 5.264.40

56.79 9-'3
14.99 5-99
4-97

[56-79] 8.29
16.90 5.60
4.88

57-08

Ferric Oxide (Fe203) 
Aluminic Oxide (A1203).
Calcic Oxide (CaO) 
Magnesic Oxide (MgO).
Potassic Oxide (K20). . .
Sodic Oxide (Na20) ....

8.36
17.07 4-93 5-17
3-532.563-i4(?)

99.87

IOI.85

Specific gravity of (I.) = 2.i9

Theo. W. Richards.

Regarding the character of the wheels employed by the
Greeks our knowledge is extremely unsatisfactory. The
This is a point on which the testimony of writers wheel
would have been most valuable, for while a vase shows readily
1 The details of these analyses are given most fully in Brongniart's work,
cited above.

36 INTRODUCTION.
whether it is wheel-made, it obviously possesses no means of
indicating the shape of
the wheel or the man
ner of its propulsion.
In default of other in-
formation we are
obliged to turn to the
few pictures on vases
which represent pot
ters at work. The evi
dence of these is trust
worthy so far as it
Figure i. , .. . ,, -,
goes, yet it tells but
a small portion of the story. The most important represen
tations of this kind which we possess are those reproduced in
figures 1-3. They show two distinct types, both of which are
propelled by hand. The first, shown in figures 1 and 2, is
extremely archaic, these illustrations being from votive tablets

Figure *.

(pinakes) of the seventh century b. c, found near Corinth.
Figure 1 is in the Louvre, and figure 2 in the Berlin
Museum.1 Here the potter is seated at a round table which revolves
1 Figure I is reproduced from Rayet and Collignon's Histoire de la ciramique
grecque, p. 147, and figure 2 from the Antike Denkmdler, I, pi. vm, fig. iS.

MANUFACTURE OF GREEK VASES. 37
upon its leg as upon a pivot. With one hand he keeps the
table in motion, while he forms the vase with the other. In
figure I the potter is making a vase, and in figure 2 he is
decorating one, after the handles have been added. From
the latter it will be seen that the wheel was used in painting
the horizontal lines around the vase as well as in shaping it.
Thus we have evidence that in the early days of Greek pot
tery a common hand-wheel was used, but we do not know
either that this was the only kind used then, or that it con
tinued to be employed in later epochs.
The second type illustrated is that seen in figure 3, which
is from a black-figured vase in Munich, described in Jalm's
essay cited above. In principle it is similar to the first, but
it is much lower, and is turned by a second person, who sits
upon a low stool and propels it with both hands. The potter
here is standing at his work ; and it is obvious from the low-
ness of the table that this type of wheel was intended for
very large vases, such as are being made in the pottery which
the picture represents.
It is generally assumed that the Greeks used a " kick-
wheel," and while this is most probable, it has never been
actually demonstrated.1 The supposition is based partly
upon the universality of this type of wheel, which has been
used in many ages and many parts of the world, and partly
upon a disk found in the last century near Arezzo, which is
supposed to have belonged to one.2
From the character of some of the vases it may be in
ferred that there were still other varieties of wheels than
those described. It is inconceivable that such subtle lines
as those of the kylix, for example, could be turned upon a
table so much below the potter's eye as were all of these ;
and the jerky movement of the body necessary to keep the
kick-wheel in motion would make it extremely difficult to
1 The " kick-wheel " consists of a small round table or disk, supported by one
leg, at the bottom of which is a larger disk, the whole made to revolve as one
piece upon a pivot embedded in the ground. The potter, seated, turns this by
pushing or kicking against the lower disk with one foot, which acts both as a
propeller and a brake, enabling him to vary the speed instantly at will.
2 Fabroni, Storia degli antichi vasifittili aretini, tav. III. 9, 10 ; v. 7, 8, 9 ; p. 64.

38 INTRODUCTION.
attain, in any but small vases, the delicacy and precision of
form which the kylix exhibits. It would seem, therefore, that
they must have had one variety of wheel which was turned
by a second person, and the table of which was high enough
to enable the potter to keep his eye on a level with the vase
as he was shaping it. Of this, however, we have no positive
knowledge, and we must therefore leave it a conjecture.1
The small vases were made of a single lump of clay ; the
larger ones, such as the colossal amphorae and other
structionof vases of that class, were built up in sections, each
one of which was made separately, beginning with
the lowest ; and they were joined together after they had be
come partially dry. The joining was done on the wheel, and
the potter took great care to cover up the junction so com
pletely that the seam is rarely visible on the outside. This
is possibly the operation which is being performed on the

Figure 3.
wheel in figure 3. The very large amphorae were made in at
least three sections of this kind.
It must be remembered that only the body of the vase
1 Sig. Antonio di San Scappini, of Corneto, who imitates the forms of Greek •
vases with remarkable skill, uses a wheel of this character, which is simple
enough in construction to have been known to the Greeks. It consists of a
large upright wheel, turned by a hand-crank, and connected with the potter's
table by a belt, which is so adjusted that the table, which is about four feet high,
can be made to revolve with the greatest velocity, and stopped instantly. The
crank is turned by a boy, who varies the speed from moment to moment at a
word from the potter. This is called a tornio a violenza. \

MANUFACTURE OF GREEK VASES. 39
was formed upon the wheel, the foot, mouth, handles, and
frequently the whole neck, being added afterward. The
body being finished, it was allowed to dry in the air, after
which the other parts were attached. The manner in which
the handles were made is a subject of dispute, some author
ities thinking that they were pressed in a sort of mould,
others that they were simply handwork, made by rolling the
clay out into a round stick and cutting it into pieces of
the desired length. However this may be, the joining of
the handles to the vase was one of the most perfect elements
of the Greek potter's art ; for it will be noticed that they
never appear as distinct or separated from the vase, but were
made to merge into it in such a way that they rise gradually,
and at the base imperceptibly, from the body. This not only
added to the beauty of the vase, but served a practical end as
well, since it made the attachment of the handle extremely
strong. Vases are often found with their handles broken off,
but the fracture is rarely at the actual point of junction of
the handle with the body.
The foot and handles having been added, the vase was
again allowed to dry for a while in the air, in order that the
water might evaporate as much as possible before the opera
tion of firing was begun. Then the vase was put into a kiln,
and submitted to its first firing, probably at a low heat, which
rendered it just hard enough to be handled by the potter
when he added the decorations.
As regards the construction of the kiln, so little is really
known that it is not worth while to enter into a dis- Thekiln.
cussion of the subject here. There are a few illus
trations, on vases and other objects, of a very simple form of
kiln, which appears to have consisted of little more than a
beehive-shaped mound, with a place for the furnace below,
and the oven proper in the upper part. One of these, from a
Corinthian pinax in Berlin, is shown in figure 4. Although
it is probable that in the best period of the art something
more perfected than this was used, we know that the me
chanical appliances of the Greeks were much simpler than
ours, and it is therefore likely that their kilns were of a type

40

IN TROD UCTION.

Figure 4.

which would be considered primitive to-day, and that the suc
cess of the firing
depended largely
upon the judg
ment and watch
fulness of the pot
ter. Here again,
probably, the per
sonal element
played a much
more important
part in the manu
facture of vases
than it usually
does in our time.
Accidents appear
to have been common, and to have been due to over-heating,
to the entrance of smoke into the oven, to imperfections
in the glaze and coloring, and so on. An example of the
result of this imperfect firing may be seen in the amphora,
No. 422, in Case 6, where the black has sprung from the
vase in various places, leaving the color a dirty green. As
these accidents were thought to be due to the influence
of the Evil Eye, we frequently find on the representation of
kilns a mask, or other device, for averting it, like that in
figure 3.
At some stage in the process the vase was polished, to
make the sides as smooth as possible, and remove
all traces of the finger-marks in the clay. Obvi
ously this must have been done after the first firing, before
which the clay would have been too soft to withstand rubbing.
It was probably done just before the decorations were ap
plied, as one object of the operation was to prepare a good
surface for the drawing. The tool used for polishing appears
to have been a piece of wood or hard leather, such as is used
to-day. Figure 5, from a vase in the Berlin Museum, is
doubtless an illustration of the process.
When the vase had been polished, it was not only per-

Polishing.

MANUFACTURE OF GREEK VASES.

41

fectly smooth, but also, of course, of uniform color through
out. It was upon this surface that the decorations were
painted, and as the process of decoration differed The decora.
somewhat in the black-figured and the red-figured tl0r,s-
vases, we will first de
scribe that of the black-
figured, the earlier of
the two.
In this the painter be
gan by making an Out
line sketch, in BIack.
black, of the fisured-
whole design with which
he wished to decorate
his vase. This was done
with a brush. Having
arranged the general
scheme to his satisfac
tion, he filled in the fig
ures with black, giving
them the character of silhouettes, without any detail. The
fact that the figures were to be thus filled in enabled him to
make corrections in his preliminary sketch, to a limited ex
tent. If an arm, for example, appeared too low, he could
raise it, provided it was covered with drapery, without leav
ing the change visible in the finished work.
All the parts which were to be black having been filled in,
the vase was subjected to a second firing, at a temperature
' much higher than that of the first. This rendered it as hard
as it was intended to be ; and the next step was to draw the
details in the silhouetted figures, which was done with a
fine, sharp tool, with which lines were incised or scratched
through the black into the clay itself. These lines are often
of great delicacy, and show a remarkable freedom and preci
sion of hand, especially when we remember that they were
drawn upon a curving and slippery surface. The vases in
Cases 4 and 5 will well repay examination from this point of
view.

Figure 5.

42 INTRODUCTION.
After the details were thus indicated, the accessory colors,
red, white, and violet, were added. The object of these
was to brighten the general effect, and, in the case of the
white, to indicate the flesh of the female figures. The vase
was then subjected to another firing, but inasmuch as the
accessory colors were superimposed upon the black after it
had undergone one firing, they have neither its lustre nor its
tenacity, and are frequently either partially or wholly rubbed
off, showing the black underneath. They may be easily
scratched with a penknife, which the black resists except
under strong pressure.
As to the glaze on both the black- and the red-figured vases
we have very little satisfactory knowledge. We
know that a glaze was applied, but we do not know
as yet what its constituent parts were, and neither do we
know whether it was contained in the black paint, or whether
the whole vase was dipped in a thin solution, as has been held
by some authorities. Certain it is that the black must have
had lustrous qualities of its own, since it always appears
much more brilliant than the red. The red may have at
tained its smooth gloss and finish simply by polishing, or pos
sibly a thin glaze was applied to it.
The decoration of the red-figured vases began by tracing
^ , „ , the design with a blunt-pointed reed, or stick, with
Red-figured. ° L
which the lines were lightly scratched in the clay,
no color being used. By this means the potter was able to
determine whether he had distributed his figures satisfac
torily over the surface of the vase before he began to paint
them, and if not, to correct them as freely as he pleased with
out spoiling his drawing. The even distribution of figures
and accessory decorations, in the later black-figured vases,
would make it probable that some device must have been
resorted to by their makers for the same purpose, as it
seems hardly possible that the artist could have foreseen,
before beginning his painting, exactly how his figures were
going to fill the space. However, there is no indication of
any such preliminary sketch as that employed on the red-
figured vases, and we know of no other mode of correction.

MANUFACTURE OF GREEK VASES. 43
As already stated, the incised lines on the black-figured ware
were applied after the color, not before.1
That the artists of the red-figured vases made full use of
the opportunities afforded them by this colorless mode of
sketching we have ample evidence in the vases themselves,
on almost every one of which the preliminary sketch is still
plainly visible under the black lines, the finished design
being sometimes quite different from that originally drawn.
The character of his design and the arrangement of his fig
ures being determined, the painter next drew these in out
line ; but the outline differed from that of the black-figured
ware, in that it was outside of the figure, and surrounded it,
instead of forming a part of it, thus making the figure a
red silhouette instead of a black one. The first outline was
drawn with a fine brush, and when it was .finished, the artist
went over it again with a larger one, making a broad line
around the figure. This was done in order that there should
be no danger of the color running into the figures when the
spaces between them were filled in with black. By getting
the proper angle of light upon a vase, these broad lines may
be readily distinguished from the black of the rest of the
surface, and it is important that the student or amateur should
take note of them, as they offer one of the simplest means of
distinguishing a common class of forgeries or " restored "
red-figured vases. Modern makers or restorers seldom copy
them, — at least with any degree of success.
It was not until after these outlines had been completed,
and the ground painted black, that the details of the figures,
— the faces, drapery and the like — were drawn.1 Incised
lines disappeared with the black-figured style ; on the red-
figured vases all the details are painted, and a glance at any
red-figured vase will show what a very fine brush was used
for this purpose.
To fully appreciate the skill required in this painting, it
must be understood that, owing to the softness or porosity
of the vase after its first firing, when the decorations were
1 See Petersen in the Archaologische Zeitung, 1879, pp. 1, ff.
2 Ibid., p. 5, note 17.

44 INTRODUCTION.
added, the lines were absorbed instantly, being brought out
later by the second firing. This absorption of the lines made
it necessary that each one, however long, be drawn with a
single stroke. Botching or " painting " a line was out of the
question, as it would have produced a ragged effect, and cor
rection at this stage of the process was equally impossible.
The decorator, therefore, had to work with a quick, delicate
and absolutely certain hand, upon a curving and rounding
surface. The drawing upon these vases is consequently free
hand in the highest sense of the term ; and it is well worth
noting that neither in the figures, nor in the minor decora
tions, such as the meanders, palmettos and lotos-bands, did
the Greeks ever make use of the stencil or any other device
for facilitating their work or making it more exact. When
they copied pictures, as they frequently did, each artist con
trived to get something of his own individuality into his
copy ; so that, while we find many representations of the
same subject, rendered in practically the same manner, there
is always at least a minor point of difference, showing that
the copy was not mechanical. Consequently, no two Greek
vases, among the thousands that exist, are exactly alike.
It is interesting to learn, by the way, that the vase-painters
held the brush, not as we do, between the thumb and fore
finger, but grasped in the closed fist, the brush end being near
est the little finger. This is seen in figure 6, a picture from
a vase in Ruvo, showing the goddess Athena crowning the
potters at their work. (From the Annali dell' Instituto, 1876,
pi. DE.) Curiously enough, the Japanese artists, who have
more nearly than any others approached the Greeks in the
purity and strength of their line-drawing, hold their brushes
in the same way.1
The final stages in the manufacture of the red-figured vases
were like those employed in the black-figured ware. When
all the black parts had been painted, the vase was subjected
to a second firing, at a high temperature, after which the
1 This fact was noted by Edmond Pottier, in an interesting article on the re
semblances between Greek and Japanese art, in the Gazette des Beaux Arts, yne
peViode, Vol. Ill, 1890, p. 105.

MANUFACTURE OF GREEK VASES.

45

46 INTRODUCTION.
colored accessories were added. In the best periods of the
red-figured style, these were confined to small details, such
as wreaths, fillets, inscriptions, and the hair of old men,
which was painted white. The decoration being completed,
a third firing hardened the last colors, and the vase was then
ready for the market.

Buffet with Vases stacked upon it.
(From a wall-painting at Corneto.)

III.
LIST OF
THE MAKERS AND PAINTERS OF GREEK VASES
Whose Names ake known to us from the Signatures upon their Works.
Compiled from Wilhelm Klein's Die Griechischen Vasen mit Meistersignaturen.
Second edition, Vienna, 1887.
Note. — With regard to the dates of the artists named in this list, little more
is known than can be deduced from the style of their work, and the approximate
dates of the different styles are given in Part I. of this Introduction.

painter (Zypwtytv).

Abbreviations.
M means that the artist signed as maker (4irolr)<rev).
p it tt tt tt ti
e. b. f. = early black-figured.
1. b. f. = late black-figured.
s. 1. f. = severe red-figured.
f. r. f. = fine red-figured.

Name.

Aison1 
Amasis I 
Amasis II 
Amasis III. (?) .
Anakles 
Andokides . 
Apollodoros 2 . .
Archikles 
Aristonophos . .

Aristophanes Assteas 

Residence.

Athens

'(?)

Unknown (Asia
Minor ?)
Athens
Lucania Athens
Corinth

Painter
or Maker.

P
M P
M M
M P
M
M

P P
M P

Brygos 
Chares 
1 The names of these artists have been learned since the publication of Klein's book. For Aison
see Antike Denkmiiler, II, pi. i, and for Apollodoros see Hartwig's Meisterschalen, pp. 628-640.

Other artists with whom
he worked.

Style.

early f. r. f.
e. b. f.

Kleophrades 

s. r. f.

Nikosthenes 

1. b. f .
1. b. f. ands.r. f.
s. r. f.

Glaukytes 

1. b.f.
Very archaic,
like Melian
and Theran.
early f. r. f.

s. r. f.
Corinthian.
INTRO D UCTION.

Charinos 
Charitaios 
Chiron 
Cheiron (?) 
Chelis 
Dein[iad]es 
[Diotjimos 
Duris 
Epigenes 
Epiktetos 
EpOykos 
Epitimos 
Erginos 
Ergoteles, son of
Nearchos
Ergotimos 
Eucheiros, son of
Ergotimos
Euergides 
Euphiletos 
Euphronios 
Euthymedes, son
of Polios
Euxitheos 
Exekias 
Gamedes 
Gauris 
Glaukytes 
Hegias 
Hermaios 
Hermogenes 
Hermonax 
Hieron 
Hilinos 
Hischylos 
Hypsis 
Iasiades 
Kachrylion 
Kalliades 
Kittos 

Residence.

Athens

Boeotia
Unknown Athens

" (?)

Painter Other artists with whom
or Maker. he worked.

M
M M
M M
M P
both

M P

P
MMMMM
M P
both

M
both M
MM P
M M P
MMM P
MM M P

Philtias 
Euphronios 
Python, Kleo-
phrades, Kalliades

Nikosthenes, Pam-
phaios, Hischylos,
Python, Pistoxenos

Aristophanes .
Klitias 

Kachrylion [Diotj
imos

Oltos .

Archikles .

Style.

Makron 
Psiax 
Epiktetos, Pheidip-
pos, Sakonides

Euphronios. .
Duris 

b.f.
1. b. f.
l.b.f. e. b. f.
1. b. f . and s. r. f .

1. b. f. and s. r. f.
s.r.f. s.r.f.

early f. r. f.
1. b. f. and s. r. f.

1. b. f. and s. r. f.
1. b. f.
early f . r. f.
Lb.f.

e. b. f.
1. b. f.

s.r.f.b. f. (pinakes).
s.r.f.I. b. f. and s. r. f.

s. r. f.
b.f.archaic Boeotian.
black vases
without deco
ration.
1. b. f.
early f. r. f.
1. b. f. and s. r. f.
l.b.f.early f. r. f.
s. r. f.
s. r. f.
1. b. f. and s. r. f.

1. b. f. and s. r. f.
s.r.f.s. l.f.
s. r. f.
b. f. (Panathe-
naic).

LIST OF GREEK POTTERS.

49

Kleophrades .
Klitias 
Kolchos 
Kriton 

Lasimos.

Lydos.. .
Lykinos .

Lysias.

Makron . .
Megakles.Meidias . .
Myson . . .
Myspios . .

Neandros 
Nearchos 
Nikon (?)....
Nikosthenes .

Oltos 
[Onesjimos1 Pamphaios .
Paseas 
Peithinos.. .
Pheidippos .
Philtias 
PhryuosPistoxenos . .
Polygnotos .
Praxias 

Priapos ,
Prokles. .

Psiax 
Python . . .
Python II .
Sakonides .

Sikanos .
Sikelos .
Skythes .

Residence.

Athens

Unknown

S. Italy
Athens
Unknown

Athens

(?)

Unknown ?
Athens
Lucania ?
Athens

Painter
or Maker.

M P
M M

P
M

M P
MM
both MM
both MM PP
M PP
P
P
MM PP

M
M

P
M P

M P

Other artists with whom
he worked.

Amasis II., Duris. .
Ergotimos 

Hieron 

Epiktetos, Anakles .
Euxitheos  .-.
Euphronios 
Epiktetos 

Hischylos . .
Dein[iad]es

Epiktetos .

Hilinos 
Epiktetos, Duris.

Tlenpolemos, His
chylos

Style.

s. r. f.
e.b.f.e. b. f.
black vases
without deco
ration.

r. f. decline,
(Apulian).
b.f. black vases
without deco
ration. ditto.
s. r. f.
later f. r. f.
later f. r. f.
1. b. f.

1. b. f.
e. b. f.
s. r. f .
1. b. f. and s. r. f.
s. r. f.
s...f.I. b. f. and s. r. f.
b.f. (pinakes),
s. r. f .
s. r. f.
1. b. f. and s. r. f.
1. b. f.
s. r. f.
early f. r. f.
(one small am
phora with red
figures and
archaic in
scriptions). ?
black vases
without deco
ration.
s. r. f.
s.r.f.
r. f. decline.

1. b. f.
1. b. f . and s. r. f.
1. b. f. (Panathe-
naic).
b. f. (pinakes).

- This is Hartwig's restoration of [Diotjimos. See his Meisterschalen, p. 503.

5o

INTRODUCTION.

Name.

Residence.

Painter
or Maker.

Other artists with whom
he worked.

Style.

Athens u tt
Unknown Athens
Boeotia(?) AthensBoeotia
Myrina ?
Athens
Corinth Athens tt

M P
M MM
M M P
M M
M P
MM M
MMM

l.b.f.

Sophilos 

?

s. r. f .

early f. r. f.
without deco
ration.
l.b.f.
without deco
ration.
s. r. f.
Boeotian.
Timagoras 
1 b f
Tlenpolemos 
Tleson, son of
Nearchos
Sakonides 
l.b.f. 1 b f
1. b. f.
Typheidides 
1. b. f.
later f. r. f.
CASE 1.
EARLY GREEK STYLES.

i. Mykenae Style.
Small jar, or amphora, with tapering sides, and very nar
row at the base. Three small handles on the
shoulder. Clay yellow, smooth, and firm in texture,
with a slight glaze. Decorations, all in dark brown,
shading to a strong red : diagonal lines, on the
shoulder, interrupted by a herring-bone pattern of
a primitive type, and horizontal lines on the body and neck.
A broad band of the same color at the base.
From Cyprus. Purchased of General L. P. di Cesnola, 1872, with the collec
tion in Case z. Height, M. o. 16. Practically intact. Reg. No. 452.
2. Small, shallow drinking-bowl, with two small handles at
the rim. Well-made, of fine clay. Dec
orations, all in red : exterior, a solid
band covering the lower half. Above,
a frieze, consisting on each side of a
water-fowl (body drawn with hatched lines) in a square; and,
in front of and behind this, a lozenge drawn in the same way.
Except a small circle at the bottom, the interior is painted
solid red, shading in spots to dark brown.
From Cyprus, with the preceding. Diameter, M. o. 138. Repaired. Reg.
No. 459.
3. Large two-handled bowl, in shape like an inverted bell.
Clay brown, less fine than the preced
ing, painted a pale yellow. Decora
tions, in black, shading to red : broad
horizontal lines, inside and out, one
wavy line near the top.
Purchased, 1883. From Kameiros, in Rhodes.

52 CASE i. EARLY STYLES.
Height, M. o. 135; diameter at the mouth, M. o. 248. Slightly repaired.
Reg. No. 4288.
4. Cup, with a nozzle and one vertical handle. Clay yel
low. Decorations, in black, shading to red:
horizontal lines, inside and out, a wavy zigzag
around the middle.
Gift of Henry J. Bigelow, 1883. Diameter, M. o. 108;
height, M. o. 065. Intact. Reg. No. 4285.
5. Nineteen fragments of pottery from Mykenae, all of the
later style, showing the color and texture of the clay, various
types of decoration, and the fine finish of the best Mykenae
ware. Reg. Nos. 6120, 6127, 6128, 6137, 6138, 6140, 6232-6244.
6. Six fragments of pottery from Tiryns. Clay and deco
rations similar to the preceding.
Reg. Nos. 6121-6126. 2. Geometric Style.
A. Greek.
7. Two-handled drinking-bowl (kylix), without base. Dipy
lon style. Clay pale pink. Decorations, in
dark brown and black: interior, two broad
bands, many small lines, and, near the rim, a
row of dots. Exterior, around the middle, a
broad meander ; above, a pattern formed by two intersecting
zigzags, with a row of dots. Above and below both patterns,
lines. Purchased in Athens, 1882. Diameter, M. o. 163. One handle slightly re
paired. Reg. No. 6275.
8. Small, one-handled cup (kyathos) of the Dipylon style.
Clay pale pink. Decorations : lines encircling
the exterior, dark brown ; around the middle, a
row of concentric circles, connected by a line.
A zigzag around the rim and on the handle.
Purchased in Athens, 1882. Found in Attika. Height, M. o.
077. Small hole in the bottom. Reg. No. 6274.
9. Small round box (pyxis) with cover. Dipylon style. The
inside of the rim, and the cover, are perforated with two
holes on each side, through which strings were passed, to

GEOMETRIC. 53
fasten the cover to the box. The cover has a knob for a
^ handle. Clay pale pink. Decorations : lines, dots,
and zigzags, of dark brown, encircling the exterior.

\  / Purchased in Athens, 1882. Said to have been found near Su-
nion. Diameter, M. o. 104. Practically intact. Reg. No. 6273 A.
10. Two-handled drinking-cup (kantharos), with horizontal
handles near the base. Dipylon style. Clay pale
pink. Decorations : lines and dots, around in
terior and exterior. Between the handles, on
each side, a double "swastika."
Purchased in Athens, 1882. Found in Attika. Height, M. o.
105. Intact. Reg. No. 6272.
11. Large oval jar, with cover. On the shoulder are two
pairs of handles, one for lifting, the other,
smaller, for the attachment of cords, prob
ably for fastening the cover. Clay pale
pink. The body of the vase is painted dark
brown, with three bands of the natural color
encircling it, on which are brown horizon
tal lines. On each side, between the larger
handles, is a large panel, filled with a large
meander, a row of zigzags and a row of
lozenges. Around the cover is a broad
meander.
Gift of Henry P. Kidder, 1881. Found in Crete. Height of vase, M. o. 327 ;
of cover, M. o. 122. Vase intact. Cover slightly repaired. Reg. No. 348.
12. Small round bottle with a long neck and no base (Schna-
belkanne), of Cyprian style. Clay pale. Decorations, in black :
two rows of triangles formed of diagonal lines, and lines
around the neck and body.
Purchased, 1887. From Asia Minor. Height, M. o. 157. Practically intact.
Reg. No. 5304.
13. Large oinochoe, with a long neck and a broad flat handle,
on which is a serpent, modelled in relief. Clay yel
lowish. Decorations, in brown, shading to black :
the entire body is covered with groups of small con
centric circles, six in each group. The neck is
divided into panels, those on the sides containing
a double lotos pattern ; the others and the rest of
the space being filled with combinations of lines, in-

54 CASE i. EARLY STYLES.
eluding the wave-pattern, zigzags, and cross-hatched lines.
On both sides of the serpent, on the handle, are zigzags, run
ning horizontally.
Anonymous gift, 1892. Found at Thebes* in Boeotia. Formerly in the Van
Branteghem collection and described in Froehner's catalogue of the same,
No. 204. Height, M. o. 52. Repaired, and the neck slightly restored. Reg.
No. 6326.
14. Round cover decorated with broad black rings.
Gift of J. J. Dixwell, 1876. Diameter, M. o. 17. Intact. Reg. No. 101.
B. Italic.
15. Squat amphora, with a broad, tunnel-shaped mouth and
no base. Apulian type. Two handles, and be
tween them, on each side, a projecting ornament,
crescent-shaped, with eyes and a nose. Clay pink,
painted yellow. Decorations, in dark brown and
red : broad bands above and below the handles ;
between them a frieze composed of vertical and horizontal
lines and small squares. Below the bands, concentric circles
and triangles.
Gift of Thomas G. Appleton, 1876. Purchased by him of Alessandro Cas-
tellani. Height, M. o. 16. Diameter, M. o. 205. Intact. Reg. No. 9.
16. Small, squat jug, with a high, vertical handle, an orna
ment ending in a ram's head attached to one side,
and a spoon-shaped nozzle, connected with the in
terior by four holes which served as a strainer.
Apulian type. A round opening on the top. Dec
orations : lines, alternately dark brown and red,
encircling the vase, others running vertically. On one side
a band of lozenges, alternately red and brown, and on the
bottom a wheel.
Gift of Thomas G. Appleton, 1876. Purchased by him of Alessandro Cas-
tellani. Height, including handle, M. o. 11. Intact. Reg. No. 10.
17. Small amphora-shaped jar, with two handles at the broad
est part, near the bottom, and mouth in form
of a strainer, being concave and perforated
with five small holes. Apulian type. Clay
pale pink, painted yellow. Decorations : bands,
fine lines, zigzags, etc., in dark brown and red.

" PROTO-CORINTHIAN." 5 5
Gift of Thomas G. Appleton, 1876. Purchased by him of Alessandro Cas-
tellani. Height, M. o. 123. Intact. Reg. No. 8.
18. Double vase, in the form of two jars united, with a basket
handle rising between them. Apulian type.
Clay pale yellowish. Decorations, in dull
black : five bands, (a) wave-pattern, (b) con
centric semicircles, with pendant ornaments,
(c) a broad herring-bone, (d) a chain, (e) dol
phins, in outline, and rosettes, in alternate squares. On the
handle a chain pattern ; and around the inside of the lips
concentric semicircles and groups of dots. A red line
around the neck and on the handle.
Gift of T. G. Appleton, 1876. Purchased by him of Alessandro Castellani.
Height, M. o. 144; longest diameter, M. o. 274. Intact. Reg. No. 11.
3. The so-called " Proto-Corinthian " Style.
(See Introduction, page 13.)
19. Small lekythos. Clay pale yellow. Decorations, in brown :
three bands or friezes, divided by very fine lines and
rows of dots. Upper band, on the shoulder, three
hounds running to right ; middle band, five hounds
running to right ; lower band, rays. All these drawn
in silhouette, with no incised details.
Purchased in Athens, 1882. Said to have been found at Megara. Intact.
Height, M. o. 07. Reg. No. 6288.
20. Shape and colors like the preceding. Decorations : fine
lines encircling the whole body of the vase. Around the
shoulder, a sort of ray pattern, the points curled. Around
the mouth, delicately drawn, concentric circles. No incised
lines. Purchased in Athens, 1882. A bit of the lip broken. Height, M. o. 06. Reg.
No. 6289.
21. Shape more elongated than the preceding. Decorations,
in red and dark brown : bands and lines encircling the
vase, and around the middle a herring-bone pattern.
No incised lines.
Gift of Henry P. Kidder, 1880. Height, M. o. 10. Intact. Reg. No. 205.

56 CASE i. EARLY STYLES.
22. Alabastron, pear-shaped. Clay pink, decorated with
brown bands, and rays at the shoulder.
Lent by the estate of Alfred Greenough. Height, M. o. 09. Intact.
23. Aryballos, shape like the Corinthian. (See No. 34.) Clay
yellowish. Decorations : around the body two bands of dark
brown, with a red (painted) line between them. On the
shoulder rays, and around the mouth circles, brown and red.
Gift of the estate of Alfred Greenough. Height, M. O. 067. Intact. Reg.
No. 5154.
24. Aryballos, resembling the Corinthian aryballoi in shape,
though slightly less rounded. Clay pale pink. Decorations,
in red: around the middle two broad lines, separated by a
narrow one. On the shoulder, rays ; around the mouth,
circles. Lent by the estate of Alfred Greenough. Height, M. o. 079. Intact.
25. Very small cup (kotyle), with two handles. Clay pale
pink. Decorations : around the edge, short verti
cal lines ; below, bands of red and black.
Gift of Francis Amory, 1877. From Greece. Height, M. o. 028.
Intact. Reg. No. 247.
26. Fragment of a pyxis. Clay pink. Decorated around the
sides with vertical zigzags drawn in brown, and red horizon
tal stripes. On the top, lines and concentric circles, in the
same colors.
Gift of Thomas Davidson, 1880. Found by him near Krommyon, in Megaris.
Diameter, M. o. 106. Reg. No. 217.
27. (Probably a late member of this group, dating from the
sixth or possibly early fifth century.) Very small am
phora, of the later black-figured shape, like No. 318.
Clay pink. Decorations, in red : a sort of Staborna-
ment on the shoulder, the body encircled with horizontal lines.
The neck and base are also painted red.
Gift of H. P. Kidder, 1881. Height, M. o. 091. Base slightly broken. Reg.
No. 180.
28. Very small amphora. Clay pale yellow. Decorations, in
brown : on the shoulder, a Stabomament ; around the body,
a band of lotos-flowers, alternately upright and inverted, with
details incised; above and below this, groups of horizontal
lines encircling the vase. Shape like No. 75.

CORINTHIAN. 57
Gift of Thomas G. Appleton, 1876. Purchased by him of Alessandro Castel-
lani. Height, M. o. 093. Intact. Reg. No. 52.

4. Corinthian Style.
A. Aryballos.
The aryballoi were among the most distinctive and popular
of the Corinthian vases. They were used by athletes to carry
the ointment with which they rubbed themselves after bathing
or exercising.
29. Large. Around the shoulder, rays and lines. The body
is occupied by a wide frieze, consisting of three large
birds, two ducks, and, on the front, a human-headed
bird with spread wings. In the field, one flower.
Touches of red. Details coarsely incised.
Purchased in Athens, 1882. Height, M. o. 135. Intact. Reg. No. 6278.
30. Large. Around the body vertical bands of purple on a
black ground, separated by coarsely incised lines in
pairs. Rays and lines encircling the mouth and
shoulder. Clay coarse and of a dull color.
Gift of B. W. Crowninshield, 1881. Height, M. o. 115. Intact.
Reg. No. 300.
31. Around the body birds, dark purplish, details incised, the
design nearly effaced. Rays encircling the shoulder.
Gift of H. P. Kidder, 1880. From Greece. Height, M. o. 076. Lip restored.
Reg. No. 151.
32. Broad, thick lip. Decorated with the large, Oriental, star-
shaped design which is frequently found on aryballoi.
Colors, black and purple. No incised lines.
Purchased in Athens, 1882. Height, M. o. 071. Intact. Reg. No.
6280.
33. Similar to the preceding, the design in red.
Purchased in Athens, 1882. Height, M. o. 07. Intact. Reg. No. 6279.
34. Horizontal bands, black, encircling the body, and in the
middle a band of black dots. Rays on the shoul
der. No incised lines.
Gift of B. W. Crowninshield. Heigh':, M. O. 08. Broken and re
paired, with slight restorations in plaster. Reg. No. 299.
35. Design nearly effaced. Apparently a frieze of birds en-

58 CASE i. EARLY STYLES.
circling the body, with details incised. Rays around the
shoulder. Shape like the preceding.
Gift of H. P. Kidder, 1880. From Greece. Height, M. o. 071. Intact. Reg.
No. 152.
36. Italo-Corinthian. Design nearly effaced, but shows two
human figures crawling towards each other; one a bearded
Satyr, the other a female (?). In the field, rosettes and flow
ers. Colors nearly gone, but there are traces of purple and
black, with details incised. Shape like the preceding.
Lent by Miss Helen Griggs. Height, M. o. 06. The vase has been badly
broken, but is put together from the original pieces.
37. Italo-Corinthian. Decorations : a large bird, with out
spread wings and the head of a lion, the field covered with
flowers, etc. Colors, brown and purple. Details incised.
Rays around the lip. Shape like the preceding.
Gift of Thomas G. Appleton, 1876. Purchased by him of Alessandro Castel-
lani. Height, M. o. 092. Intact. Reg. No. 4.
38. Italo-Corinthian, late. Clay red. Base entirely covered
with a fine black glaze. Around the body are lines of
red (painted) and white, and rows of white dots.
Around the mouth a broad red band.
Gift of Henry P. Kidder, 1880. Height, M. o. 067. Lip partly re
stored. Reg. No. 173. B. Alabastron.
These, like the aryballoi, were made for ointments, but were
not associated with athletes. They derive their name from
ointment-jugs of similar shape which were imported into
Greece from the Orient, and which were made of alabaster.
Their shape is quite distinctive, though it varies fi-om the
plump, pear form of No. 39 to the extremely elongated propor
tions of No. 44. The mouth and lip are round and flat, like
those of the aryballoi, and the handle is usually, but not always,
merely a small projection at the neck, perforated with a hole
just large enough to pass a string through.
39. Pear-shaped, with small neck. Two grotesque lions, with
elongated necks and small heads, stand opposite each other,
heads facing the spectator. Between them are two swans,

CORINTHIAN. 59
one above the other. In the field, flowers. The necks
of all the figures are red. Details incised.
Lent by W. S. Bigelow. Purchased by him in Italy. Height, M. o.
185. Intact.
40. Shape more elongated than the last, but still full-bellied.
Decorations, in three bands, separated by stripes of brown :
upper band, cocks standing ; middle band, lions and swans ;
lower band, lions. All the figures are in profile to right.
The field filled with flowers ; details incised. The colors are
considerably effaced, but show that the clay is red, painted
yellow, and the decorations black and purple.
Gift of Henry P. Kidder, 1880. Height, M. o. 26. Intact. Reg. No. 150.
41. Shape like the preceding. Decoration, three bands of
lions, separated by stripes. All profile to right. Details in
cised, and field filled with flowers. Colors as in the preced
ing, but in much better preservation.
Gift of Henry P. Kidder, 1880. Height, M. o. 226. Has been repaired at the
neck. Reg. No. 154.
42. Shape like the preceding. Decorations, also in three
bands : upper, swans ; the others, lions. All in profile to
right. Details, field and colors like the preceding.
Gift of Henry P. Kidder, 1880. Height, M. o. 239. Has been broken, and
repaired with the original pieces. Reg. No. 1 53.
43- Shape like the preceding. Decorations, also in three
bands : upper, swans ; middle, two boars and a stag ; lower,
boar, lion, and bullock. All the figures in profile to right.
Details, field and colors like the above.
Gift of Henry P. Kidder, 1880. Height, M. o. 247. Intact. Reg. No. 215.
44. Shape, long and slender. Decorations, in five bands : first,
two lions sitting vis-a-vis ; second, a lion about to attack
a grazing bullock ; third, a lion standing, and a stag graz
ing, vis-a-vis ; fourth, a lion and a long-horned goat, vis-a
vis ; fifth, three lions and a swan, profile to right. Details,
field and colors like the preceding, but the drawing
shows a considerable advance over that of the alabastra
previously described.
Gift of Henry P. Kidder, 1880. Height, M. o. 304. Has been broken, and
repaired with the original pieces. Reg. No. 165.

60 CASE i. EARLY STYLES.
45. Shape resembling the preceding, but shorter. Decora
tions in five bands : first, a lion and a bull about to attack
each other ; second, a lion and a human-headed bird, with
outspread wings ; third, a lion and a goat, vis-a-vis, behind
them an owl ; fourth, a lion, a deer, and an owl ; fifth, a lion
and a goat, vis-a-vis. Details, field and colors like the preced
ing, design considerably effaced.
Gift of Henry P. Kidder, 1880. Height, M. o. 215. Intact. Reg. No. 167.
46. Shape like that of No. 44. The decorations were in five
bands, but are almost entirely obliterated. In general charac
ter, colors, etc., it resembled the others.
Gift of Henry P. Kidder, 1880. Height, m. o. 305. Has been broken, and
somewhat patched in the mending. Reg. No. 166.
C. Jugs of various shapes.
47. Lekythos, or oil-jug. Clay pale yellow. The upper
half is covered with a black glaze, which ends un
evenly just below the middle of the body. It was
probably decorated with one or more reddish stripes,
of which nothing but doubtful traces survive. Be
low the black there is no decoration.
Gift of B. W. Crowninshield, 1881. Height, M. o. 109. Intact. Reg. No.
48. Painted black almost to the base. Remains of
red and white stripes encircling the body.
Gift of B. W. Crowninshield, 1881. Height, M. o. 15. Intact.
Reg. No. 295.
4g. Good shape, well rounded, with handle rising from lip.
Was painted black and decorated with stripes, like
the preceding, but the colors have nearly disap
peared. Gift of B. W. Crowninshield, 1881. Height, M. o. 197. Intact.
Reg. No. 297.
50. Similar to the preceding, but much smaller. Slight ves
tiges of black paint, but all other color has disappeared.
Gift of B. W. Crowninshield, 1881. Height, M. o. 092. Intact. Reg. No. 302.
51. Oinoehoe, or wine-jug, round and squat, with low, flat
JtaH) handle. Clay yellow, painted black, with narrow
( ^\ purple and white lines encircling the vase in groups.
V J No incised lines.

CORINTHIAN. 6 1
Gift of B. W. Crowninshield, 1881. Height, M. o. 135. Diameter, m. o. 15.
Intact. Reg. No. 303.
52. Italo-Corinthian oinoehoe, squat and flat-bottomed, with a
broad, flat handle. Clay yellow. Decorations, in
glossy black and red, with touches of white : a
frieze encircles the middle, composed of lions, alter
nating with a goat, a swan, and a human-headed
bird, respectively. Details incised ; field filled with
flowers and dots. Mouth, shoulder, and handle black ; the
shoulder decorated with vertical red and white lines in pairs,
separated by incised lines. Red and black bands encircle the
vase. At the bottom rays.
Gift of Thomas G. Appleton, 1876. Purchased by him of Alessandro Castel-
lani. Height, M. o. 142; diameter, M. o. 137. Neck and handle partially
restored. Reg. No. 6.
53. Italo-Corinthian jug, with rude imitation of the Corinthian
drawing. Neck, mouth, and handle painted dark
brown ; body pale yellow, with two bands of animals
encircling it. In both, stags and winged horses :
upper row profile to left ; lower, profile to right. De
tails coarsely scratched. Ground sem/ with circles,
each with a dot in the centre. Colors, brown and
purple. At the junction of the handle with the rim
will be noticed two rotelli or disks, a survival from the earlier
bronze jugs, in which these served to fasten the handle to the
vase. Lent by W. S. Bigelow. Height, M. o. 34. Intact.
54- Jug, with rotelli, similar to the preceding, but of much
better te'ehnique and drawing. Clay reddish ;
neck, mouth, and handle painted black. Decora
tions, in three bands : upper, a lion biting a graz
ing stag from behind ; middle, a geometric pat
tern composed of triangles and clusters of
dots ; lower, lions and stags. All the figures in
profile to right. Details incised. Colors, black
and purple. In the field, rosettes of dots. At
the base, rays.
Lent by W. S. Bigelow. Height, M. o. 266. Apparently intact.

62 CASE i. EARLY STYLES.
55. Small Italo-Corinthian lekythos. Shape like No. 19.
Vase painted brown, and decorated with incised scales. Pur
ple and a pale brown used in the decorations.
Lent by the estate of Alfred Greenough. Height, M. o. 092. The vase has
been varnished, which gives it an unnatural lustre.
D. Vases in the form of animals.
56. Alabastron, in the form of a rabbit, with elongated body.
The mouth of the vase is on the breast, with the rabbit's head
bent backwards. Ears painted purple, body covered with
small brown spots on a pale yellow ground.
Gift of Henry P. Kidder, 1880. Length, M. o. 207. Slightly cracked. Reg.
No. 189.
57. Similar, the ears restored in plaster.
Gift of Henry P. Kidder, 1880. Length, M. o. 198. Neck
and piece of right foreleg restored. Reg. No. 177.
58. Similar. The mouth of the vase is gone, and the place
where it was attached to the breast of the rabbit has been
smoothed over.
Gift of Henry P. Kidder, 1880. Length, M. o. 192. Considerably broken and
restored. Reg. No. 188.
59. Deer, couchant, with head raised, and long, pointed ears.
This has no mouth, and is not a vase, properly
Jn speaking. It was probably a child's toy. The
] V____ body is covered with animals and other devices,
^L-^X in black and purple, with incised details.
Gift of Henry P. Kidder, 18S0. Length, M. o. 112. Head
replaced, but apparently original. Reg. No. 182.
60. Similar to the preceding.
Gift of Henry P. Kidder, 1880. Length, M. o. 112. Broken and repaired.
Reg. No. 185.
61. Shape similar to the two preceding, but terminating at
the neck in a simple rim, with a small, round opening and
no head. Body covered with brown dots, no incised lines.
Gift of Henry P. Kidder, 1880. Length, m. O. 087. Broken at haunches.
Reg. No. 157.
62. Like No. 61.
Gift of Henry P. Kidder, 1880. Length, M. o. 10. Restored at the neck.
Reg. No. 158.

CORINTHIAN. 63
63. Jug in the form of a deer couchant, with the so-called
"flat-iron" (BiLgel) handle. A small round tube
rises vertically between the ears, and there is
a smaller opening in the mouth. The entire fig
ure was decorated with brown spots, most of which
are nearly obliterated. Clay pale yellow, painted
red by a modern hand.
Gift of Henry P. Kidder, 1880. Height, M. o. 149; length, M. o. 155. In
tact. Reg. No. 187.
64. Like the preceding.
Gift of Henry P. Kidder, 1880. Length, M. o. 118. Neck restored. Reg.
No. 156.
65. Child's toy (?) in form of a porcupine, the body covered
Owith brown dots. The left ear perforated.
Gift of Henry P. Kidder, 1880. Length, M. o. 094. Intact.
Reg. No. 186.
66. Frog, squatting. Back covered with brown dots.
Gift of Henry P. Kidder, 1880. Length, M. o. 075. Broken, and
partially repaired with the original pieces. Most of the head
gone. Reg. No. 169.
E. Pyxis.
67. Pyxis (a small round box or dish, with a cover). Two
small handles, with openings large enough to
pass a cord through. Clay brownish yellow,
fine. Decorations : on the vase, brown hori
zontal lines outside ; the inside black, with re
mains of purple in the centre. Cover, black
and purple lines encircling it. (The cover fits the vase, but
is of a paler clay, and does not belong to it.)
Gift of B. W. Crowninshield, 1881. Diameter, M. o. 1 1 5. The vase cracked,
cover intact. Reg. Nos. 278, 285.
68. Dish of similar shape and clay, cover gone, and decora
tions effaced.
Gift of B. W. Crowninshield. Diameter, M. o. 119. Intact. Reg. No. 276.
69. Similar to preceding, but with three small handles. Cover
gone. Clay pale yellow, quite thin. Decora
tions : red bands encircling the interior; black
and red bands outside, with a row of black dots
on the line of the handles.

64 CASE i. EARLY STYLES.
Gift of B. W. Crowninshield, 1881. Diameter, M. o. 116. Intact. Reg. No.
274. F. " Kothon," so called.
70. " Kothon," a low, round dish, with one handle, convex
sides, and lip rolled inward, leaving a comparatively small
opening in the centre. Decorations, in purple and dark
brown : lines and dots encircling the top, rim, and lower part.
On the handle, rosettes of dots, and vertical, wavy zigzags.
No incised lines.
Purchased in Athens, 1882. Diameter, M. O. 155. Intact. Reg. No. 6276.
71. Similar to the preceding, except that the lip, instead of
curving downwards towards the centre, is bent
at a sharp angle with the top. Clay a pale yellow.
Decorations, in brown : lines, and, around the
edge, dots, the latter nearly effaced.
Gift of Francis Amory, 1877. Found at Plataea, in Boeotia, in April of that
year. Diameter, M. o. 143. Intact. Reg. No. 254.
G. Miscellaneous Shapes.
72. Lekane, a sugar-bowl-shaped vase with cover and two
handles. Clay pale yellow. Decorations : around
the neck, rays; below, stripes, dots, and bands;
around the middle a frieze of lions, sphinxes, and
human-headed birds, the field filled with flowers.
Colors, brownish black and purple (in the figures) ; details
incised. Cover of a deeper-colored clay, decorated with lines,
rays and bands, brown and black.
Purchased in Athens, 1882. Said to have been found near Corinth. Height,
without cover, M. o. 148. Intact. Reg. No. 6277 A.
73. Kylix, or drinking-cup. Italo-Corinthian. Clay yellow,
painted black on the inside. Outside, black
at neck and base ; in the middle a frieze of
swans, rudely drawn, in red and black, with
incised lines. Above and below this, red and
white bands.
Lent by W. S. Bigelow. From Italy. Diameter, M. o. 146. Intact.
74. Drinking-cup, in the form of a human leg, sharply bent
at the knee. The thigh forms the cup proper, which is

MISCELLANEOUS. 65
tunnel-shaped. Decorations : around the thigh, and nearly
effaced, a conventional pattern which seems to
centre in a human face. At the knee an elaborate
rosette, and on the foot a high shoe, with pointed,
turn-up toe, and covered with a rich pattern. All
the details incised. Colors black, purple and white, upon
a pale yellow ground.
Gift of Henry P. Kidder, 1880. Height, M. 0.088. Repaired. Reg. No. 179.
75. Small amphora, of pale yellow clay. Italo-Corinthian.
On the shoulder, between the handles, a lion on each
side ; below, a frieze of lions and swans, the ground
seme" ; at base, tall rays. Colors, brown with touches
of red, details incised.
Gift of Thomas G. Appleton, 1876. Purchased by him of Alessandro Cas-
tellani. Height, M. o. 155. Intact. Reg. No. 5.
76. Italo-Corinthian vase in the form of a champagne-glass,
with broad base, tall stem, and shallow bowl.
Probably used for burning incense in tombs
(thymiaterion). Clay pale yellow, decorated
with stripes of purple and brown, encircling
the outside and the rim. No incised lines.
Lent by Miss Helen Griggs, by whom it was acquired in
Rome. Height, M.o. 102. Diameter at top, M. o. 13. Slightly repaired.
77. Small flat bowl (phiale) with a boss in the centre. Clay
yellowish. Decorations : bands and lines encircling both ex
terior and interior, in purple and black. No incised lines.
Gift of Francis Amory, 1877. Found at Larymna, Boeotia. Diameter, M. o.
087. Repaired. Reg. No. 251.
5. Vases of Various Primitive Types.
78. Two-handled drinking-cup (kantharos), with vertical han
dles, which are surmounted by round bosses sug
gestive of the rivets used for fastening the
handles of the earliest metal vases. Clay red,
painted dark brown. Decorations, scratched : on
each side a horse walking to right. From the
back of each horse rises a horn-shaped object. On each boss
of the handles is a rudely scratched rosette pattern.

66 CASE i. EARLY STYLES.
Lent by the estate of Alfred Greenough. Height, M. o. 145. Diameter, M. o.
14. Restored, and painted over in parts.
79. Amphora-shaped vase, of rude execution. Handles at
tached to the top of the shoulder, from which they rise
vertically. Near the handles a small pointed boss
on each side. Clay red. Decorations : bands of red.
Etruscan.
Lent by W. S. Bigelow. Height, M. O. 125. Intact.
80. Small round vase of similar technique, with two large
handles rising almost vertically from the shoulder,

' ' Decorations, in red and black, nearly obliterated : lines

encircling the vase, with a band of short vertical lines
around the shoulder.
Gift of B. W. Crowninshield. Height, M. o. 058. Intact. Reg. No. 317.
81. Etruscan amphora, made in imitation of bronze vases, as
shown especially by the manner in which the up
per ends of the handles are attached to the vase,
even the rivet of the bronze being imitated in the
clay. A small projecting object, broken, on each
side, midway between the handles. Form good,
clay red, without color or decoration. Compare
similar vase published in the Annali dell Instituto, 1878,
plate r, 1.
Gift of J. J. Dixwell, 1876. (See page 94.) Height, M. o. 283. Slightly dam
aged. Reg. No. 106.
82. Cover of a round dish, Etruscan, of bright red clay, with
out decoration. From the middle of the cover rises a handle,
perpendicular, round, and terminating in three volutes.
Gift of J. J. Dixwell, 1876. (See page 94.) Diameter, M. o. 14 ; height
M. o. 145. Considerably broken, some pieces missing. Reg. No. 107.
83. Fragment. Handle and part of the rim of an amphora.
Clay coarse, red, painted pale yellow. Handle twisted like a
rope, but otherwise undecorated. Rude decoration, in brown,
on the neck. Below the handle, a pattern like the common
"bead " moulding.
Lent by Miss Helen Griggs. Found in the Kerameikos, Athens. Length of
fragment, M. o. 193.

MISCELLANEOUS.

67

84. Small, plump lekythos, or oil-jug, rudely made.
Shoulder fluted. Clay red, no decoration.
Gift of B. W. Crowninshield, 1881. Height, M. o. 098. Intact. Reg.
No. 298.
85. Vase (lekythos ?) in form of a ram, rudely modelled. On
the shoulder is a hole for filling, while the ram's
mouth is perforated with a small hole for pour
ing. There was a handle on the back, now gone.
Clay red, painted a dark brown, and covered
with small white dots.
Gift of B. W. Crowninshield, 1887. Acquired by him in Athens, 1881. Length,
M. O. 196. Repaired. Reg. No. 5309.
85 A. Jug in the form of a bird, without base or feet. Clay
j?=?r>2, pale yellow. The wings and feathers are care-
y I fully drawn in dark brown, but by an unskilful
<^ J hand. Gift of Henry P. Kidder. Length, M. O. 135. Extensively re
paired. Reg. No. 184.
86. Small askos, or jug shaped like a wine-skin. Clay red.
Decorations obliterated.
Lent by the estate of Alfred Greenough. Height, m. o. 10. Intact.
87. Cylindrical box with cover. A rim projects around the
base, and one corresponding with it around the
cover. Both box and cover are elaborately dec
orated with linear patterns, all of which are
scratched, no colors being used. The decorations
around the top are a vine, a wave-pattern and an
egg-pattern. Around the sides, two borders of
pyramidal designs, a broad meander, cross-hatched lines, and,
around the lower rim, an egg-pattern. (Archaic ?)
Gift of Edward Austin, 1876. Height, M. o. 102. Diameter, M. o. 115. Prac
tically intact. Reg. No. 50.

CASE 1A.

PREHISTORIC ITALIC POTTERY.
" Bucchero Itaiico."

88-100. Contents of a Prehistoric Grave in the Region of
the Alban Lake.
The grave in which these objects were found was in the
tract known as the "Pascolare," on the northwest slope of
Monte Cucco, between that mountain and the Monte Crescen-
zio, near Castel Gandolfo. The grave belongs to the series
which were buried under three eruptions of lava and ashes
from the Alban craters, and which probably yield the earliest
specimens of the art of pottery yet found in Italy.
The lot purchased in Rome, li

^^.^ 88. Shallow bowl or cup, with one handle. Rim
~J curved slightly inwards. No decoration
_/ Height, M. o. 045. Diameter, M. o. n. Practic

Practically intact.
Reg. No. 5533.
89. Cup, with one handle, which is pierced by two
holes. Shoulder fluted in diagonal curves.
Height, M. o. 064. Practically intact. Reg. No. 5534.
90. Very small cup, with one handle, which curves
high above the rim. No decoration.
Height, M. o. 03. Diameter, M. o. 054. Handle broken, and
restored in plaster. Reg. No. 5535.
91. Very small jug, with triangular mouth, and lip. No
decoration. Height, M. O. 043. Practically intact. Reg. No. 5536.
92. Amphora mounted upon a high quadrilateral base, each

CASE zA. PREHISTORIC ITALIC POTTERY. 69
side of which is perforated by a square hole.
Around the shoulder of the vase is scratched a
primitive meander of four parallel lines, and the
base is covered with the same design.
Total height, M. o. 23; height of vase alone, M. o. 135. The
handles are gone. Reg. No. 5537.
93. Amphora, broader than the preceding, and with
shorter neck, mounted upon a quadrilateral base.
Total height, m. o. 148; height of vase alone, M. o. 10. Base
repaired. Reg. No. 5538.
94. Urn, of simple oval shape, truncated at the base. Around
the neck is modelled a design like a twisted
cord, with small knobs projecting at intervals.
Around the shoulder a large primitive meander,
scratched. Height, M. o. 17 ; diameter, M. o. 20. There was a small
handle on the shoulder, now gone. Repaired. Reg. No. 5539.
95. Small, shallow, funnel-shaped dish, the rim
raised on one side into a handle, which is perfo
rated by a small round hole. No decoration.
Diameter, m. o. 102. Practically intact. Reg. No. 5540.
96. Small round bowl, with the rim curving inward.
Around the shoulder four small pointed bosses.
No decoration.
Height, M. o. 078. Diameter, M. o. 107. Intact. Reg. No. 5541.
97. Similar, three bosses on the shoulder.
Height, M. o. 077. Diameter, M. o. 097. Slightly broken. Reg. No. 5542.
98. Similar, four bosses on the shoulder.
Height, M. o. 06. Diameter, M. o. 091. Practically intact. Reg. No. 5543.
99. Very small cup, with one handle. No decora
tion. Height, M. o. 034. Diameter, M. o. 056. Slightly broken. Reg.
No. 5544.
100. Shallow, funnel-shaped dish, with rim curving slightly
inwards. Very small projection for handle at one side. No
decoration. Diameter, m. o. 112. Practically intact. Reg. No. 5545.

70 CASE iA. PREHISTORIC ITALIC POTTERY.
101-105. Contents of a Prehistoric Roman Grave.
The grave in which these objects were found was discov
ered on the Esquiline in the spring of 1888. It was within
the line of the wall of Servius Tullius, from which we know
that it must have been earlier than the reign of that king, as
it was never lawful to bury the dead inside the city limits.
The character of the pottery is quite similar to that last
described ; the clay is coarse, reddish, and heavy ; and the
vases are hand-made, small, colored a dark brown, and imper
fectly glazed.
This lot was purchased in Rome, il

o

101. Two-handled amphora-shaped bowl. No deco
ration. Height, M. o. 10. One handle gone, and vase cracked. Reg. No.
SS48.
102. Vase similar in shape to the preceding, with
one handle. No decoration.
Height, M. o. 148. Intact. Reg. No. 5546.
103. Similar to the preceding. No decoration.
Height, M. o. 122. Intact. Reg. No. 5547.
104. Shallow bowl with one handle. A fracture shows that the
clay is black, covered with a layer of finer, reddish
X^> J clay on the surface, and this again is painted black.
Around the shoulder, three pointed bosses, and be
tween them simple patterns of zigzags, rudely scratched.
Diameter, M. o. 148. Height, M. 0.072. Handle broken off, and vase cracked.
Reg. No. 5550. 105. Shallow cup, with a high handle rising from
the lip. Around the shoulder, three bosses.
Height, m. o. 046. Diameter, m. o. 086. Practically intact.
Reg. No. 5549.
(In the same grave were found two large bronze rings,
which are flattened horizontally. Each is decorated, on both
sides, with a simple zigzag line. Also a bronze fibula, of
good shape and style, decorated with incised lines and dots.)

CASE 2.
VASES FROM CYPRUS.

The vases in this case are part of a collection of Cyprian
antiquities purchased by subscription for the Museum, of
General L. P. di Cesnola, in 1872.
Class I. Alambra Type.
Vases found at Alambra, near Dali. They are character
ized by their color, which is either a warm red or black, with
a much higher polish than is usual in Greek ceramics, and by
their decoration, which always consists of strongly incised
lines, grouped into zigzags, lozenges, checker-boards, and tri
angles, with which the surface of the vase is nearly covered.
The vases are usually rounded on the bottom, and without
any means of standing erect. This type is illustrated in
plate vn of Cesnola's Cyprus.
Group A. Red vases with incised decorations.
106. Small round bottle or jug, with long, slender neck,
funnel-shaped mouth, and one handle.
Height, 11. o. 126. Practically intact. Reg. No. 377.
107. Similar, but larger, and body pear-shaped.
Height, M. o. 18. Lip slightly broken. Reg. No. 389.
108. Similar to the preceding.
Height, M. o. 162. Neck repaired. Reg. No. 397.
109. Similar, but smaller.
Height, M. o. 12. Practically intact. Reg. No. 384.
no. Similar.
Height, M. o. 133. Lip slightly broken. Reg. No. 396.
in. Similar.
Height, M. o. 116. Surface slightly damaged. Reg. No. 390.

72 CASE 2. CYPRIAN VASES.
112. Form like the preceding, with the addition of a
square, flat piece projecting from the shoulder, on
the front, perforated with two holes for hanging.
Height, M. o. 15. Mouth restored in plaster. Reg. No. 391.
113. Body of the vase like the preceding, but with the handle
rising vertically like a ring from the lip. On the front, at the
junction of the neck and body, a small ring for hanging. Re
sembles one in Cesnola's Cyprus, plate vu, lower right hand.
Height, M. o. 119. Practically intact. Reg. No. 379.
114. Body of the vase like the preceding, but termi
nating in a narrow neck, with no lip and no handle.
The rim is perforated with two small holes for hang
ing. Height, m. o. 113. Practically intact. Reg. No. 392.
115. Jug of a common type, with much fuller neck than the
preceding group, and much smaller lip. The handle rises
above the rim. On the front a small ring for hanging.
Height, M. o. 116. Practically intact, but the glaze almost entirely worn off.
Reg. No. 385.
116. Similar jug ; the handle rises only slightly above
the rim, and there is no ring or projection on the
front. Height, M. o. 118. Intact. Reg. No. 378.
117. Similar, but smaller.
Height, M. o. 09. Practically intact. Reg. No. 38 1.
118. Similar. On the front a small projection, not perforated.
Height, M. o. 093. Surface slightly broken. Reg. No. 394.
119. Round jug, with the neck running into a long, bill-shaped
mouth (Schnabelkanne). On the front a slight pro
jection at the junction of the neck and shoulder, not
perforated. Glaze and incisions worn off.
Height, M. o. 166. Intact. Reg. No. 364.
120. Similar, but smaller, and in better preservation.
Height, M. o. 12. Intact. Reg. No. 3S0.

/. ALAMBRA TYPE.

73

121.

Jug with beak mouth, and oval body, mounted horizon
tally upon four small feet. A short, curved tail be
hind. Three small rings, for hanging, affixed to the
neck, and one to the breast.
Height, M. o. 152; length, M. o. 09. Glaze almost entirely gone,
otherwise intact. Reg. No. 399.
122. Jug with pear-shaped body, long neck, and unu
sually large handle. Mouth like the beak-shaped type
cut short. A small projection, not perforated, at the
junction of neck and shoulder, on the front.
Height, M. o. 161. Intact. Reg. No. 393.

123. Jug of similar shape, but without decorations.
Height, M. o. 198. Intact. Reg. No. 365.

(psr? 124. Round jug, with a short, narrow neck and
\r >. small lip. A handle attached to the shoulder, and
( ) a small, pointed projection on the front.
^> — -^ Height, M. o. 113. Surface much worn, and glaze almost entirely
disappeared. Reg. No. 374.
125. Small vase, of primitive amphora shape. Like Cesnola,
Cyprus, plate vn, middle left hand.
Height, M. o. 13. Practically intact. Reg. No. 386.
126. Similar.
Height, M. o. 1 18. Intact. Reg. No. 382.
127. Similar, but with twisted handles, also small,
each with two holes. Perforated projections on
the front and back of the body.
Height, M. o. 112. Surface slightly broken in places. Reg. No.
383-
128. Small, spherical cup, with vertical rim and one
handle. Height, m. o. 068. Intact. Reg. No. 387.
129. Jug, of elongated oval form, sides slightly flattened,
rather short neck, and lip bent into a point on the
front. Rings at the junction of the neck and shoulder
on the front, and of the handle and shoulder on the
back. Below these, blunt-pointed projections.
Height, M. o. 179. Glaze worn off. Reg. No. 400.

74 CASE 2. CYPRIAN VASES.
130. Bowl, hemispherical in shape, with a small perforated
projection on one side, near the rim.
Diameter, m. o. 107 ; height, M. o. 058. Repaired. Reg. No. 388.
131. Similar bowl, painted black inside, and unevenly, around
the rim.
Diameter, M. o. 122; height, M. o. 071. Repaired. Reg. No. 395.
132. Cone-shaped whorl, or weight, supposed to have been
used in weaving. Perforated through its axis.
Height, M. o. 047. Intact. Reg. No. 662.

0

Class I, Group B. Vases of similar color and finish, with
out decorations.
133. Small round cup, with slightly flaring lip, and high,
hasp-shaped handle affixed to the lip. A ring on
the front. No incisions or other decorations. This
cup is slightly flattened at the bottom, but not suffi
ciently to enable it to stand alone.
Height, without the handle, M. o. 079. Repaired. Reg. No. 369.
134. Small oval jug, with no neck, large mouth, and roughly
cranulated rim. A long tube-like spout projects dia
gonally upward from the middle of the body. No
decorations. Height, M. o. 074. Handle restored in plaster. Slightly broken
along the rim. Reg. No. 366.
135- Jug of similar size and character, but round,
with a round handle, bent upwards, and no lip. No
decorations.
Height, m. o. 072. Broken on one side. Reg. No. 368.
136. Large lekythos, or oil-jug, spherical in shape,
with neck and horizontal lip, the latter rather broad.
This jug has a small base.
Height, M. o. 193. Practically intact. Reg. No. 372.
137- Hemispherical bowl, with a semi-cylindrical spout pro
jecting from one side, and opposite this, a
small ring attached for hanging. Around
the rim, four pairs of small, pointed bosses.
The bottom has a small round boss inside,
somewhat like that of a phiale.

/. ALAMBRA TYPE. 75
Diameter, M. o. 161. The glaze is worn, and the vase is somewhat discolored.
Reg. No. 448.
138. Long, slender alabastron, or ointment bottle, with
long neck, round mouth, and lip. One handle.
Height, M. o. 32. Base repaired. Reg. No. 363.
Akin to this group, but with slight decorations, are usually
in relief, the following : —
139. Round bowl, shaped like the saucer of a flower-pot.
r  -. Very faint lines have been traced, with a small
\  / blunt tool, encircling the vase.
Diameter, M. o. 13. Slightly damaged. Reg. No. 407.
140. Small round drinking-cup, with one handle, and two
small points on the front. Rudely made. Two
simple chain-patterns rudely modelled in relief
around the neck, two others down the front, and
two horizontal lines around the body.
Height, M. O. 084. Practically intact. Reg. No. 361.
141. Small round jug, bulging at the lower part. Handle
surmounted by a flat crest. Two lines in relief around the
neck. Somewhat blackened by fire.
Height, M. o. 074. Top of the crest above handle gone. Reg. No. 450.
142. Two bottles, with small bodies and long necks,
joined at shoulder and lip, and with a handle be
tween them. Two rings, in relief, around each neck.
Height, M. o. 105. Slightly broken at the base of each. Reg.
No. 371.
(Belonging to this group ?) Lekythos, squat and full
in shape. The surface is dark in places, as though
from the action of fire, and also considerably cor
roded. Height, M. o. 128. Surface damaged as noted above. Reg. No. 375.
Class I, Group C. Black vases with incised decorations.
144. Small jug, of common shape, with round
mouth, like Nos. 116-118. Small pointed projec
tion on the front.
Height, M. o. 097. Lip slightly broken. Reg. No. 402.

j6 CASE 2. CYPRIAN VASES.
145. Small bottle, red on the lower part. No lip nor
handle. Two holes in the rim.
Height, M. o. 094. Broken on one side of the neck. Reg. No. 398.
146. Bowl, hemispherical in shape. Small projec
tion on one side, not perforated.
Diameter, M. o. 105. Repaired. Reg. No. 401.
0147. Whorl. Perforated with a large round hole through
the axis.
Height, m. o. 031. Intact. Reg. No. 663.
Class II. Pale Yellow Vases.
This class is no less distinctive of Cyprian art than the
preceding, both for its material and decorations. The sur
face is pale, rather coarse, and either greenish yellow or
brownish yellow in color ; and the glaze is of a thin, inferior
quality, having disappeared entirely from the majority of our
specimens. The decorations are always painted, never in
cised, the prevailing colors being a dark chocolate brown,
and red.
According to their system of decoration, our vases of this
class may be subdivided into four groups. These are, A,
vases of yellow clay, decorated with rudely drawn combina
tions of diagonal lines ; B, vases of the same clay, decorated
with circles and geometric patterns ; C, vases of similar style,
but of red clay painted yellow ; D, vases on which animal
forms appear.
Group A. Vases decorated with rudely drawn combinations
of diagonal lines. A special characteristic of this type is the
variety and fantastical nature of the forms, all of which are
decidedly primitive.
148. Small round jug with bill-shaped mouth and no base
(Schnabelkanne). Very small handle at the junction of the
neck and shoulder, and a small ring on either side of this.
Decorations : two rows of triangles formed of diagonal lines
in dark brown. Lines also on the neck and bottom.
Height, M. o. 127. Practically intact. Reg. No. 437.

II. PALE YELLOW VASES. 77
149. Similar jug, but with larger handle, and no
rings. The mouth ends in a tube. Decorations :
zigzags and patterns of cross-hatched lines, in dull
black. Height, M. o. 14. Intact. Reg. No. 443.
150. Similar jug, with shorter, pointed beak, and rings at
6 the sides of the handle. Decorations : zigzags and
triangles. Height, M. o. 13. Lip lightly broken. Reg. No. 438.
151. Larger, bill-mouthed jug, of eccentric shape. The body
is pear-shaped ; the neck long, and bent back ; the
vase rests upon three short feet ; and there are rows
of rings down the front and sides. Decorations :
bands of triangles, and one of lozenges, formed of
cross-hatched lines, in black shading to red.
Height, M. o. 195. One foot restored in plaster. Reg. No. 439.
152. Squat jug, round, but considerably flattened on the top
and bottom, no base, a bill-mouth and no other
\\ySV opening. A small round handle on the top.
) ^ Small, pointed projections on either side of the
V  y neck and around the middle of the body. Dec
orations : triangular patterns of diagonal lines
on the upper half, groups of radiating lines on the lower half,
all in brown.
Diameter, M. o. 104. Practically intact. Reg. No. 441.
153. Round bowl, with no base, and a handle, both ends of
which are attached to the rim. Decorations :
triangles of cross-hatched lines around the upper
half, radiating lines on the lower half, in brown.
The vase is red on the bottom, from imperfect
firing.
Diameter, m. o. 068; height, M. o. 123. Intact. Reg. No. 442.
154. Very small bowl or dish of similar shape, also with handle.
n Decorations : zigzags around the sides, lines crossing
v^~~) at right angles on the bottom.
Diameter, M. o. 071. Practically intact. Reg. No. 464.

78 CASE 2. CYPRIAN VASES.
Amphora-shaped vase, in form like No. 127, but larger.
The handles have but one perforation. Decora
tions : bands of triangles, zigzags, and lozenges, of
cross-hatched lines in brown shading to red.
Height, M. o. 163. Practically intact. Reg. No. 436.
Double vase, formed of two small round vases joined at
the middle, with a high, hasp-shaped handle, one
end of which is attached to the rim of each. The
vase rests upon four feet. Decorations, in brown :
cross-hatched lines encircling both vases, diagonal
lines at the necks, and lines on the handle.
Height, M. o. 068 ; longest diameter, M. o. 124. Handle repaired. Reg. No.
465.
157. Small vase in the form of a round box, with sloping
shoulder, round mouth, and rolling lip. On the
shoulder three small handles for attaching strings-
Decorations, in brown : lines encircling the neck
and body, and diagonal lines on the shoulder. On
the bottom a spiral. Probably a Cyprian imitation of My
kenae ware, to which the technique is inferior.
Height, M. o. 076 ; diameter, M. o. 087. One handle and the lip broken. Reg.
No. 453.
158. Vase rudely modelled in the form of an animal. The
body is long and rounded ; at one end is the
head of a ram, roughly modelled ; at the other end
is the mouth of the vase, cylindrical in shape, pro
jecting like a tail. The handle rises from the back,
and there are three short legs, — two under the
head of the ram, and one at the other end. The decorations,
in light and dark brown, cover the entire surface, and are
made up of perpendicular lines, cross-hatched patterns, and
wavy zigzags. A primitive guilloche on the handle.
Length, M. o. 203. Height, M. o. 161. The colors have been considerably
restored in places, and apparently the vase itself has been restored about the
mouth, and at that end. Reg. No. 490.
x59- Jug in the form of a duck, with long flat
__^fO C body, small wings attached to the shoulders, and
a neck and mouth, rising from the middle of the
back. The duck's bill is formed into a cylindri-

II. PALE YELLOW VASES. 79
cal spout for pouring. The decorations are considerably ob
literated, but they consisted of lines, rosettes, and geometric
patterns in black and red.
Length, M. o. 19. The mouth and one wing broken. Reg. No. 497.
160. Very small, low cup, of the kylix shape, with two handles,
and a ridge drawn around the bottom as a
base. Outside it is surrounded with horizontal
lines and stripes, and on each side is a V-shaped
pattern of cross-hatched lines. Inside is a broad circle sur
rounding a spiral. The handles are rudely made and attached.
Diameter, M. o. 078. Intact. Reg. No. 440.
161. Small dish or bowl, round, with bulging sides. Clay
coarse red, with a yellow slip. Decorations : coarse
vertical lines, alternately red and brown.
Diameter, M. o. 09. Practically intact. Reg. No. 460.
162. Small object (cover ?), shaped like a snuffer, with a small
A hole and handle at the top. Clay like the preceding.
Decorations : lines, and a geometric border, in red and
black.
Height, m. o. 058 ; diameter, M. o. 07. Intact. Reg. No. 461.
Class II, Group B. Vases decorated with circles and other
geometric patterns.
The vases of this group average considerably larger than
those of the preceding. They are wheel-made, the forms are
simpler and of better proportion, and the variety of types is
much more limited. Tlirce favorite shapes are the amphora,
which, though less vigorous than the early Greek amphora, has
a pttre and simple outline ; the oinoehoe, or wine jug, with tre
foil mouth, on the sides of which eyes are frequently painted, to
make some resemblance to a face ; and the large, deep bowl,
mounted upon a small foot.
163. Amphora, of rather plump shape, with vertical handles.
Decorations : horizontal lines in dark brown, with a
broad red stripe marking the line of the shoulder;
linear patterns on the neck. A hook-shaped flourish
painted under each handle.
Height, M. o. 284. Intact. Reg. No. 480.

8o

CASE 2. CYPRIAN VASES.

164. (On the top of the case.) Very large amphora, with
ribbed, vertical handles. Decorations, in
dark, purplish brown : horizontal lines
and stripes encircling the vase. The
neck is divided by vertical lines into panels
or sections, in which are geometric pat
terns, concentric circles, and zigzags.
Concentric circles on the shoulder.
Height, M. o. 516. Broken on one side and restored
in plaster. Reg. No. 479.
165. Amphora, with rounded handles on the
shoulder. Decorations : black horizontal lines
and stripes, encircling the mouth, neck, and
body, with one brown stripe around the neck,
and a black zigzag around the shoulder.
Height, m. o. 366. Intact. Reg. No. 471.
166. Small amphora, with a base, a long neck, and vertical
handles. The clay is red, and left in the natural
color. Decorations : black horizontal lines and
stripes, one red.1
Height, M. o. 104. Practically intact. Reg. No. 473.
167. Oinoehoe, or wine-jug, oval body with trefoil
Kjj mouth, but no eyes painted on the latter. Decora
tions : horizontal lines and stripes, in brown and
black. Height, M. o. 184. Practically intact. Reg. No. 474.

168. Similar, but larger.
Height, M. o. 25. Practically intact. Reg. No. 469.

169. Similar. In addition to the horizontal lines there are,
on the shoulder, concentric circles.
Height, M. o. 27. Mouth restored in plaster. Handle repaired. Reg. No. 470.
170. Oinoehoe, body rounder than the preceding, and neck
somewhat larger in proportion. Decorations, in dark brown :

See note to No. 1S6.

//. PALE YELLOW VASES. 8l
eyes at the sides of the mouth, lines around the neck, and
three sets of concentric circles, drawn vertically,
covering the body. A hook-shaped flourish painted
below the handle.
Height, M. o. 178. Handle and greater part of the mouth restored
in plaster. Reg. No. 420.
Oinoehoe, of round form, with a tall, slender neck. Dec
orations, in dark brown : circles, drawn both hori
zontally and vertically, composed of groups of fine
parallel lines ; in the spaces thus left, small con
centric circles and wheels.
Height, M. o. 203. Intact. Reg. No. 416.
172. Oinoehoe, of a later oval shape, the sides roughly fluted
from the shoulder down. This part of the vase is
painted a dull black ; on the shoulder are three
linear patterns, and eyes at the sides of the mouth.
A zigzag on the handle.
Height, m. o. 222. Intact. Reg. No. 481.
Jug, of oval body, with neck and round mouth, with lip.
One handle. From the shoulder a small cylindrical
spout projects. Decorations : horizontal lines and
concentric circles, of dark brown, with a red stripe
around the middle.
Height, M. o. 13. Intact. Reg. No. 432.
174. Jug, of similar character, though different in shape. It
has no neck, but a flaring mouth, rising from the
shoulder, and the handle is attached to opposite sides
of the rim, instead of to the rim and shoulder. On
the latter, a cylindrical spout or nose. Decorations :
horizontal lines and stripes of black, and a wavy line around
the shoulder.
Height, M. o. 163. Intact. Reg. No. 472.
175. Jug, nearly spherical in shape, slightly flattened at the
bottom. From the top rise a ram's head, rudely modelled,
on a long neck, and a spout ending in a trefoil mouth. The
top has been restored, in the same clay as the original, and

82 CASE 2. CYPRIAN VASES.
it is possible that there may have been an opening
here for filling the jug. The decorations, con
siderably obliterated, are coarse lines, in dark
brown, arranged in groups.
Height, M. o. 16. Restored as noted above. Reg. No. 457.
176. Bowl, of simple form, without handles. Clay exception
ally thin and fine for this ware. Decorated
only with a broad red band around the rim, in
side and out.
Diameter, M. o. 108. Repaired. Reg. No. 406.
177. Flat, round dish, saucer-shaped, supported on three
V-shaped legs. The clay thick and heavy.
Decorations : lines, and, in the interior, con
centric circles, in dark brown and red.
Diameter, M. o. 231 ; height, M. o. 12. Legs somewhat
restored (?). Reg. No. 477.
178. Round, flat bowl, with remains of a small, perforated
handle on the rim. Decorations : lines encircling the vase, in
side and out, in black and red.
Diameter, M. o. 135. Repaired, handle gone. Reg. No. 413.
179. Large, round bowl, sides perpendicular in the upper
half, while the lower half tapers sharply to
a small base. Two handles, which project
but slightly from the sides. Decorations, in
dark brown : horizontal lines and geometric
patterns, also the so-called " swastika " or crux
ansata.
Diameter, M. o. 274; height, M. o. 21. Repaired. Reg. No. 482.
180. Similar, but smaller.
Diameter, m. o. 222 ; height, M. o. 164. Repaired, and one
missing piece restored in plaster. Reg. No. 483.

Class II, Group C. Closely allied to the foregoing group,
and zvith precisely similar decorations, though the clay itself
is different, being coarse, deep red in color, and covered zvith a
pale yellow slip, evidently in imitation of the yellow clay.

//. PALE YELLOW VASES. 83
181. Bowl, like the two preceding, but
smaller. Decorations less elaborate, also in
black. Diameter, M. o. 155; height, M. o. 102. Intact. Reg.
No. 468.
182. Large bowl, somewhat similar to the preceding, but
with more curving sides. Decorations : hori
zontal lines in dark brown (one red), inside
and out, and on the outside one band of
concentric circles. On account of the man
ner in which it is worn, this vase shows the
contrast between the color of the clay and that of its coat
ing or slip better than any of the other specimens of this
group. Diameter, M. o. 249; height, 11. o. 182. Repaired. Reg. No. 421.
183. Flat round bowl, with two small handles at the rim.
Decorations : groups of lines surround
ing exterior and interior, in dark brown,
one red band around the base.
Diameter, M. o. 205. Intact. Reg. No. 422.
184. Similar, but smaller.
Diameter, M. o. 139. Repaired. Reg. No. 414.
185. Similar.
Diameter, M. o. 16. Intact. Reg. No. 433.
186. Oinoehoe, or wine-jug, oval and rather plump in form,
>=j\ with short neck and trefoil mouth. Decorations :
horizontal lines, in black, with one red stripe encir

cling the body and neck ; horizontal lines also on the
handle. Clay left in the natural red.1
Height, M. o. 152. Intact. Reg. No. 476.
187. Similar oinoehoe.1
Height, M. o. 148. Mouth restored in plaster. Reg. No. 478.
188. Lekythos, oval in shape, but flattened at the base. The
colors and decorations have almost wholly disappeared, but
1 Nos. 166, 186, 187 are wrongly classified. They belong in Class III, though
in clay and technique they are of a coarser quality than the vases in Group A of
that class.

w

84 CASE 2. CYPRIAN VASES.
one can see that the latter consisted of three series of large
concentric circles, in which black and red were used.
Height, M. o. 113. Mouth restored. Reg. No. 409.
Class II, Group D. Vases of the same style, on which ani
mal forms appear as part of the decorations.
189. Drinking-bowl of the kylix type, lip flaring slightly,
body raised upon a small foot. Two handles,
small, and projecting only slightly from the
sides. Decorations : a red stripe around the
lip, inside and out. Inside, horizontal lines in
dark brown, and a broad red circle on the bottom. Outside,
lines, horizontal and perpendicular, and in the middle of each
side an aquatic bird, walking to left, outlined in dark brown,
body and neck filled in with red. In front of each bird a
" swastika."Height, M. o. 092 ; diameter, M. o. 137. Intact. Reg. No. 456.
igo. Amphora, with vertical handles and with a foot. Linear
decorations of the same general character as the
preceding. Around the neck a wavy line, and on
the shoulder, on each side, a pair of swans (?)
facing a tree which stands between them. In
front of each right-hand bird a "swastika."
Height, M. o. 24. Intact. Decorations retouched. Reg. No. 458.
191. Similar amphora. Linear decorations like the preced
ing. The shoulder, on each side, is divided by vertical lines
into three square panels, the middle of which has a geometric
pattern, and each of the others a dove standing. Under the
right-hand doves a <£, drawn diagonally.
Height, M. o. 215. Foot partially restored in plaster. Reg. No. 466.
192. Oinoehoe, or wine-jug, of oval form, with small base
and trefoil mouth, on which eyes are painted. Decorations,
in dark brown : a line around the lip and at the junction of
the neck and shoulder, and lines on the handle. On the
shoulder, in front, an aquatic bird (swan ?) in red and brown.
Around the shoulder, four " swastikas."
Height, M. o. 18. Intact. Reg. No. 454.

II. PALE YELLOW VASES. 85
Note. On Nos. 193-196, the principal decorations are
either wholly or partially modern, although the vases them
selves and the minor decorations are genuine.
193. Oinoehoe, similar in form to No. 192. Decorations :
eyes at the rim, and lines on the handle and around
the neck, of dark brown. Around the shoulder,
devices consisting of a cross with dots between the
points. On the front a horse (modern) like that
on the vase published in Cesnola's Cyprus, plate
xlvi, figure 36. This horse is painted in glossy black over a
design of quite another character, numerous traces of which
are still visible.
Height, M. o. 21. Practically intact. Reg. No. 463.
194. Oinoehoe of the same technique as the preceding, but of
fuller form and smaller mouth. Decorations : eyes (modern)
at the rim, of black, and lines around the neck, of dark brown,
painted over in black. On the front is a nondescript male
quadruped, with horns, a snout, three tassel-like pendants
from his head, and a forked tail. Rising from his back is a
triangular geometric design. In its present condition, this
creature is entirely modern, of glossy black, with touches of
red ; but it is painted over another design, the character of
which it conceals.
Height, M. o. 23. Intact. Reg. No. 455.
195. Jug with large oval body and a round mouth. The
upper part of the handle (modern) is rudely modelled
into the head of a goat. The entire handle is cov
ered with a lustrous reddish brown (modern). The
principal design (modern) is copied from that on a
unique Cyprian vase in the British Museum, pub
lished by Perrot and Chipiez, Histoire de I Art dans
I'Antiquite, Vol. Ill, figures 527,528, and represents
a chariot, drawn by one horse galloping to left, and occupied
by two men, one of whom is shooting an arrow to the rear.
In all details the design is like its prototype.
Height, M. o. 298. Intact. Reg. No. 486.
196. Small oinoehoe, rather squat, with a large trefoil mouth.

86 CASE 2. CYPRIAN VASES.
Decorations, rudely drawn in chocolate brown : a chain pat
tern, with rosettes in the links, around the neck ;
three birds around the shoulder ; large lotos blos
soms and buds below. These decorations are ap
parently entirely modern.
Height, M. o. 122. Intact. Reg. No. 467.
Class III. Red vases with black geometric decorations.
Group A. Vases of red clay, pure and fine in quality, and
well glazed, the tone of the color being warm and rich. The
decorations are horizontal lines and concentric circles, in black,
neatly drawn. The vases are usually, but not always, small,
and as a rule elegant in form.
197. Large, deep bowl, with two handles which project but
slightly from the sides. Decorations : hori
zontal lines, inside and out ; on the outside a
row of concentric circles.
Diameter, M. o. 221 ; height, M. o. 124. Repaired, one
handle gone. Reg. No. 428.
Small amphora, with round body, slender neck, and
funnel-shaped mouth. Decorations : horizontal lines,
in groups ; on the shoulder concentric circles.
Height, M. o. 118. Lip partially restored in plaster. Reg. No.
412.
199. Shape somewhat similar, but the sides are com
pressed, giving the body a canteen shape. No base.
Decorations: concentric circles.
Height, M. o. 13. A piece of the lip restored in plaster. Reg. No.
426.
200. Lekythos, or oil-jug, precisely like the amphora
No. 198 in shape, except that it has one handle instead
of two. Decorations : horizontal lines encircling it.
Height, M. o. in. Intact. Reg. No. 424.
201. Similar, but smaller. Concentric circles on the shoulder.
Height, M. o. 091. Surface slightly broken in places. Reg. No. 419.
202. Similar. Blackened in places by fire.
Height, M. o. 095. Intact. Reg. No. 429.

II. RED VASES. 87
203. Oval jug, with a mouth on the top, surmounted by a
handle, and a tubular spout projecting from the shoulder.
More lustrous than the preceding, with similar decorations.
Height, m. o. 09. Intact. Reg. No. 410.
204. Small amphora, with large mouth, and vertical handles
affixed to the rim and shoulder. Decorations like the
preceding. Height, M. o. 08. Intact. Reg. No. 427.
205. Very small oval jug, with trefoil mouth. Decorations :
a row of concentric circles around the body, lines marking
the neck and lip.
Height, M. o. 071. Practically intact. Reg. No. 430.
Class III, Group B. Vases of similar character but of yellow
clay, painted and decorated in imitation of Group A.
206. Flat round bowl, with two small rudimentary handles
at the edge. The clay is coarse and
rather heavy. Decorations : a band
of circles inside, and one line sur
rounding the outside.
It is curious to note that the very reversal of the process
adopted in Class II, Group C, has been employed here. Those
vases are of red clay painted yellow, while this and the follow
ing are of yellow painted red. Hence it may be inferred that
the influence exerted by local styles in Cyprus was mutual,
that the localities which possessed yellow clay imitated the
red vases produced in another district, and vice versa.
Diameter, M. o. 18. Repaired. Reg. No. 415.
207. Small, oval oinoehoe, or wine-jug, broad at the shoulder,
small at the base, with trefoil mouth. This vase is painted a
considerably deeper color than the preceding numbers, with
eyes at the rim, a ring around the neck, and horizontal lines
around the shoulder, the decorations being black.
Height, m. o. 115. Intact. Reg. No. 408.
208. Similar, the colors almost entirely washed off.
Height, M. o. 098. Cracked. Reg. No. 367.
209. Oinoehoe, of the same technique and colors as the two

88 CASE 2. CYPRIAN VASES.

Q

preceding, larger, with a long, slender neck and small,
trefoil mouth.
Height, M. o. 183. Colors considerably effaced. Intact. Reg. No.
475-
Akin to this group, but covered with an inferior black glaze,
on which lines and concentric circles are painted in a dark
color, and blue or white : —
210. Lekythos, of the form of Nos. 200-202, and with similar
decorations of horizontal lines and concentric circles.
Height, M. o. 102. Intact. Reg. No. 425.
211. Squat jug, compressed spherical shape, with very small
neck and mouth, and round lip. Decorations like the
preceding, with the addition of white lines.
Height, M. o. 127; diameter, M. o. 115. Lip slightly broken. Reg-
No. 431.
Class III, Group C Vases similar to the others of this
class in character and decoration, but of the pale yellow clay,
not painted red.
212. Small two-handled vase, similar in shape to No.
199, but of ruder workmanship, decorated with con
centric circles on each side.
Height, M. o. 119. Mouth broken. Reg. No. 423.
213. Very small jug, elongated pear-shape, with trefoil
mouth. Delicate workmanship. Decorations : lines and
concentric circles in dark brown, one red stripe.
Height, M. o. 088. Intact. Reg. No. 417.
214. Very small round jug, with trefoil mouth. Decorations
like the preceding, without the red stripe.
Height, 11. o. 081. Intact. Reg. No. 418.
Class IV. Miscellaneous isolated specimens, of various
epochs.
2I5- Jug, of common oval shape, curving from the shoulder
-^ into a comparatively small round neck and mouth. A
^ spout projects from the shoulder. The vase is deep
red in color, decorated with horizontal stripes in
white and black, and vertical lines, of the same colors,

IV. MISCELLANEOUS. 89
splashed on the shoulder, overlapping the others. (Egyp
tian ?)
Height, M. o. 195. Intact. Reg. No. 451.
216. Jug, precisely like that represented in Cesnola's Cyprus,
p. 408, figure 29, in form, and with decorations of
similar character in dark brown on a white ground,
the vase being covered with a white slip.
Height, M. o. 212. The piece which projects above the rim at
the top of the handle is gone. Reg. No. 444.
217. Hemispherical bowl, with one handle, of the same white
ware as the preceding. The vase is thin, but un
evenly rounded. Decorations : horizontal, verti
cal and wavy lines, and dots.
Diameter, M. o. 062 ; height, M. o. 086. Handle partly restored in plaster.
Reg. No. 445.
218. Lekythos, with small neck and mouth, of early
bucchero type, black, heavy, and decorated with
large, punctured zigzags. (Egyptian ?)
Height, M. o. 151. Intact. Reg. No. 404.
2ig. Lekythos, of somewhat similar type, but rounder, and
imperfect in shape ; of red clay painted black, with
slight lustre. Decorations, all incised : herring
bone patterns in sections separated by horizontal
and vertical lines.
Height, M. o. 173. Practically intact, but the paint considerably
worn. Reg. No. 403,
220. Small archaic amphora of the "island" type. Peg-top
shape, with a small base, and rather large mouth.
Three small handles on the shoulder. Clay, dull yel
low, feeble glaze. Decorations, in dark brown : scrolls
on the shoulder, horizontal stripes above and below.
Height, M. o. 121. Two handles repaired, surface somewhat worn. Reg. No.
435-
221. Small squat, round jug, with handle and mouth rising
Ofrom the top (Bilgelkanne). Clay fine, of pale yel
low. Decorations, nearly effaced : horizontal lines,
apparently in black, orange, and red.
Diameter, M. o. 112 ; height, M. o. 10. Intact. Reg. No. 462.

90 CASE 2. CYPRIAN VASES.
222. Bowl of red clay covered with a dark chocolate-brown
slip. It has a base, and two small perforated han
dles, for hanging, at the rim.
Diameter, M. o. 1 1 6. Slightly broken at the rim. Reg. No. 359.
223. Two-handled drinking cup, apparently a Cyprian imita
tion of the Greek black-figured style. The
clay is red, covered, excepting a broad band on
the outside, with a black glaze. This band,
instead of being occupied by figures, is filled
by a series of concentric circles, in the same
black glaze, drawn somewhat paler.
Diameter, M. o. 148 ; height, M. o. 082. Slightly broken at the lip. Reg.
No. 434.
224. Large amphora, of good form, evidently an imitation of
a fourth-century Attic type, with fluted sides,
and vertical, twisted handles. The clay is the
Cyprian pale yellow, painted black, both color and
glaze being of an inferior quality and consider
ably worn. There are no decorations.
Height, M. o. 434. Practically intact. Reg. No. 483.
225. Oinoehoe, of technique similar to the preceding, also
with fluted sides. The color has nearly disappeared.
The clay is red.
Height, M. o. 168. Foot partially restored in plaster. Reg. No.

226. Jug, in form of a bull. Rudely modelled, of red clay,
~_^ painted a dull black. A hole in the shoulder for
i; ~\ filling, adjoining which is the handle. The mouth
^/  ^ is made into a cylindrical spout.
Length, M. o. 16 ; height, M. o. 105. Legs partly restored in
plaster; back repaired, with one piece missing. Reg. No. 491.
227. Small bowl, without handles, of pale clay covered with an
inferior black glaze. Decorations : on the interior, two cir
cles, near the top and bottom respectively, composed of white
dots between parallel incised lines.
Diameter, m. o. 119 ; height, M. o. 056. Intact. Reg. No. 405.

IV. MISCELLANEOUS. 91
228. Large lekythos, with broad, squat body, angular in profile,
tall neck, and twisted handle. Clay pale red,
rather coarse, covered with an inferior glaze.
Decorations, in brown : an undulating vine pat
tern, and, below this, lines and stripes en
circling the vase. Ptolemaic period.
Height, M. o. 221 ; diameter, M. o. 224. Considerably broken
and repaired. Reg. No. 449.

From the following vases all traces of glaze and decoration
have disappeared, so that it is difficult to tell to which of the
preceding classes they belong.
22g. Bottle, in form of a slender amphora, with a small
mouth and no handles. Clay yellow.
Height, M. o. 137. Intact. Reg. No. 370.
230. Small jug, pear-shaped, with round mouth. Me
diocre workmanship. Clay yellow.
Height, M. o. n. Intact. Reg. No. 360.
231. Small, shallow bowl, with upright sides, and a small
base. Brown clay, blackened.
Diameter, M. o. 10. Intact. Reg. No. 411.
232. Lekythos, of spherical form, red clay, coarse in
texture. Height, M. o. 126. Intact. Reg. No. 362.
233. Oinoehoe, of technique and proportions like the preced
ing, with a trefoil mouth.
Height, M. o. 156. Intact. Reg. No. 376.
^— ^ 234. Small, round dish, nearly flat, with a
I j\\ large hasp rising from the middle. Clay
¦ — ''  U  ¦ red.

—7~ — Diameter, M. o. n. Intact. Reg. No. 373.

235. Lamp, of primitive character, made by folding over the
edges of a flat dish, while the clay was soft, so as
<\^\r^'^s> t0 form a small mouth on one side for the wick.
Diameter, M. o. 119. Intact. Reg. No. 447.

92 CASE 2. CYPRIAN VASES.
236. Similar.
Diameter, M. o. 119. Edges somewhat broken. Reg. No. 447.
On top of the case : —
237. Large vase or jar, of coarse clay, roughly made. It has
a mouth but no neck, two small handles at the
shoulder, increases in circumference from the
shoulder down, and the bottom is rounded, termi
nating in a point. Near one handle are the remains
of a Phoenician inscription, painted in black: —

m-.

Height, m. o. 456. Intact. Reg. No.

238. Similar jar, without inscription, form better.
Height, M. o. 43. Intact. Reg. No. 489.

23g. Very tall amphora, with pointed bottom, long
slender neck, and angular handles. Clay coarse
red, covered with a pale yellow slip. No decora
tions. Each handle is stamped with an inscription :
on one, —
En AYkOYPrOY PANAMOY
on the other, — EPMIANOS
Height, M. o. 84. Broken at the mouth. Reg. No. 488.

CASE 3.
BUCCHERO WARE.
" Vasi di Bucchero nero."

The peculiar ware, of black clay unrelieved by colored dec
orations, which is found abundantly in Etruscan cemeteries,
is commonly known by its Italian name, bucchero nero, or sim
ply bucchero, and may be regarded as the national pottery
of Etruria. It is the only branch of the ceramic art in which
the Etruscans attained any degree of individuality, and is now
admitted to have been their own invention ; for, although
specimens of it have been found in Greek cemeteries, they
were probably imported or imitated by local potters. Its
chief characteristic is the material, usually a coarse, heavy,
grayish clay, covered with a coating of finer, blacker clay,
which is capable of taking a smooth, glossy surface. The
forms were sometimes borrowed from the Greek, — in which
case the tendency was to make the ware thinner and to omit
the inner, coarser layer, — but generally seem to have been
copied directly from metal vases imported from Egypt, Phoe
nicia, or Carthage ; and it is interesting to note how com
pletely the Etruscan artist was the slave of his model. In
copying a brass vase or jar he even imitated the rivets and
other details which, in the clay, had no meaning. The re
pousse ornaments of the brass vases he copied directly by
stamps or moulds. For decorations he used early Greek
and Oriental designs indifferently, often putting Greek pat
terns upon Oriental forms.
In the present state of knowledge it is difficult to establish
precise dates for the beginning and end of the bucchero ware,
or its various subdivisions. It has been traced back to about
the end of the seventh century b. c, and probably ceased to

94 CASE 3. BUCCHERO WARE.
be manufactured about the end of the fourth century b. c.
At all events it is never found in graves with the small Etrus
can cinerary urns, decorated with mythological reliefs, which
are supposed to have come into existence at the beginning of
the third century.1
The most complete description of bucchero ware is by Fr. Lenormant, Gazette
Archeologique, 1879, pp. 98-113. The best classification of its various types is
that of Furtwangler, in his catalogue of the vases in the Berlin Museum, Vol. I,
pp. 156-193. The student may also be especially referred to J. Martha's L'Art
Etrusque, chap, xvi, § 2, pp. 462-478, and to an article by Helbig in the Bid-
lettino dell' Instituto, 1885, pp. 118 ff. In Dennis's Etruria will also be found
descriptions of some of the principal specimens, in his accounts of the museums
of Florence and Chiusi.
The Dixwell Collection, included in this case, was formerly a portion of a
public collection in Chiusi, which was disposed of at public sale in Florence in
1875. Mr- Jonn James Dixwell purchased his specimens at that sale, and pre
sented them to the Museum in 1876.
Group I.
Primitive types ; hand-made, clay thick and heavy, decora
tions made either by compressitig the clay when soft, or by
simple and rough incisions of lines and circles. The clay of
these early specimens is sometimes red, painted black.
240. Very small drinking-cup, with one handle rising high
above the rim. Clay red, painted black. Rude
workmanship. No decoration.
Gift of Henry P. Kidder, 1880. Diameter, M. o. 041. Slightly
broken. Reg. No. 212.
241. Small bowl, amphora-shaped, with two high, vertical
|R(  (Ri handles. Clay red, painted black; no decorations.
(U y) Rude workmanship.
\  / Gift °£ Henry P. Kidder, 1880. Height, M. o. 062. Intact. Reg.
No. 211.
242. Two-handled drinking-cup ; long, cylindrical neck, sur
mounting a squat, round body, the latter roughly
fluted. The handles are vertical, and extend from
shoulder to rim. The fractures show that the clay
is red, covered with a black coating.
Gift of Thomas G. Appleton, 1876. Purchased by him of Alessandro Castel-
lam. Height, m. o. 127. Surface somewhat damaged. Reg. No. 1.
1 Martha, L'Art Etrusque, p. 470.

I, II., EARLY TYPES. 95
243. Small drinking-cup of similar design and characteristics.
Clay black, glaze brownish.
Gift of Thomas G. Appleton, 1876. Purchased by him of Alessandro Castel-
lani. Height, M. o. 075. Intact. Reg. No. 3.
244. Shallow, basket-shaped dish, with two handles on the
inner face of the rim. Thick and heavy. No
decorations. Dixwell collection. Diameter, M. o. 185. One handle re
paired. Reg. No. 80.
245. Curiously shaped vase, resembling a cluster of six spin
ning-tops, from which rises a low, curving shoulder,
surmounted by a funnel-shaped mouth. On the
shoulder are two small rings for hanging. Around
the neck, small concentric circles, incised. Vase
not quite so thick or heavy as the preceding.
Lent by the estate of Alfred Greenough. Height, M. o. 128; diameter, M. o.
146. Intact.
246. Cup, with convex sides, a narrow, vertical rim, and one
handle. Shoulder rudely fluted diagonally. Over
the fluting are three triangular designs, incised,
with a projecting boss at the base of each triangle.
Hand-made. Clay black and heavy, but compara
tively thin.
Gift of Thomas G. Appleton, 1876. Purchased by him of Alessandro Castel-
lani. Height, M. o. 075. Practically intact. Reg. No. 2.
Group II.
Partly or wholly wheel-made. The forms show some famil
iarity with Greek and Oriental types, but are lacking in vigor,
and in precision of outline. There is still a tendency to squat
shapes. The clay is still thick and heavy, but the glazing and
firing are more successful, giving generally an even color and a
good black. Decorations : either none at all, or horizontal
lines, in relief or drawn "with a blunt tool. Sometimes a sim
ple incised zigzag combined with these.
247. Drinking-cup, round, shallow, with a small base, and a
high vertical handle rising from the lip. Wheel-made, no

96 CASE 3. BUCCHERO. WARE.
decoration ; clay gray, with a fine, smooth sur
face. Heavy, and rather thick.
Lent by the estate of Alfred Greenough. Height, m. o. 05 ;

diameter, M. o. 128. Intact.
248. Oinoehoe, or wine-jug, of the type known
as a prochoos, with trefoil mouth,the middle sec
tion of which projects in an almost vertical di
rection. Form lacking in vigor, neck large,
shoulder small, sides slightly convex. No deco
ration. Thick and heavy.
Dixwell collection. Height, M. o. 203. Repaired. Reg. No. 78.
24g. Squat oinoehoe, with trefoil mouth, and high,
vertical handle. Decoration : horizontal lines around
the neck and shoulder, drawn with a blunt tool.
Clay thin at the rim, thicker in the lower part.
Dixwell collection. Height, M. o. 157 ; diameter, M. o. 145.
Considerably patched. Reg. No. 68.
250. Oinoehoe, somewhat like No. 249, but less
squat, and handle not rising above the rim. Small,
pointed boss at the junction of lip and handle. Dec
orations : around the shoulder, four horizontal lines
drawn with a blunt tool, and between the middle pair
a simple zigzag. Medium weight and thickness.
Dixwell collection. Height, M. o. 184. Apparently intact. Reg. No. 82.
251. Vase or cup, of cylindrical form, with flaring lip, and
swelling into a round moulding at the bottom. No
handles. It is raised upon a low, hollow base. Dec
orations : a ridge around the lip, and pressed horizon-

y

S 1 tal lines around the body. Thick and heavy.
Dixwell collection. Height, M. o. 165. Broken and repaired. Reg. No. 83.

252. Similar, but smaller. No decorations.
Dixwell collection. Height, m. o. 134. Slightly repaired. Reg. No.
77-
— I 253. Small, round dish, with rolling lip and no
decoration. Well turned, but thick and heavy.
Dixwell collection. Diameter, M. o. 095 ; height, M. o. 049.
Fragment of the base gone. Reg. No. 79.

7

III. VASES OF GREEK FORMS. 97
Group III.
The forms more developed, and showing an increase in the
Greek influence. Greek shapes are frequently copied, the types
being those of the archaic period. Imitation of metal vases
common. The decorations are like those of Group II, but more
skilfully drawn, and the clay is thinner and less heavy.
254. Jug, of good, simple form, with small neck and round
mouth. Vertical handle, rising from the lip. Deco
rations : a pressed line around the outer edge of the
lip, and three raised lines around the neck. Medium
weight and thickness. Glazing imperfect, shading to
gray on the belly.
Dixwell collection. Height, M. o. 184. Slightly cracked. Reg.
No. 69.
255. Similar, but smaller. Mouth funnel-shaped. At the
junction of the handle and the rim are three
points. These are imitations of the rivets of
metal vases of the same shape. Decorations : a
raised line around the neck, with a simple zig
zag incised below it ; and, around the shoulder, a
band of horizontal lines drawn with a blunt tool,
with a simple zigzag, incised, above and below it.
Weight and thickness medium.
Dixwell collection. Height, m. o. 161. Cracked. Reg. No. 61.
256. Oinoehoe, or wine-jug, of good shape, with trefoil mouth,
and two disks at the junction of the handle and lip,
in imitation of its metal prototype. Decorations :
four horizontal lines drawn with a blunt tool
around the neck, and one raised line around the
junction of neck and shoulder. Weight and thick
ness medium.
Lent by W. S. Bigelow. Height, M. o. 263. Cracked, and sur
face somewhat damaged.
257. Drinking-cup, or bowl, with a low base,
and no handle. Shape, a truncated funnel.
Decorations : three horizontal lines around the

98

CASE 3. BUCCHERO WARE.

middle, drawn with a blunt tool. Medium weight and thick
ness. Lent by the estate of Alfred Greenough. Diameter, M. o. 137 ; height, M. 0.
077. Slightly cracked.
258. Round, shallow dish with a broad rim, mounted upon a
^ high foot. Probably a thymiaterion, 'or incense-
burner, used in tombs. Decoration : pressed lines
around the rim. Medium weight and thickness.
Dixwell collection. Height, M. o. 127 ; diameter at top, M. o.
128. Patched. Reg. No. 86.
25g. Cover of a pyxis, or round box, with a small, pointed
handle on top. Decoration : pressed rings around the han
dle ; bluntly incised lines. Medium weight and thickness.
Dixwell collection. Diameter, M. O. 117. Repaired. Reg. No. 72 A.

260. Flat, saucer-like dish. No decoration
and thickness.
Dixwell collection. Diameter, M. o

Medium weight
37. Repaired. Reg. No. 87.

261. Goblet-shaped drinking-cup (holkion), with
hollow foot. Decorations : raised horizontal
lines. Thinner than the preceding.
Dixwell collection. Height, M. o. 107 ; diameter, M. o. 125.
Repaired. Reg. No. 85.

262. Goblet-shaped drinking-cup with long stem, and cranu-
\un [ 1 no lated, or fluted, edges. A ring around the middle
\WmW 0f the stem.
ceding.
Gift of Henry J. Bigelow, 1888. Height, M. o. 158. Base par
tially restored in plaster. Reg. No. 5508.

Weight and thickness like the pre-

263. Similar to the preceding, with pointed
crests or bosses around the rim.
Dixwell collection. Height, m. o. 156. Repaired. Reg.
No. 67.

264. Goblet-shaped drinking-cup, with plain sides and cone-
shaped foot, flattened at the base and hollow. Thinner and

///. VASES OF GREEK FORMS. 99
of better workmanship than the preceding. Decorations :
three lines, drawn with a blunt tool, around
the sides, and small notches cut around the
slight projection at the bottom of the cup
itself. Lent by the estate of Alfred Greenough. Height, M. o. 142.
'  ' Intact.
265. One-handled drinking-cup (kyathos), with a small base,
and the handle rising high from the rim.
Shape, a direct copy from the Greek, with
some reminiscence of the metal type in the
shape of the handle. No decorations. Clay
thin. Gift of the estate of Alfred Greenough. Height, M. o.
088; diameter, M. o. 135. Handle repaired. Reg. No. 4531.
266. Round, funnel-shaped dish or bowl, with a foot. The
rim bent inwards. No decoration. Shape good.
Clay gray and thin.
Lent by the estate of Alfred Greenough. Diameter, M.,o. 144 ;
height, M. o. 08. Foot slightly repaired.

267. Small round jug, of good form, with a high
handle. No decoration. Clay gray and thin.
Lent by the estate of Alfred Greenough. Height, M. o. 11.
A small piece broken out of the handle.

268. Round bowl, slightly flattened at the bottom as a base.
Good shape, decorated with two horizontal lines drawn with
a blunt tool around the edge. Clay gray and thin.
Gift of Henry P. Kidder. Height, M. o. 067 ; diameter, M. o. 14. Repaired.
Reg. No. 335.
269. Cup, with two handles and a small base. No
decorations. Gift of Henry P. Kidder, 1881. Height, M. o. 08. Repaired.
Reg. No. 339.

^

IOO CASE 3. BUCCHERO WARE.
Group IV.
Vases decorated with high reliefs.
Both inform and decoration these are the most characteristic
of the bucchero vases, and show in their fullest development the
qualities described on page pj. This type apparently origi
nated early in the sixth century B. c, and, once established, it
did not develop or advance. The specimens of the fourth cen
tury still show the archaic Greek heads and the Oriental ani
mals which were borrowed at the start. Chiusi (Clusium) was
the principal seat of its manufacture, but the ware is found in
all parts of Etruria.
The relief, or repousse*, effect was produced by means of
moulds, from which the designs were stamped on the vase
while the clay was still soft, and then finished off and touched
up by tooling, before the vase was fired.
270. Large round dish with sides nearly vertical. A piece is
^ cut out of the sides, like the rim
<£~ /) £>^ of a barber's basin, and the edges
^-  -r j"^ at both ends of this cut are moulded
roughly into the semblance of rams'
heads. Otherwise, no decoration. On the sides are two
small horizontal handles, slightly depressed. Clay thick and
heavy. Dixwell collection. Diameter, M. o. 362 ; height, M. o. 10. Slightly repaired.
Reg. No. 71. 271. Amphora with cover. Neck long, shoulder
sloping, and form generally lacking in vigor. Dec
orations : pressed horizontal lines around the
neck and shoulder ; on the latter, a band of em
bossed pendants. On each handle a dog (?) in
relief; and above each handle an archaic mask,
affixed to the rim.
Dixwell collection. Height, without cover, m. o. 503. Slightly
repaired. Reg. No. 56.
272. Amphora, similar to the above in form and decoration.
Dixwell collection. Height, M. o. 453. Repaired. Reg. No. 58. Height of

cover, M. o. n.

IV. VASES WITH HIGH RELIEFS. IOI
273. Amphora. Form similar to the preceding, but glaze
more lustrous. Decorations : around the rim
four archaic masks, affixed, of early Greek
type. On the neck, midway between the
handles, two archaic heads, en face, in high
relief. Below, around the shoulder and body,
two bands of lions and sphinxes, the latter
either winged and walking, or seated and
without wings. Each of the seated ones has
a lotos-flower fastened to the back of its head,
and all have the Egyptian head-dress. These
bands are divided by rows of pressed horizontal lines. The
handles are ribbed. Around the base, between two horizon
tal lines, a band of diagonal dotted lines.
Dixwell collection. Height, M. o. 522. Repaired. Reg. No. 57.
274. Amphora. Neck shorter than in the preceding, and the
body proportionately larger. Shoulder very
sloping. Decorations : above each handle,
affixed to the rim, a mask of archaic Greek
type. Around the shoulder an egg-and-dart
pattern and a scroll pattern, both stamped in
low, flat relief. Below these a band of pen- .
dants, in high relief, interrupted in the mid
dle of each side by a head like those above
the handles. Handles ribbed.
Dixwell collection. Height, M. o. 431. Considerably
broken and repaired. Reg. No. 65.
275. Amphora, precisely similar to the above.
Dixwell collection. Height, M. o. 435. Somewhat repaired. Reg. No. 64.
276. Amphora, form somewhat like Nos. 271
and 273, but more squat. Decorations : an
archaic mask affixed to the rim above each
handle. Vase divided by horizontal pressed
lines into five bands. Highest and lowest
undecorated ; second, a row of couchant
lions ; third, a row of pendants ; fourth, a
row of chimaeras, walking. Handles ribbed.
Dixwell collection. Height, M. o. 441. Repaired.
Reg. No. 76.

102

CASE 3. BUCCHERO WARE.

278.

277. Amphora, with short neck and rounded
shoulder. Decorations, rudely modelled in
relief with a coarse, blunt tool: around the
junction of the neck and shoulder a large
oval pattern ; and below this, a row of
ducks. On the handles a dog, couchant, in
relief. Dixwell collection. Height, M. o. 373. Intact. Reg.
No. 73.
Hydria, or water-jar, of early type, with long neck and
narrow, rounded shoulder. Very large verti
cal handle affixed to the rim and shoulder, and
two small horizontal handles on the shoulder.
Decorations : horizontal lines, both raised and
sunken ; geometric patterns of straight and
zigzag lines incised, and, around the shoulder,
a band of winged horses, in relief.
Dixwell collection. Height, M. o. 498. Put together by
Miss A. A. Gray from the one hundred and thirty frag
ments into which the vase had been broken when it ar
rived here. Reg. No. 84.
or wine-jug, of early Greek type, trefoil
mouth, and two disks, reminiscent of the rivets of
the metal vases, at the junction of the handle and
rim. Principal decoration : a band of lions, sepa
rated by long, pendant-shaped objects, both in re
lief. Around the neck and below the design, hori
zontal lines, drawn with a blunt tool.
Lent by W. S. Bigelow. Height, M. o. 296. Repaired, and ap
parently somewhat restored.
280. Oinoehoe, of somewhat fuller form than the preceding,
but showing the same influence of the metal style.
Decorations, in relief : principal design, a band of
lions walking to right, each in a separate panel ;
above these, pendants of oval shape around the
shoulder. On the handle, a figure of the early
" Apollo " type. On each disk, at the junction of
the handle and rim, a rosette, incised.
Gift of Henry J. Bigelow, 1887. Height, M. o. 296. Mouth and foot some
what restored in plaster. Reg. No. 5148.

Oinoehoe,

IV. VASES WITH HIGH RELIEFS.

103

281. Oinoehoe, of similar shape, somewhat larger. A primi
tive oval pattern around the shoulder, in relief. On the
handle a dog, couchant. Rosettes, stamped, on the disks.
Dixwell collection. Height, M. o. 314. Considerably patched and restored.
Reg. No. 89.
282. Oinoehoe, with full body and small neck. Around the
shoulder a row of stamped rosettes, and below these
a band of lions and horsemen, alternating and
vis-a-vis. Lower half of the body fluted. On the
handle a dog, couchant ; rosettes on the disks and
at the angles of the lip.
Lent by the estate of Alfred Greenough. Height, M. o. 298.
Considerably patched and restored. (Apparently only a small
portion of the vase is genuine.)
283. Oinoehoe. Decorations : around the shoulder,
an oval, or pendant, pattern in relief ; around the
body, four lions' heads in profile ; above and be
low them, rows of horizontal lines in relief ; on the
handle a dog, couchant.
Dixwell collection. Height, M. o. 322. Considerably patched
and restored. Reg. No. 88.
284. Vase used for straining fluids. The shape and charac
ter of this vase are borrowed directly
from metal technique. The vase itself
is a round, shallow bowl, the middle of
the bottom being perforated as a sieve,
through which the liquid filtered into a small funnel-shaped
mouth which projects from the bottom. To the rim of the
vase is attached a straight, horizontal handle, long enough
to be grasped in the hand, and this is supported under
neath by a brace. The sides of the vase are fluted, the
flutings being repousse. On the upper side of the handle is
a Graeco-Oriental figure grasping the forepaws of two ram
pant lions.
Gift of Henry P. Kidder, 1880. Diameter, M. o. 142. Slightly repaired. Reg.
No. 175.

104 CASE 3. BUCCHERO WARE.
285. Goblet-shaped vase, form resembling Nos. 262 and 263,
with cranulated edges, surmounted by small
pointed crests. Around the sides four archaic
heads of the " Apollo type," in relief. The stem
is tall and cylindrical ; around it are four Medusa
like monsters. On the top of the foot are four
lion-masks. The other decorations are rope-like
bands which surround the lower part of the cup itself and
the stem.
Gift of Henry P. Kidder, 1880. Height, M. o. 21. Somewhat restored and
patched. Reg. No. 139.
286. Somewhat similar shape, but not cranulated. Decora
tions very simple : around the sides a row of small
lions separated by tall, vertical, round-topped objects;
above and below, and on the stem and foot, raised
horizontal lines.
Dixwell collection. Height, M. o. 167. Repaired and somewhat
restored. Reg. No. 63.
287. Similar shape. Around the rim six owls with spread
wings, their heads projecting above the edge.
Below, around the sides, archaic heads, en face,
and wings. Raised horizontal lines around vase
and stem. Between the owls, on the rim, a simple
zigzag, lightly incised.
Gift of William N. Bullard, 1890. Purchased by him in Flor
ence. Height, M. o. 20. Badly broken, and repaired with considerable
restoration. Reg. No. 6077.
288. Body similar, with cover. Stem shorter than in the pre
vious examples. Decorations : a band of crouch
ing lions, profile to left; between them, small pro
jecting knobs or bosses. Above, around the rim,
a simple zigzag enclosed between horizontal lines,
all lightly incised. On the cover, three archaic
heads, beardless, in profile, separated by hasp-shaped designs,
impressed, and scrolls, incised ; around the edge a simple
zigzag, incised.
Dixwell collection. Height of vase, M. o. 122; of cover, M. o. 07. Badly
broken, and repaired. Reg. No. 75.

IV. VASES WITH HIGH RELIEFS. 105
289. Funnel-shaped dish, with tall foot. Decorations : around
the rim a simple zigzag between horizontal
lines, incised. Affixed to this, at equal dis
tances, four lion-masks. On the stem and
base, horizontal lines and moulding.
Gift of Henry P. Kidder, 1880. Height, M. o. 196; diam
eter, M. o. 252. Repaired and slightly restored. Reg.
No. 137.
290. Vase of somewhat similar character, with a tall stem.
The rim projects horizontally from the bowl, and
is surrounded by a nearly vertical lip. Around
the lip, pressed horizontal lines, and, affixed to
these, four archaic beardless masks, the heads
projecting above the edge. Between the heads
four bosses. Simple moulding and lines on the
stem and foot.
Dixwell collection. Height, M. o. 155; diameter, M. o. 135. Repaired, and
slightly restored in plaster. Reg. No. 72.
2gi. Round, shallow dish with no base. Two high, basket-
a a like handles, twisted, rise from the lip, which
projects horizontally from the sides. On the
rim the handles terminate in upright, archaic,
beardless masks. No other decorations.
Dixwell collection. Diameter, M. o. 274. Vase much broken and repaired ;
a few small bits missing. Reg. No. 62.

J

292. Large lebes, or bowl, with a foot. Affixed to the shoul
der are four broad handles, apparently made to
pass a large cord through, for carrying. The
foot is of simple, truncated bell form. Decora
tions : a deep line drawn around the rim ; out
side of this a primitive egg-and-dart pattern,
incised ; between the handles, around the body,
winged horses, one in each space ; below this, pressed hori
zontal lines and incised zigzags.
Dixwell collection. Height, M. o. 293 ; diameter, M. o. 327. Repaired, and
apparently somewhat restored. Reg. No. 70.

106 CASE 3. BUCCHERO WARE.
2g3. Small amphora, with long, slender neck. Form good.
'Decorations : on each handle a figure like that
on No. 284, of the archaic, beardless type,
grasping the forepaws of two lions "; around the
body two horizontal lines, incised with a blunt
tool. Gift of Henry P. Kidder, 1880. Height, M. o. 144. Re
paired, and apparently somewhat restored. Reg. No.
213.
294. One-handled drinking cup, of a good Greek type. Clay
very thin and light, sides embossed with
flutings. The handle shows the character
istics of metal technique. On the inner face
of the handle is a figure like those on the
preceding, grasping the two lions.
Dixwell collection. Height, M. o. 10. Badly broken
and repaired. Reg. No. 59.
2g5. Focolare, or tray, oblong in form, mounted upon four
feet, and with an archaic head rising
from the rim at each corner. A small
horizontal handle at each end. The
feet have narrow, vertical grooves cut in
them ; otherwise there is no decoration.
These focolari are among the most characteristic objects in
bucchero ware, to which they are peculiar. They evidently
have some intimate connection with Etruscan funeral rites.
The small objects, such as bowls, spoons, etc., found in them,
show that they had to do with eating ; but whether the ban
quet of the deceased was served in them, which seems likely,
or whether they were used at the ceremonies in memory of
the dead, has not been determined. In this specimen are
five spoons, of various shapes, and of finer, blacker finish
than the tray itself.
Dixwell collection. Length, M. o. 492 ; breadth, M. o. 25. Repaired. Reg.
No. of Has focolare, 90; of the spoons, 91-95.

V. VASES WITH FLAT RELIEFS. 107
Group V.
Vases decorated with small, flat reliefs.
Along the southern shores of Etruria, where the influence of
Greece was more immediately felt than in inland towns like
Chiusi, there developed, apparently about the middle of the sixth
century B. c, a variety of bucchero which was as nearly as pos
sible Greek in its characteristics. The forms of the vases are
almost purely Greek, their sobriety and simplicity of outline
being in marked contrast to the types previously described. The
clay is thin, fine, and of even color, and the decorations are re
stricted almost exclusively to one narrow frieze or band of
figures encircling some conspicuous part of the vase, in very
low, fiat relief. The group forming the design is seldom more
than tzvo or three inches long, and is repeated without break or
interruption around the vase. Martha 1 suggests that it was
made from a wheel or cylinder engraved with the design, which
the potter rolled in the soft clay before firing. The variety of
these designs is very limited, and they can all be traced to
Greek works of about the same period.
The vases of this type were produced only for a short time
and in a limited region. They apparently disappeared by the
end of the sixth century b. c. They are found almost exclu
sively in the cemeteries of Corneto, Cervetri, and Veil.
2g6. Amphora, oval in shape, with a foot. Two vertical han
dles on the shoulder. The rim is vertical,
eand finished without a lip, as though a
cover had fitted over it. Technique unde
veloped ; clay, medium thickness and gray.
Decorations : horizontal lines, drawn with
a blunt tool, divide the shoulder into four
bands. The highest and lowest of these
V_>/ are filled with short, incised lines ; the
J C second with stamped designs, each being
¦ .. ' a small square divided into four triangles
by crossing diagonal lines, with a raised dot in each triangle.
1 L'Art Etrusque, p. 467.

108 CASE 3. BUCCHERO WARE.
Third and principal band, a row of horses, stamped, of a
primitive type, the tail appearing like a fifth leg. The design
of the incised lines is repeated near the bottom of the vase.
Lent by W. S. Bigelow. Height, M. o. 286. Intact.
297. Goblet-shaped drinking-cup (holkion), of good Greek
form. Clay thin and black. Decorations,
stamped : around the sides a vertical scroll-pat
tern, consisting of a simple scroll repeated
many times. Below this, the principal design,
a group of eleven figures, which is repeated five
times around the vase. These figures are as
follows : At the right Zeus enthroned, profile to left, an eagle
under his throne. He is approached by Apollo, carrying a
bow, and followed by two women (nymphs ?) with fillets in
their hands. Next, facing in the opposite direction, two war
riors with spears, standing behind a goddess who carries a
sceptre and is seated upon a folding stool. Facing her is a
woman, who offers her a fillet, and is followed by three fig
ures, a man and two women. The man carries a spear, and
leads one of the women by the hand, while the other woman
has one hand raised. Although upon a very small scale, this
design is evidently composed of groups copied from black-
figured Greek vases, on which they are common.
At the base of the stem is a repetition of the scroll pattern.
Dixwell collection. Height, M. o. 149. Repaired. Reg. No. 138.
298. Similar cup, but smaller, and with a shorter stem. De
sign not unlike the preceding, but with nine figures in each
group. At the right a figure in long drapery sits upon a
throne, profile to left, holding a large flower (?). Under the
throne a bird. Behind the throne a figure in long drapery
holding a fillet. Approaching the throne are two figures, the
first draped, carrying a fillet, and the second nude, with a
spear. Then comes a group of four figures, two seated vis
a-vis on folding chairs, holding large flowers (?), and one of
them a drinking-cup also. Behind each of these is a stand
ing figure. Last is a " Persian Artemis," or winged female
figure, holding a swan (?) by the neck in each hand.
Dixwell collection. Height, M. o. 122; diameter, M. o. 143. Repaired. Reg.
No. 74.

VI. VASES IN THE FORM OF FIGURES. 109
2gg. Similar cup, but shorter. Design, three figures, a lion,
a centaur, and a chimaera (?) repeated around the sides. All
badly drawn. Centaur with horse's forelegs.
Dixwell collection. Height, M. o. 104 ; diameter, M. o. 145. Repaired, and
slightly restored. Reg. No. 60.
300. Shallow, funnel-shaped dish, upon a tall foot. Clay
3 black, but thicker and heavier than the
preceding; Outside undecorated. Inside, a
band encircling the vase, made up of groups
of eight figures, repeated seven times. A
figure on a throne, profile to left, is ap
proached by three figures, the first appar
ently nude and carrying a bow, the other two with hands
raised in adoration. Then two nude men, with spears, profile
to left, behind a figure seated on folding-chair, holding a
fillet, addressed by a woman who offers another fillet.
Gift of Henry P. Kidder. Height, M. o. 183; diameter, M. o. 243. Somewhat
restored about the base. Reg. No. 136.
Group VI.
Vases in the form of figures.
301. Primitive vase in the form of a bird, with a very round
body, short legs and tail, and no head, the neck
terminating in the small mouth of the vase. The
feathers of the breast and the outline of the wings,
with some of their feathers, are indicated by in
cised lines rudely drawn. In each wing is the
incised drawing of a bird in profile. On the breast, below
the feathers, is the inscription, incised : —
mimulukaviiesi
This has been published by Gamurrini, in his appendix to
Fabretti's Corpus Inscriptionum Italicarum (No. 771, pi. ix,
and p. 65), who suggests that it means Sum Mulus (or
Mulvius) Cavii filius (I am Mulus, orMulvius, son of Cavius).
He adds that " this is certainly one of the earliest monuments
of Etruscan art and writing."

HO CASE 3. BUCCHERO WARE.
On the back of the bird is a small ring, decorated with in
cised lines, and the neck is also perforated on one side with
a small round hole. Inside the body are several bits of the
same clay, too large to have been inserted after the vase was
finished, which suggest that it may have been a child's rattle.
Gift of W. J. Stillman, 1880. Found in the region of Corneto, and formerly
in the possession of the Marchese Carlo Strozzi. Length, M. o. 08 ; height,
M. o. 086. Tail broken, neck slightly restored in plaster. Reg. No. 241.
302. Cock, of the thick, heavy ware, with a lustrous black
surface. This was the ornamental top of the cover
of a large amphora. The feathers are indicated by
incised lines. On the under side, near the tail, is
a long triangular opening, made, like the holes in
the backs of terra-cotta figurines, to enable the air
and heat to penetrate easily into the interior when
the vase was fired.
Gift of Henry P. Kidder, 1880. Height, M. o. 106; length, M. o. 094. The
crest is broken. Reg. No. 206.
303. Cock, like the preceding.
Gift of Henry P. Kidder, 1880. Height, M. o. 125 ; length, M. o. 10. Intact.
Reg. No. 207.
304. Cock, like the preceding.
Gift of Henry P. Kidder, 1880. Height, M. o. 113; length, M. o. 11. Crest
and tip of the tail gone. Reg. No. 208.
305. Vase in the form of a dove. A mouth, like that of an
oil-jug, with rolling lip, rises vertically from the
middle of the back, and is connected with the
bird's neck by a handle. The flying feathers of
the wings are drawn in deeply incised lines.
Gift of Henry P. Kidder, 1880. Height, M. o. 16 ; length, M. o.
213. The surface has been worked over, and apparently somewhat re
stored. Reg. No. 174.
306. Drinking-cup in the form of a bent leg, the thigh merging
into a face of archaic type, bearded, but with no
moustache. Around the lip, which rises like a
sort of crown above the face, are geometric pat
terns delicately incised. The brows, lashes, and
beard are also incised. Below, and on either side
of the face, are scrolls drawn with a blunt tool. On the back

VI. VASES IN THE FORM OF FIGURES. Ill
of the thigh is a lion-mask, stamped. The foot wears a high
shoe with pointed, turn-up toe.
Gift of Henry P. Kidder, 1880. Height, as it stands, M. o. 1S4; length, M. o.
132. Reg. No. 183.
307. Rhyton, in the form of a deer's head. Around
the sides of the cup two pairs of horizontal lines, in
dented. Clay brown, covered with a black glaze.
Gift of Henry P. Kidder, 1880. Height, M. o. 20. Slightly patched.
Reg. No. 194.

CASES 4 AND 5.
BLACK-FIGURED VASES.

i. So-called " Attic-Corinthian " Style.
308. In Case 4. Hydria, of the so-called "Tyrrhenian" style,
with round shoulder and spreading lip. Clay pale
red, with a dull lustre. Decorations : around the
neck a band of figures consisting of a central group
of four female (?) figures, three of whom, profile to
right, bring a floral offering to the fourth, who
faces them. This group is flanked on either side
by a sphinx. On the shoulder, a second band, of sphinxes
and long-tailed, human-headed birds, with a Phoenician pat
tern in the middle of the front. Around the body, a third
band, lions and sphinxes ; and below, rays. The field of the
three upper bands, and the upper surface of the lip, are filled
with flowers. Red is used extensively, and all details are
incised. Gift of Thomas G. Appleton, 1876, and purchased by him of Alessandro Cas-
tellani. Said to have been found at Nola. Height, M. o. 261. Slightly
repaired. Reg. No. 7. *
309. In Case 4. Small amphora. The shape is like that of
the later black-figured amphorae, except that the shoulder is
rounder and less vigorous. Clay deep red, with a fine lustre
on that and the black glaze. Decorations : on each side a
pair of lions, bodies in profile vis-a-vis, heads turned towards
the spectator. Between them are a lotos-bud and flower, one
above the other, the latter inverted. One rosette or flower
under the body of each. On the neck is a lotos-pattern,
around the shoulder the Stabornamcnt, and at the base rays.
Touches of red and white, details incised.
Lent by W. S. Bigelow. Height, M. o. 215. Slightly restored.

AMPHORA, EARLY TYPE. 113
2. Amphora.
Group I. The body oval, the neck rounding into the shoul
der without any line of separation. Handles rounded, not
flat. Vase covered with a fine black glaze, leaving only a
panel on ¦> each side for the pictures, and a band around the
bottom, decorated with rays.
310. In Case 5. Early black -figured style. A. A nude
youth, carrying a long spear, walks at the side
of his horse. Both figures profile to right.
B. Similar design, but the youth carries no
spear. Drawing spirited, touches of red, and
details finely incised. Above each design is
a Stabornament, black and red.
Gift of Henry P. Kidder, 1880. Height, M. o. 252. The
vase has been put together from many small frag
ments, but with little restoration. Reg. No. 209.
311. In Case 5. Early black-figured style. Large amphora.
A. Departure of a warrior. A warrior, full-
armed (Corinthian helmet and round shield),
stands in a quadriga, profile to right, which is
driven by his charioteer. The latter is dressed
in a long white garment, girded at the waist.
On the ground, facing the warrior, and close
to him, stands a woman. At the side of the
horses, and partially covered by them, stand a
bearded man and a woman, talking to each
other. In front of the horses, and facing them, stand a war
rior and a woman. The former is full-armed, and carries a
round shield, with the device of a flying dove in white.
B. Six figures, in three groups of two. Middle group, a
bearded man, clothed in a chiton and himation, and carrying
a helmet and sword, approaches a woman who holds a round
shield (device, a tripod in white). On either side of this pair
are two men talking to each other.
Above the picture, on each side, is a lotos-palmetto border.
The folds of the draperies are indicated with a few strokes.

114 CASES 4 fir" 5. BLACK-FIGURED VASES.
Most of the garments are decorated with rosettes, etc., either
painted in red and white or incised. The drawing, though
archaic, is firm. Red is used extensively. The flesh of the
females is white.
Gift by contribution, 1889. Purchased in Rome. Height, M. o. 52. Broken
and repaired, apparently with some restoration. The surface painted over.
Reg. No. 5654.
312. In Case 5. Form and style like No. 311. A. Fight
over a fallen warrior (Achilles and Hektor over the body of
Troilos ?), five figures. Of the principal group, the warrior
at the left is full-armed, his sword hanging from his shoulder.
He wears a Corinthian helmet with very high crest, and car
ries a Boeotian shield, around the edges of which are white
rosettes. He is thrusting with his lance at his opponent, who
is also full-armed (Corinthian helmet with low crest), and
carries a large round shield (device, a bent white leg). He is
also fighting with a lance. Between them, on the ground, is
the fallen hero, his right leg drawn up, and body somewhat
raised. He holds a round shield (device, three white balls), in
an attitude of defense, against the warrior with the Boeotian
shield. His helmet is Corinthian with a high crest. At each
end of the picture stands a woman, her hands extended in
front of her, watching the combat.
B. Bacchic scene. In the middle Dionysos and Ariadne
standing vis-a-vis. He holds a drinking-horn. Behind him
are Hermes, wearing a petasos, chlamys, and high shoes, and
a satyr. Behind Ariadne are two other satyrs. Rosette pat
terns on all the draperies.
Above each picture a chain of lotos-buds.
Gift by contribution, 1889. Purchased in Rome. Height, m. o. 475. Re
paired and painted over. Reg. No. 5653.
313. In Case 5. Form like No. 311. Later black-figured
style. A. A battle scene. A quadriga driven rapidly towards
the left, but not in profile. In it is a warrior with a round
shield (device, a white serpent). The greater part of the fig
ure is concealed by the horses. Behind the chariot follows
a second warrior. On the left a warrior is running away,
looking back. All three warriors wear Corinthian helmets.

AMPHORA, EARLY TYPE. 1 15
B. Bacchic scene. Dionysos and two satyrs. The god, in
the centre, is walking rapidly to right, carrying a wine-horn,
his head turned toward the satyr who follows him, bearing
a wine-skin on his shoulder. In front of and facing them
stands a third satyr. In the background is a vine.
Above the pictures, on each side, a chain of lotos-buds.
Red and white used. Folds indicated in the drapery. The
drawing of the battle scene is decidedly superior to that of
the other.
Gift of Henry P. Kidder, 1880. Height, M. o. 428. Repaired, with some
patching. Reg. No. 216.
Group II. The same general shape as the preceding, but
with the neck sharply defined. Early black-figured style.
In Case 5. The body entirely black, except for the rays
at the bottom. The decoration confined to the
neck and shoulder.
On the neck : A. At the left stands a bearded
man with long hair, wearing a richly decorated
mantle over a long red chiton. In his right
hand he holds a staff, and his left is raised to
wards two men who form the centre of the
group. The first of these is walking towards the
right, his body bent forward, and both arms outstretched as
though in expostulation with his companion, who walks away
from him, looking back, with both arms raised. Each of
these figures wears a chlamys, or short mantle. The fourth
figure, which ends the group, facing the others, resembles the
first in attitude and costume, but carries no staff.
B. Similar to A, the second figure being nude, with his
chlamys over his arm.
At the junction of the neck and the shoulder a Staborna-
ment, red and black, and below this a chain of lotos-buds.
There is also a Stabornament around the base of each handle.
The drawing is very finely executed.
Lent by W. S. Bigelow. Height, M. o. 408. Repaired.
Group III. The vase of fine shape, with vigorous shoul
der, well-defined neck, and flat, ribbed handles. The body en-

Il6 CASES 4 6- 5. BLACK-FIGURED VASES.
tirely red; and, where not otherwise specified, the minor deco
rations consist of a double palmetto-lotos chain around the neck,
the Stabornament at the junction of the neck and shoulder, and
below the principal designs a meander and a border of lotos-
buds, with rays at the bottom. Around and under the handles
are scroll patterns in which the palmetto and lotos appear.
Red and white are used freely as accessory colors, the flesh of
women being always indicated in the latter.
In Case 4. Large amphora, with cover. Early black-
figured style. The form is fuller and rounder
than any of the others in this group, and it
varies from the others in its minor decora
tions, as will be seen from the description.
A. On the shoulder : a cock-fight. In the
middle two cocks about to spring at each
other ; right and left of these a kneeling
youth holding a cock in his arms ; at each
end a lion walking away and looking back.
Principal design : a departure. A bearded man stands, profile
to right, holding the reins of a biga. He is clothed in a long
himation, on which a few folds are indicated, and holds a long
staff in his right hand. Behind him, at the left, stands a
woman, crowned with laurel. She wears a short-sleeved
chiton, on which is traced a pattern but no folds. Chiton
black and red. The left horse rears, and is seized by a nude,
bearded man, who stands profile to left. -Behind him stands
a woman, profile to left.
B. On the shoulder : a cock-fight like that on A, except
that there are tripods instead of lions at the ends. Principal
design : return of the warrior. At the right stands an old,
bearded man, profile to left. Hair black, with red fillet ; beard
red. He wears a long himation, on which folds are traced.
Right hand raised, left extended a little forward. Towards
him walks a full-armed warrior, leading his horse. In his left
hand he carries a large, round shield, mostly hidden by his
body. He is followed by a woman, wearing a short-sleeved
chiton (pattern incised, but no folds), who carries a spear in

AMPHORA, LATER TYPE. 117
her left hand. Behind her, at the left, a second horse, stand
ing en face, is held by a nude, bearded man. Below, instead
of the usual meander and border of lotos-buds, a band of lions
and boars, one bullock among them.
This vase has a flat cover, with a knob.
Gift by contribution, 1889. Purchased in Rome, and said to have been found
at Corneto. Height, without cover, M. O. 438. Repaired. Reg. No. 5670.
316. In Case 4. Later black-figured style. A. Departure
of a warrior. In a quadriga, profile to right, stand
a full-armed warrior, with high-crested helmet
and oval shield, and his charioteer, the latter
bearded, and wearing a long white chiton, with
a red fillet in his hair. Facing them, and par
tially concealed by the horses, stand an old man,
beardless, partially bald, wearing a red fillet and
an himation, and a second warrior, also full-
armed, and carrying two spears and a round shield. By the
heads of the horses stands a third warrior.
B. A Bacchic scene. In the centre Dionysos, and on
either side of him a satyr and a Maenad. The god is bearded,
wears a wreath of ivy and a long mantle, and carries a long
branch of ivy in each hand. The two Maenads are similarly
wreathed, and are playing on bells or clappers.
Purchased, 1886. Height, M. o. 402. Put together from many small frag
ments, but only slightly restored. Reg. No. 4935.
317. In Case 4. Form and style like No. 316. A. Depart
ure of a warrior. In a quadriga (one horse white), profile to
right, stand a bearded man, clothed in an himation, and his
charioteer, similarly clothed and beardless. Facing them,
and partially concealed by the horses, stand a full-armed war
rior, carrying two spears and a round shield (device, a tripod),
and an old man, with long white hair and beard. By the
heads of the horses stands another full-armed warrior, two
white plumes in his helmet, with spear and round shield
(device, three balls).
B. Bacchic scene. In the centre, Dionysos and Ariadne,
standing, profile to right, both full-draped, and he wreathed
with ivy. Behind them a satyr and a Maenad are embracing,

Il8 CASES 4 &> 5. BLACK-FIGURED VASES.
and in front of them a satyr is carrying a nude Maenad in
his arms, towards a couch or chair, only one leg of which is
seen. Both satyrs and Maenads are of the same types as in
the preceding.
Gift of Thomas G. Appleton, 1876. Purchased by him of Alessandro Castel-
lani, and said to be from Capua. Height, M. o. 298. Reg. No. 13.
318. In Case 4. Form and style like No. 316. A. Two Ama
zons, standing by their horses, profile to right. Both are
full-armed, with high-crested Attic helmets, cuirasses, and
greaves, and distinguishable from youths only by the fact
that the flesh is painted white, and the eyes are long and
almond-shaped. Each carries two long spears. The foremost
one is looking back at her companion.
B. Similar group.
Gift of Henry P. Kidder, 1880. Height, M. o. 378. Repaired. Reg. No. 214.
319. In Case 4. Form and style like No. 316. A. Depart
ure of a warrior. A quadriga stands en face, the heads of
the two middle horses turned towards each other, those of
the others turned outwards. In the chariot are a warrior,
holding two spears, and his charioteer, holding a kentron or
whip. At the right of the design a bearded Scythian archer
is walking towards the chariot. He wears a high pointed
cap and a tight-fitting shirt or chiton, and carries a quiver.
He probably held a bow in one hand. (This figure has been
slightly retouched.)
B. Return of the warrior. Four figures. At the left an
old man, holding a long staff, receives the warrior, who ap
proaches him, bearing spear and shield, followed by a woman
and a Scythian similar to the one just described, who carries
a short bow in his right hand.
Lent by J. W. Paige. Height, M. o. 365. Repaired and somewhat restored.
320. In Case 4. Form and style like No. 316. A. Combat
between Herakles and Triton, the demon of the sea. Hera- l
kles is grappling with the monster, profile to right, and behind
them stands Nereus, watching the contest, holding a staff in
his left hand, his right arm raised. His hair and beard were
originally white, but the color has disappeared.
B. Bacchic scene. In the centre, Dionysos, ivy-wreathed,

AMPHORA, LATER TYPE. 1 19
profile to right, receives a large drinking-cup (kantharos)
from a Maenad, who stands facing him, and holding a wine-
jug in her left hand. Behind Dionysos is a satyr, carrying a
wine-skin on his back, and behind the Maenad is a second
satyr, facing her.
Gift of Henry P. Kidder, 1S80. Height, M. o. 375. Repaired, and slightly
patched. Reg. No. 202.
321. In Case 4. Form and style like No. 316. A. Herakles
and the Nemean Lion. In the middle Herakles, bearded and
wearing a light chiton with short sleeves, is wrestling with the
lion, which he seizes by the jaw with both hands. The lion
presses his left hind foot against the left knee of Herakles.
At the right is Hermes, standing profile to right, looking
back. He wears a petasos, chlamys, and high boots, and car
ries a long caduceus. Behind Herakles, at the left, stands a
bearded man (Iolaos ?) watching him, with both hands
raised. He wears a cuirass, under which is a short chiton.
B. Bacchic scene. In the centre stands Dionysos, wreathed
and wearing a long himation. He holds a large kantharos in
his left hand, and in his right an ivy which spreads over the
background of the picture. On either side of him are two
Maenads dancing. Two of the Maenads wear wreaths, one
a red fillet, and the fourth has her head enveloped in a ker
chief. Gift of Thomas G. Appleton, 1876. Purchased by him of Alessandro Castel-
lani. Height, M. o. 374. Intact. Reg. No. 14.
322. In Case 4. Form and style like No. 316. A. Athena
mounting a quadriga (one horse white). The goddess wears
a high-crested Attic helmet, but no other armor. Her dress
is covered with a pattern indicated in red, white, and in
cised lines. At the side of the chariot walks Apollo, beard
less, playing upon a large lyre and wearing a richly decorated
himation. In front of him walks Hermes, same type and
costume as in the preceding. In front of the horses, and
facing them, a youth is seated on a folding chair. He wears
an himation and carries a staff.
B. Two warriors fighting. A bearded man comes between
them, with both hands raised, as though he were trying to

120 CASES 4 &» 3. BLACK-FIGURED VASES.
stop the fight. The warrior on the left wears a high-crested
Corinthian helmet, breast-plate, and chiton, and carries an
Argolic shield. The one on the right is similarly dressed,
except that the helmet has a low crest and he carries a round
shield (device, a white bird flying). The third man wears a
chlamys only.
Lent by the estate of Charles C. Perkins. Height, M. o. 388. The vase has
been put together from a considerable number of pieces, but with unimpor
tant restorations.
323. In Case 4. Form and style like No. 316. A. Europa
and the Bull (?). A woman dressed in a chiton and himation
sits on a bull, profile to right. In her right hand she holds a
long vine, and with the left caresses the bull under the chin.
In front of them walks Hermes, same type and costume as in
the preceding numbers.
B. A woman sitting on a bull, similar in all respects to the
above, except that her left hand touches his ear instead of
his chin. The decoration of the neck of this vase is a simple
palmetto band.
Gift of Thomas G. Appleton, 1876. Purchased by him of Alessandro Castel-
lani. Height, M. o. 278. Practically intact. Reg. No. 15.
324. In Case 4. Small amphora, decorated with careless,
sketchy drawing, and lines roughly incised. A. Dio
nysos seated upon a folding-chair, holding a large
drinking-horn. A satyr walks away from him, profile
to right, looking back.
B. A man, beardless, and wearing an himation, is seated
upon a folding chair. From him walks away a warrior, carry
ing two spears.
Below the principal designs the usual meander and lotos-
bud chain are omitted.
Lent by George W. Wales. Height, M. o. 17. Painted over.
325. In Case 4. Small amphora, similar in form and tech
nique to the others of this class, except that the ground is
covered with a yellowish white slip. A. A satyr holding a
goat by the horns and beard. In the background a vine or
tree. B. A Bacchic scene. Two Maenads dancing, and to the

AMPHORA, MISCELLANEOUS. 121
right of fhem Dionysos, seated, profile to right, his head
turned towards them.
Lent by W. S. Bigelow. Height, M. o. 185. This vase has been extensively
patched and restored, and the greater part of the design has been painted
over.
Group IV. Miscellaneous black-figured amphorae.
326. In Case 5. Amphora, of the same shape and minor
decorations as those in Group III, the body painted black,
and the pictures confined to the top of the shoulder. Here,
in a red panel on each side, is a pair of large eyes (white and
black) ; between them, A, Athena, full-armed, driving a
quadriga to right ; B, a bearded charioteer, in long white
chiton, driving a quadriga also to right.
Gift by contribution, 1889. Height, M. o. 406. Painted over. Reg. No. 5655.
327. In Case 5. Small amphora. Shape like those of Group
III, body black, with red panels. A. A nude man, beardless,
and armed with a club, seizes the helmet of a warrior who is
falling to his knees.
B. Two nude men walking, profile to right. The first offers
a jug to the second, who holds out his hand as if refusing it.
On the neck, three palmettos on each side.
Lent by W. S. Bigelow. Height, M. o. 187. Somewhat repaired and partially
painted over.
328. In Case 5. Later black-figured style. Form known
as a pelike, without shoulder, the belly being
largest near the base.
Design, the same on both sides : a female fig
ure seated, profile to right, on a folding-chair,
between two bullocks, who stand facing her, op
posite each other. Only the fore half of the
animals is visible. Each is decorated with an
ivy wreath about its neck. The woman seams
to be in the act of arranging the wreath of the animal in front
of her. Background filled with a vine.
Gift of Thomas G. Appleton, 1876, and purchased by him of Alessandro Cas-
tellani. Said to be from Capua. Height, M. o. 284. Practically intact.
Reg. No. 26.

122 CASES 4 & 5. BLACK-FIGURED VASES.
32g. In the special case, between Cases 4 and 5, —
Colossal amphora, or krater, with
volute handles. Later black-figured
style. The edges of the volutes are
decorated with an ivy pattern.
Around the outer edge of the lip is
a simple meander. The neck is di
vided horizontally into two sections.
On the upper of these is a frieze of
figures, interrupted at each side by
the handles. This frieze contains
forty-five men, twenty horses, four
chariots, and a dog. It apparently
has no mythological significance, and no types of divinities
are to be recognized among the figures.
The composition consists principally of the repetition of two
groups which are familiar on the black-figured vases, — one,
a warrior mounting his chariot, with an accompanying figure
at the side of the horses, and an old man seated opposite
them ; the other, a warrior leading his horse to a seated old
man, while behind the former a third man walks away, look
ing back. One of the figures in these groups is a Scythian,
who is always represented as looking back, with one hand
raised. These groups are not alternated regularly, and occa
sionally one or two extra figures are added.
The lower half of the neck and the body are black, without
decoration. At the junction of the neck and shoulder is a
narrow Stabornament in red and black, and, at the bottom,
rays. The outline of the vase is vigorous, pure, and of great
dignity. Anonymous gift, 1890. From Orvieto. Height, M. o. 78. Repaired. Reg.
No. 6087.
The following are probably Etruscan imitations of black-
figured amphorae : —
330. In Case 4. This vase is modelled on the type of Nos.
316 ff. The clay is paler, the glaze inferior, and the draw
ing much more careless. A. A satyr and a Maenad dancing.

AMPHORA, ETRUSCAN IMITATIONS. 123
The figures are simply silhouetted, there are no incised
lines, and the details are not indicated. The satyr is nude.
The woman is dressed in a costume which is common in
Etruscan wall paintings, with an overskirt ending in two
points. B. A similar subject and treatment, except that the satyr
is turned away from the woman.
Below the principal design is a sort of herring-bone pattern
with dots between the points. The other minor decorations
are like those in Group III, in motive, but badly drawn.
From Chiusi. Gift of J. J. Dixwell, 1876. Height, m. o. 38. Put together
from many pieces, all of which are apparently original. Reg. No. 96.
331. In Case 4. Like No. 330, this vase is of a pale clay with
a feeble glaze, and the black has been put on
with a hasty brush, so that streaks of the natu
ral color show through. The neck is painted
solid black; on the top of the shoulder is a
band of lotos buds. The principal designs are
substantially the same on both sides, each rep
resenting a group of three women dancing,
their gestures and costumes being quite like those of the dan
cing figures in the " Grotta del Triclinio " at Corneto. The
details are incised by an unskilful hand.
From Chiusi. Gift of J. J. Dixwell, 1876. Height, M. o. 363. Somewhat
broken and repaired. Reg. No. 105.
332. In Case 4. Form like No. 314. Clay yellowish. The
glaze, instead of being black, is an orange-red, all the deco
rations being of the same color, with incised details. Around
the neck is a palmetto-lotos border, and the two principal
designs are in panels. With regard to the drawing, the types
of the heads are distinctly un-Hellenic ; they have retreating
foreheads, high, oval craniums, and resemble those on archaic
Etruscan reliefs. A. Two men bartering a fawn for a rabbit.
The one on the left is nude, has long hair, which falls to his
waist behind, and wears a small, close-fitting cap. He holds a
long-eared fawn by the fore feet in his left hand, while with
the right he points towards the rabbit, which the other man
holds up by the hind paws. This man wears a close-fitting

124 CASES 4 & 5. BLACK-FIGURED VASES.
cap, which completely hides his hair, a cloak and a pair of
high boots with long pointed toes. He is gesticulating with
the right hand, in which he holds a short crook. Behind the
first man stands a nude boy holding a wreath.
B. Two men, both beardless, clasp hands over the head of a
boy whom one is apparently presenting to the other. The
one on the left, who receives the boy, wears a long cloak. The
other and the boy are nude, and the boy carries a wine-jug.
Both men have very long hair and small caps. Behind the
man with the cloak stands a third man, nude, with short curly
hair, holding a spear in one hand and a sword in the other.
Gift of Thomas G. Appleton, 1876. Purchased by him of Alessandro Castel-
lani. Said to have been found at Cervetri. Height, M. o. 249. Apparently
intact. Reg. No. 12. 3. Hydria (Water-jar).
The form is somewhat similar to that of the amphora, the
chief differences being that it has three handles, instead of two,
— the third being for pouring, — the lip is more rounded, for
the same purpose, and the vase is somewhat broader at the
shoulder. The decoration of this type of vase is usually con
fined to the front, there being but one principal design, with a
smaller picture on the top of the shoulder.
333. In Case 5. Attic hydria of the later black-figured style.
On the top of the shoulder, the Battle between
Theseus and the Minotaur, eight figures. In
the middle, Theseus, striding to right, seizes
the right shoulder of the Minotaur with his
left hand, holding his sword in the right, about
to thrust. He is beardless, and wears a short,
tight chiton, with a lion-skin over it, and high
shoes. The Minotaur, nude, fallen on his right
knee, holds in each hand a white ball or stone.
Behind Theseus follow three figures, of which the first and
third are nude youths, carrying wreaths, and the middle one
is a beardless man who wears a long himation. Behind the
Minotaur are two youths with wreaths, and between them
Minos clad in an himation.

HYDRIA. 125
Principal design, the so-called " Marriage of Herakles." At
the left Herakles, profile to right, wearing a short mantle (with
out lion-skin or club, but recognizable by his powerful arm and
shoulder), mounts a quadriga, holding the reins in both hands.
In the chariot stands Athena, veiled, with a narrow red fillet
in her hair, and wearing the aegis. Behind Herakles, at the
left end of the picture, stands a woman, en face, holding a
flat basket on her head. By the side of the horses walk a
youth, carrying a hydria on his shoulder, a woman (Artemis ?)
with a basket on her head, and Apollo (flesh white), in chiton
and himation, playing on a lyre. In front of the horses, and
facing in the same direction, sits an old man ; and at the end,
facing the other figures, stands a woman, her right hand
apparently placed on the old man's head.1
Stars and other patterns on all the garments, some white,
some incised. Red and white used freely. On each side of
the picture a border of ivy leaves. Below, two lions and two
grazing fawns, alternating.
From Ruvo. Purchased, 1889. Height, M. o. 433. Painted over. Reg. No.
5648.
334. In Case 5. Form similar to preceding, but rounder and
less vigorous. The clay is paler and the drawing inferior.
On the shoulder, Troilos pursued by Achilles. At the left a
fountain, with a lion's head, at which a woman is filling a
hydria. Next, Achilles, full-armed, is running to right, in
pursuit of Troilos, who is riding one of a pair of horses, and
looks back, brandishing his whip. Ahead of the horses runs
Polyxena, his sister, who has dropped her hydria, and a Trojan
youth, both looking back.2
Principal design : Herakles (?) driving a quadriga to right.
He wears a long red garment over which is a black lion-skin,
and holds a long staff in his left hand. Above the horses is
a bird flying in the same direction. In front of them walks
a small youth, looking back. At the sides a border of ivy
leaves. From Ruvo. Purchased in 1889. Height, M. o. 445. Repaired and painted
over. Reg. No. 5647.
1 On this subject and its numerous representations see O. Jahn, Archaolo-
gische Aufsdtze, pp. 92 ff.
2 On this subject see Welcker in the Annali dell' Instituto, 1S50, pp. 80 ff.

126 CASES 4 &> J. BLACK-FIGURED VASES.
4. Lekythos.
These lekythoi, or oil-jugs, have been found in large num
bers in various places where Greek pottery has been brought
to light, but they are chiefly characteristic of Attika, where
they played a part in the ceremonies connected with the dead.
During the sixth, fifth, and fourth centuries, small jugs of the
types represented under this name in Cases 4 and 7 were
filled with perfumed oil or ointment, and deposited in the
grave with the deceased, as a form of offering by his friends.
On anniversaries and other festivals associated with the dead,
similar jugs were placed about the tomb or grave-stone, just
as we place there wreaths or flowers.
Group I. Body decidedly oval, the curve being steady from
the shoulder to the base. Decorations in the later black- figured
style.335. In Case 4. Body, shoulder, and neck covered with a
yellowish-white slip, over which the decorations are
painted. Principal design : Helios rising in his
chariot. The heads and shoulders of two winged
horses, facing each other, rise from a sort of plat
form decorated with incised rosettes. Behind the
horses stands Helios, en face, head turned to left.
Pie is bearded. Above his head, the disk of the sun.
Details incised. Touches of red in the manes of the horses,
and in the beard and garment of Helios. Background filled
with the branches of a tree. Above the picture, a border
filled with a vine pattern. On the rest of the body and the
shoulder, palmettos. At the junction of neck and shoulder,
rays ; on the neck, a meander above, and a palmetto border
below. Anonymous gift, 1893. From Eretria. Height, M. o. 28. Intact. Reg. No.
6370.
336. In Case 4. Shape like the preceding. The yellowish-
white slip covers shoulder and body, but not the neck. Prin
cipal design, Herakles and the centaur Pholos. In the middle
the mouth and shoulder of a huge jar (pithos), from which

No- 335-

No. 336.

LEKYTHOS. 1 27
the wine spurts upward as Herakles opens it. He is on
the left, his legs wide apart, and he bends far forward,
grasping the mouth of the jar with both hands. He wears
the lion-skin and cap, and his club leans against the rim of
the jar. On the other side stands the centaur Pholos, profile
towards the centre. He has the whole figure of a man,
bearded, and draped in a long mantle, and joined to this the
body and hind-legs of a horse. Details incised. Touches
of red. Pholos carries a tree upon his left shoulder. Above
the picture four black lines encircle the vase, the spaces be
tween them being filled with dots in the portion immediately
over the design. The rest of the body plain. On the shoul
der, rays and palmettos. Around the neck, a vine pattern.
Anonymous gift, 1893. From Eretria. Height, M. o. 277. Broken and re
paired, two small pieces missing. Reg. No. 6371.
337. In Case 4. Shape like No. 335. Body, shoulder, and
neck, red. On the shoulder an interlacing band of lotos-buds.
Above this a Stabornament. Principal design, the heads of
Dionysos and Ariadne vis-a-vis. He is bearded and wears a
wreath of ivy. Her face was originally painted white, but
the color has now nearly disappeared. In the background, a
vine. From Athens, where it was purchased in 1882. Height, M. o. 195. Intact.
Reg. No. 6281.
338. In Case 4. Shape and colors like the preceding, except
that the neck and mouth are shorter. The ground of
this vase is glazed, and the black is considerably more
lustrous than on No. 337. Around the shoulder is
a band of lotos-buds. The principal design is nearly
effaced, the surface of the vase being broken as though
it had been scraped by a rough tool.
Gift of B. W. Crowninshield. Height, M. o. 188. Surface damaged as noted
above. Reg. No. 308.
33g. In Case 4. Shape and colors like the preceding. On
the shoulder a cock. Principal design : a group of four men ;
one seated in the centre, from him a warrior walks away,
and at each end stands a figure looking on. Drawing very
sketchy. Gift of Francis Amory. Height, M. o. 135. Neck repaired. Base modern.
Reg. No. 249.

128 CASES 4 &» J. BLACK-FIGURED VASES.
340. In Case 4. Shape and colors like the preceding. On
the shoulder, rays. Principal design, Dionysos seated be
tween two dancing satyrs.
Gift of Francis Amory, 1887. Height, M. o. 15. Said to have been found
in Boeotia, 1879. Intact. Reg. No. 5282.
Group II. The diameter of the shoulder is about the same
in proportion to the height as in Group I, but the lines of the
body are more vertical, rounding abruptly near the bottom.
Decorations, later black-figured style.
341. In Case 4. Body, shoulder, and neck entirely red. On
the shoulder a band of lotos-buds. Below this, on the
body, a zigzag pattern. Principal design : Battle of the
Greeks and Amazons, four figures. At the left an
Amazon, mounted (white skin, red Phrygian cap),
charges against a Greek horseman, the weapons of
both being long spears. Between them a Greek war
rior has fallen to the ground. Behind the mounted Greek
walks another, charging in the same direction.
Gift of Henry P. Kidder, 1880. Height, M. o. 203. Neck and base repaired.
Reg. No. 176.
342. In Case 4. Shape like the preceding, except that the
mouth is broader, like that of 335. Principal design : The
seus and the Marathonian bull. Theseus, profile to right,
grasps a horn of the bull with his right hand, and squeezes its
neck with his left arm. Theseus is nude, beardless, and has
long hair. His cloak and club are hung on the branches of
a tree behind him, and his quiver is hung above the bull.
Background filled with branches and flowering scrolls. Be
hind Theseus, near the ground, are the letters SO, and the
same letters between the legs of the bull. Above and below
the design, a meander. The rest of the body plain. On the
shoulder, rays and a palmetto border.
Anonymous gift, 1893. From Eretria. Height, M. o. 259. The vase has
been repaired, and a piece of the shoulder is missing. Reg. No. 6373.
343. In Case 4. Shape like No. 341. On the shoulder, rays;
below, a meander. Principal design : a female figure mount
ing a quadriga, at the side of which walks Apollo (?) playing

LEKYTHOS. 129
upon a lyre. In front of the horses walks a satyr, looking
back. The background is filled by a grape-vine.
Lent by George W. Wales. Height, M. o. 151. Painted over.
344. In Case 4. Shape like No. 342. Neck and shoulder
red, the body covered with a yellowish slip. Decorations : a
double row of rays around the shoulder ; principal design, a
cluster of palmettos on the front.
Gift of Edward Austin, 1876. Height, M. o. 128. Intact. Reg. No. 45.
345. In Case 4. Very small lekythos. Shape like No. 342.
Decorated with three palmettos on the front. Neck, shoul
der, and body red.
Gift of T. G. Appleton, 1876. Height, M. o. 115. Neck repaired. Handle
restored in plaster. Reg. No. 41.
Group III. Body much more slender, sides nearly vertical,
as in Group II Later black-figured style.
346. In Case 4. Neck and shoulder red, body covered
with a yellowish slip. Decorations : around the shoul
der, a band of rays ; principal design, two chariots gal
loping to right.
Gift of Edward Austin, 1876. Height, M. o. 163. Intact. Reg. No.
46.
347. In Case 4. Colors as in the preceding. Shoulder deco
rated with a band of rays. Below this a zigzag with dots at
the points. Principal design : Zeus driving a quadriga, pro
file to right, at the side of which Athena is rushing in the
same direction. Zeus wears a long robe, girdled at the
waist, and carries a spear in his left hand. The goddess is
full-armed, with a high-crested Attic helmet and aegis, and
carries two spears. Under the horses is a large Corinthian
helmet. Gift of Francis Amory, 1880. Said to have been found at Thebes. Height,
M. o. 196. Neck and handle restored in plaster. Reg. No. 248.
348. In Case 4. Colors as in No. 346. Principal de
sign : Herakles and Pholos. On the left the centaur
Pholos, of the later centaur type, with horse's forelegs.
Staff in right hand, cloak in left. He looks down on
Herakles, who reclines on the ground, profile to left, at
the side of the big jar, the mouth and shoulder of which

130 CASES 4 & 5- BLACK-FIGURED VASES.
are visible. Herakles is draped in a long mantle. Behind
him is a column, and there is another in the middle. Details
incised. Above the picture is a meander. On the shoulder
are two rows of rays on a red ground. Upper half of the
neck black.
Anonymous gift, 1893. From Eretria. Height, M. o. 237. Handle and neck
repaired. Reg. No. 6372.
34g. In Case 4. Colors as in No. 346. Decorations: rays
around the shoulder, below which is a meander. Prin
cipal design : a quadriga driven by a full-draped figure ;
at the side walks another figure (Apollo ?) playing on a
lyre. A third figure walks ahead of the horses, look
ing back.
Gift of Edward Austin, 1876. Height, M. o. 156. Neck and handle
repaired. Reg. No. 47. 5. Oinoehoe.
Oinoehoe (olvoyoi]) is literally a generic name for any kind of
jug used for pouring wine, but is generally applied, as here, to
those with a simple handle and a trefoil lip. The belly of this
class of jugs varies considerably in form, but the specimens- in
this case are all of the same type, with a well-defined shoulder,
rather broad, and the sides tapering in a curved line. The
base is flat and round. Except where otherwise specified, the
decoration is confined to a panel on the front. The details are
always incised.
350. In Case 4. Archaic oinoehoe, early black-figured style,
with a reminiscence of metal technique in the points
at the junction of the handle and the lip. Decora
tions : the neck and handle are black ; around the
shoulder is a narrow red band, with a human-headed
bird, two lions or panthers, and between them rings.
Around the body is a frieze of winged figures, alter
nately male and female, running to right. All have long,
flowing hair ; the males are beardless, and with the exception
of one male, all are clothed in transparent drapery. Details
incised, no colors used. This vase is probably Etruscan.
Lent by W. S. Bigelow. Height, m. o. 2S2. Intact.

OINOCHOE. 131
351. In Case 5. Later black-figured style. Bacchic scene,
Dionysos and companions, four figures. At the left,
a satyr dancing. Next, Dionysos seated on a folding
chair, profile to right, looking back at the satyr. He
is wreathed, and holds a drinking-horn in his right
hand. In front of him are a Maenad, dancing, and a
satyr, who stands profile to left.
Gift of W. S. Appleton. Height, M. o. 213. Repaired (some pieces on the
back missing), and the base partly restored in plaster. Reg. No. 4933.
352. In Case 5. Later black-figured style. Ground of the
picture yellowish white. Two warriors fighting ; the
one on the right has fallen to his knees. Both are
full-armed, with Corinthian helmets and round shields.
Device on the shield of the fallen warrior a bent leg,
above which three dots, all in red. On the other's
shield three rings, also red.
Lent by the estate o£ Charles C. Perkins. Height, M. o. 202. Slightly
restored.
353. In Case 5. Later black-figured style. Form like No. 352.
Three male figures standing, talking to one another. The
middle one is bearded, wears an ivy wreath and holds a
wine-cup. The other two are beardless and wear fillets in
their hair. Red used in details. On the front of the neck is
a lotos-palmetto chain, and below the picture are a meander
and rays, on the front only.
Lent by W. S. Bigelow. Height, M. o. 277. The vase has evidently been
considerably restored, and the entire surface is painted over.
354. In Case 5. Form like No. 352. Later black-figured
style. Dionysos, Ariadne, and a satyr. Dionysos reclines
upon a couch in the centre, profile to left, his head turned to
wards Ariadne, who is seated at his right. At the left a
satyr is playing upon a large lyre. The background filled
with vines.
Gift by contribution, 1889. Height, M. o. 172. Repaired. Reg. No. 5661.
355. In Case 5. Form like No. 352. Later black-figured
style. Dionysos reclining under a grape-vine, from which
hang numerous bunches of grapes. He is crowned with ivy,
and holds in his outstretched right hand a wine-cup (kan
tharos), from which he is spilling wine.
Lent by W. S. Bigelow. Height, M. o. 215. Repaired.

132 CASES 4 &* 5. BLACK-FIGURED VASES.
356. Jug with oval body and a round mouth. Dec
orations : double zigzag around the neck, rosettes
around the shoulder, and on the body dotted diagonal
lines forming a diaper pattern. Ground of shoulder
and body pale yellow. No incised lines.
Lent by W. S. Bigelow. Height, M. o. 19. Considerably restored
with plaster.
6. Kyathos (one-handled drinking-cup).
357. In Case 4. Large archaic kyathos, early black-figured
style. The influence of a metal prototype is ap
parent in the ridges on the top of the handle, and
the two points on the rim. Decorations : interior
painted black. Around the lip, short vertical lines ;
below these, a herring-bone pattern encircling the
vase. Principal design, a row of human-headed
birds, of short, thick body, walking to left. On the front of
the handle a large bird. On the side of each ridge of the
handle a dolphin. Details incised, no colors.
Lent by W. S. Bigelow. Height, M. o. 19. Repaired and the base restored.
358. In Case 4. Kyathos, later black-figured style. Deco
rations : in the centre, a woman dancing in front
of a tree. At either end, a warrior running, pro
file to left, face to right. Between the woman
and the two warriors, a pair of large eyes (black,
white, and red). Details incised. Interior black.
Lent by W. S. Bigelow. Height, M. o. 085. Considerably
repaired, with some patching.
7. Kylix (shallow, two-handled cup or bowl).
Group I. Bowl rather deep in proportion to its diameter.
The vase has a flat, round foot or base, but no stem. The
decorations consist of a broad band of black around the lip and
another one at the bottom, leaving a red band around the
middle, on which is the principal design. The inside is painted
black.
359. In Case 5. Later black-figured style. Principal design,
on each side, a quadriga driven by a full draped figure, and

KYLIX. 133
attended by two other figures, who walk
at the side. At either side of the handles
is a palmetto. Drawing sketchy and poor.
Details incised.
Purchased in Athens, 1882. Height, M. o. 0S1. Diameter, M. o. 14. Intact
Reg. No. 6285.
360. In Case 5. Shape and style like the preceding. Design
similar, but details not incised.
Gift of Francis Amory. Said to have been found at Chalkis. Height, M. o.
078; diameter, M. o. 125. Intact. Reg. No. 5284.
361. In Case 5. Kylix, of form similar to that assigned to
this group, but without figured decora
tion. Both inside and outside are
painted brown, without any decoration.
Gift of Francis Amory. Said to have been found
at Chalkis. Height, M. o. 068 ; diameter, M. o. 1 26. Intact. Reg. No. 253.
362. In Case 5. Interior painted black with no decoration.
Exterior black, with a red band around
the middle, on which is a palmetto-border,
terminating at each end in an ivy leaf.
Drawing careless. No incised lines.
Gift of B. W. Crowninshield. Height, M. o. 12. Diameter, M. o. 20. Re
paired. Reg. No. 283.
363. In Case 5. Form like No. 359. The entire vase painted
black, except narrow rings of red around the base. On the
bottom is scratched the monogram

5

Gift of Francis Amory, 1887. From Chalkis. Height, M. o. 063. Diameter,
m. o. 12. Intact. Reg. No. 5285.
Group II The bowl is larger, and is mounted upon a tall
foot, with aflat round base. The handles are long and slender.
364. In Case 5. Cup by Tleson, son of Nearchos. Foot
and lower part of the body black, the latter
with a red line around it. The upper part
of the body red. No decorations, except a
small palmetto at each side of the handles,

134 CASES 4 &¦ 5. BLACK-FIGURED VASES.
and between them the inscription, repeated on both sides of
the vase : ¦ — ¦ Tl-EJSON HO IMEAPXO EPOIESEN
TAiJow 6 Nedpxov liroC-qtrev (Tleson, the son of Nearchos, made
this). Gift of Martin Brimmer. Purchased in Berlin, 1892. Height, M. o. 133 ; di
ameter, M. o. 19. Handles partly restored. Reg. No. 6324.
365. In Case 5. Cup of similar shape and decoration, with
the addition of a swan (red and black, details incised) on the
upper part of each side. Under each swan is an inscription
fictive, — that is, an inscription without meaning, — which
reads as follows : —
On one side, EOE5AIEOEAIE5E
On the other side, AESOKOPKESESE^E
Gift of Martin Brimmer. Purchased in Berlin, 1892. Height, M. o. 146; di
ameter, M. o. 202. Repaired. Reg. No. 6323.
365A. Cup, of similar shape, made by Hermogenes. On
each side a hen, and below this the inscription : —
HEt^OAE^ES EPOIESEA'
'^Epfj.oyevrj'S liroi-qaev
Lent to the Museum. Found at Terranova, in Sicily, and formerly in the
Van Branteghem collection. Described in Frohner's catalogue of the
same, No. 9. Diameter, M. o. 215.
366. In Case 5. Cup by Xenokles. Form and decorations
of the exterior like No. 364, with the addition of a group on
each side of the rim : A. two kentaurs fighting, one with
stones, the other with a tree ; B. a lion and a grazing fawn.
Under each group the inscription, —
XSENOKI,E£ : EPOIE2EN
HevojcA-f/s eTroirjcrev
Interior, a sphinx seated, profile to right, one fore-paw
raised. Head turned back. Under her a lotos-bud. Face,
neck, and breast white. Touches of red in the wings and on
the body. This design is surrounded by a Stabornament, red
and black.
Lent to the Museum. Found at Caere (Cervetri). Formerly in the posses
sion of Sig. Ruspoli, at Caere, and later in the Van Branteghem collection
(Frohner's catalogue, No. 8). Height, M. o. 103 ; diameter, M. o. 151. De
scribed by Klein, Vasen mit Meistersignaturcn, 2d edition, p. 81, No. 12.
Repaired.

1 1

KYLIX. 135
367. In Case 5. Form and style like No. 364, but smaller,
with a broad black band around the rim. Principal design,
on a narrow band: satyrs chasing nymphs; four figures on
each side. The satyrs carry wreaths and staves. Details
finely incised.
Gift by contribution, 1889. Purchased in Rome. Height, M. o. 098 ; diame
ter, M. o. 141. Repaired and painted over. Reg. No. 5665.
Group III. The common type of kylix, with broad, shallow
bowl, round foot, and short stem. Later black-figured style.
368. In Case 5. Entire vase painted black, with the excep
tion of a circle in the interior, in which
is a nude man running, profile to right.
Figure drawn in silhouette, with no in
cised lines.
Gift of Henry P. Kidder, 1880. Height, M. o. 064 ; diameter, M. o. 18. Ex
terior painted over. Reg. No. 144.
368A. Kylix of curious and unique construction. In profile
it is like No. 368, but the top is entirely covered over, being
of one piece with the sides. This top is slightly convex, and
at one side, midway between the handles, has a small, semi
circular opening, for drinking. The vase is filled through its
base, the stem being hollow, and is ingeniously constructed so
that liquid which is poured in here cannot escape through
the same hole. Consequently the vase can be emptied only
at the opening in the top.
The sides are painted black, without decoration. Around
the top are nine bearded men, black on a red ground. One
of them, who has a long beard and wears a chlamys, advances
to the left, crowning with a long white fillet a man who stands
facing him. This second man is nude, and wears a long red
fillet tied around his right thigh. In his left hand he car
ries an aryballos (?) painted red, which is hung on a red cord.
Behind the second man follows a third, also profile to right,
wearing a chlamys, and playing upon the double pipes. The
other six men are nude, and are walking to right, their arms
in various postures. Each wears a long fillet fastened around
his head, some being white, others red.

136 CASES 4 fr J. BLACK-FIGURED VASES.
Between the figures, alternately, are the inscriptions, —
HO PAI£ KAtOS HE PAIS KALE
5 7rats xaXos, 17 irais KaX-q (in one instance spelt •"•<*«), and behind
the" figure first described is the fragmentary inscription, —
/VA/'
In the centre of the top is a bearded mask, with large eyes
and projecting tongue.
Lent to the Museum. Formerly in the Van Branteghem collection, and pub
lished by Frohner in his catalogue of the same, No. 21, pi. j.. Diameter,
M. o. 168. Base and one handle slightly repaired.
369. In Case 5. Form similar to No. 368. Interior, a red
circle with no decoration except a ring in the centre. Ex
terior, a wreath encircling the vase.
Gift of Francis Amory, 1877. Height, M. o. 075 ; diameter, M. o. 172. In
tact. Reg. No. 252.
370. In Case 5. Form like No. 368. Interior, the Minotaur
running, profile to right, looking back. Exterior, on each
side, a pair of large eyes (pupil, etc., incised circles), sur
rounded by grape-vines.
Gift of John James Dixwell, 1876. From Chiusi. Height, M. o. 075; diame
ter, M. o. 195. Repaired. Reg. No. 99.
371. In Case 5. Form like No. 368. Interior, a warrior
walking to right, full-armed, and carrying a Boeotian shield.
Exterior, on each side a bacchic festival. In the centre Dio
nysos seated, holding a large wine-cup (kantharos). On
either side of him a satyr and a Maenad dancing. All the
figures profile to right. Background filled by vines. Draw
ing very careless and sketchy. Details incised.
Gift of John James Dixwell, 1876. From Chiusi. Diameter, M. o. 202. Re
paired and patched. Reg. No. 98.
8. Skyphos (deep drinking-cup with two handles near
the rim). r , : vt
372. In Case 4. Large skyphos, later black-figured style, dec
orated with what appear to be chorus scenes
from early Attic comedies. The vase is
surrounded by a frieze, divided by the han
dles into two groups or subjects. One of
these represents six warriors, each with

SKYPHOS. 137
helmet, chlamys, and spear, riding on leaping dolphins, profile
to right, towards a full -draped man who stands facing them,
playing on the double flute. The other represents six youths,
each wearing a chlamys and carrying a spear, riding upon
ostriches, profile to right, also towards a man playing on the
double flute. In front of him, and facing the others, is a
bearded Pygmy, wearing a chlamys. All the garments are
decorated with red and white.
Around the rim is an ivy border, and around the bottom a
Stabornament, black and red. The interior is black, with a
small circle at the bottom.
Lent by Henry Adams. Formerly in the Mongelli collection, — (in Naples ?).
Height, M. o. 16; diameter, M. o. 22. Published by Minervini, in the Bul-
lettino archeologico napolitano, nuova seria, V, 1856, 57, pi. vit, fig. t, and
p. 134. Repaired, and painted over.
373. In Case 5. Small skyphos. Decorations: a small band
of figures encircling the vase, divided by the
handles into two groups of three figures, each
representing a bacchic dance by a satyr and
two Maenads. The figures are merely silhou
etted, and there are no incised lines. Interior, rim, and space
below the principal design black.
Gift of Thomas G. Appleton. Height, M. o. 087. Intact. Reg. No. 21.
374. In Case 5. Form and decoration like the preceding.
Principal design, on each side, a griffin and a bull ; between
them, a tree.
Gift by contribution, 1889. From Corneto. Height, m. o. 088. Repaired,
and slightly restored in plaster. Reg. No. 5660.
375. In Case 5. On each side, a satyr chasing a Maenad,
both figures drawn sketchily in silhouette.
No incised lines. At the sides of the han
dles, small palmettos.
Gift of Edward Austin, 1876. Height, M. o. 068 ; di
ameter, M. o. 095. Intact. Reg. No. 44.
376. In Case 5. Very small cup, shape similar to the preced
ing. A dancing figure between the palmettos on either side.
The ground of the principal band is painted pale yellow.
Gift of Henry P. Kidder, 1880. Height, M. o. 043 ; diameter, m. o. 065. In
tact. Reg. No. 181.

138 CASES 4 &° 5. BLACK-FIGURED VASES.
377. In Case 5. Large skyphos, of coarse clay, thick sides,
and small ear-like handles. The decorations are
of black on a pale yellow painted ground. The
yellow has disappeared in many parts. Around
the rim a scroll ; below, a large vine, and below
this a wave meander. The drawing is badly
done with a coarse brush. Probably Etruscan.
Gift of J. J. Dixwell. From Chiusi. Height, M. o. 213. Diameter, M. o. 202.
Repaired and colors retouched. Reg. No. 104.
9. Miscellaneous.
378. In Case 5. Large oval bowl (deinos) with separate
stand or base. This is one of the types of mix
ing-bowls, in which wine was prepared for a ban
quet. The bowl itself is of a remarkably pure
oval shape, without a base, the top of the stand
being cup-shaped to receive it. The body of
¦-—---- —g the bowl is black without decoration. On the
inside of the rim are four ships of war, of an
archaic type, painted dark brown, with oars
and sails, the latter white, and details incised.
These ships are drawn so as to appear to float
upon the surface of the wine when the vase is full. On the out
side an ivy pattern encircles the neck, and below this is a
Stabornament, red and black. The stand is of rather heavy
proportions, with an ivy border around the upper part, and
a pattern of small radiating lines near the outer edge of the
base. Anonymous gift, 1890. From Orvieto. Height, when placed one upon the
other, m. o. 565. Repaired. Reg. No. 6088.
379. In Case 4. Flat, round dish with two handles, early
black-figured style. Interior, wheel-
pattern in a circle. Rays around
the top of the lip. Exterior, at the
top, ivy wreath ; below this, a broad
band, stripes and rays.
Gift of B. W. Crowninshield. Diameter, M. o. 29. Repaired, and one handle
restored in plaster. Reg. No. 272.

MISCELLANEOUS. 1 39
380. In Case 4. Low, round dish or stand. Clay pale yel-
-j low. Decorated with a wave pattern around the
rim and a star in the centre.

Lent by the estate of Alfred Greenough. Height, M. o. 052 ;
diameter, m. o. 14. Intact.
381-386. Six small, saucer-like dishes, with rims bent slightly
inward, painted brown or black, with no decoration. Color
and glaze inferior.
381. Gift of Francis Amory. Diameter, M. o. 108. Reg. No. 263.
382. Gift of B. W. Crowninshield. Diameter, M. o. 105. Reg. No. 275.
383-384. Lent by the estate of Alfred Greenough. Diameters, M. o. 07 and
M. o. 084.
385. Purchased in Rome, 1889. Diameter, M. o. 079. Reg. No. 5609.
386. Lent by the estate of Alfred Greenough. Diameter, M. o. 077.
387. Small black jug of similar technique, black without deco
ration. Gift of the estate of Alfred Greenough. Height, m. o. 067. Intact. Reg.
No. 5155.

CASES 6 AND 7.
RED-FIGURED VASES.
Wot including those of Southern Italy.

i. Kylix.

388. In Case 6. Kylix by Euphronios. Severe style. This
is one of ten extant vases which are
signed by this master, and both in
form and decoration it is a fine exam
ple of his art.
Interior : two bearded men dancing. One of them, with
a chlamys thrown about his shoulders, is playing on a double
flute. The other, who wears nothing but a pair of shoes,
pirouettes around his staff, which is braced under his left
shoulder, his right arm being raised above his head. Both
wear wreaths of flowers. In the background hangs d> flute-
case of spotted skin. The design is surrounded by a circle
decorated with a meander. Inside the circle, on the left, is
the maker's signature,
wasanona 50inoq©va
E$£powos htcnrUua/ (for iiroCqaev)
the letters running from right to left.
On the right of the figures is the inscription : —
KAI/OJS HO PAIS
KaA.os o 7rats
Exterior : a convivial procession of eleven men, in various
stages of intoxication. All are crowned with flowers, and
eight wear chlamydes, the other three being nude. Six of
them carry long, knotted staves.

KYLIX. 141
Beginning at the left of one side, the first two figures are
dancing; the third, entirely overcome, is staggering along, car
rying a lyre, which the man in front of him seizes just in time
to prevent his dropping it. This man carries in his left hand
a drinking-cup, which he holds upright, grasping it by the
bottom, as though it were full. Ahead of him go two men,
dancing, one of them looking back. This completes the first
half of the composition ; and underneath the handle at this
point is a dog, barking at the two figures last described.
Next is a man who walks with a swaggering gait, and carries
a large bowl, held carefully upright. Ahead of him go two
others, staggering, one of whom tries to support himself by
seizing the arm of his companion, who carries a large kylix
in his left hand, holding it by the base. In front of this last
one dances a man who is playing on a double flute, and fol
lowed by a dog ; and finally the man who heads the proces
sion turns to look back at his companions. He carries a staff
in one hand and a wine-cup in the other. Below the handle
on this side is an amphora, lying on one side, and on it are
the traces of the word Ka\6s.
Below the design a meander encircles the vase. Between
the heads of the figures, on each side, is the inscription,
SOJA» SOITIAHAT
THavatnos KaXo's
the letters running from right to left in one case and from
left to right in the other.
This vase was found near Viterbo in 1830, and was purchased by Mrs. Hamil
ton Gray, in whose family it remained until 1887, when it was sold to Mr.
Van Branteghem, having been exhibited for several years previously at the
Bethnal Green branch of the South Kensington Museum. It was purchased
at the sale of the Van Branteghem collection in Paris, in June, 1892, by its
present owner, by whom it is lent to the Museum.
When discovered, the vase was in fragments, and though it was reported to
the Archaeological Institute of Rome as a " coppa " by ETK#0NI02 [see
Bullettino dell' Instituto, 1830, p. 233], the repairer, in putting the pieces to
gether and painting over the cracks, covered the inscription, so that the
identity of the vase was not suspected until it was examined by Messrs. Van
Branteghem and Talbot Ready, shortly before its purchase by the former.
Mr. Ready carefully cleaned and repaired the vase anew after it was pur
chased, thus bringing out most satisfactorily both the inscriptions and the
beauty of the drawing. His examination also confirmed a statement made

142 CASES 6 6- 7. RED-FIGURED VASES.
at the time of the discovery, namely, that the vase had been broken from
its base in antiquity, and repaired by means of a metal rivet inserted in the
stem. Diameter, M. o. 365.
Published by Frohner, in his Catalogue of the Burlington Fine Arts Club
Exhibition, 1888, pi. VIII ; and again in his Catalogue de la Collection van
Branteghem, No. 52, pis. x-xiv; Hartwig, Meisterschalen, pis. xlvii,
xlviii, L. It is described, or referred to, in Mrs. Hamilton Gray's Tour
to the Sepulchres of Etruria, London, 1843, pp. 52, 56; Klein's Vasen
mit Lieblingsinschriften, p. 57, No. 2 ; Bullettino dell' Instituto, ubi supra,
etc.
389. In Case 6. Kylix probably by Hieron. Severe style.
Interior : A youth and a boy talking to
gether. Both wear long mantles and
wreaths of myrtle. The youth leans
upon a staff. Design surrounded by a
meander.
Exterior : Twelve figures, in groups of two each, con
sisting, with one exception, of a bearded man and a boy,
talking together. The exception is that of a youth for a
man, in a group adjoining one of the handles. All the
figures wear myrtle wreaths and long mantles, those of the
boys being, as a rule, wrapped about them more closely than
those of the men. The men, and the youth referred to,
lean upon long staves. The youth and two of the boys
hold flowers. One of the men offers a pouch to the boy
with whom he is talking. As suggested by Wernicke (see
below), each group probably represents an ipavTrjs and his
epwp.evos. Gift by contribution, 1889. From Vulci, and later in Rome. Published by
Gerhard, Auserlesene Vasenbildcr, IV, pi. 282 ; and Wernicke, in the Archd-
ologische Zeitung, 1885, pp. 259 ff., pis. 18 and 19. Wernicke ascribes it to
Hieron. (See also Hartwig, Meisterschalen, p. 295, No. 5.) The vase has
been badly broken, and restored, since W's. illustration was made, the surface
being entirely painted over, to conceal all traces of repair. By this restora
tion the youth referred to above was made to appear a bearded man.
Enough of the modern painting has been removed to show that W's. draw
ing represents him correctly, and also that, in putting the vase together,
the pieces were filed and scraped so as to cause great injury to the original
design. Diameter, M. o. 33. Reg. No. 5669.
390. In Case 6. Form like the preceding. Severe style. In
terior : A youth running to right, looking back, his left arm,
enveloped in his chlamys, extended behind him. In the right

KYLIX. 143
hand he carries a staff. Around the figure runs the inscrip
tion, — HO PAIS KAIOS
6 irais /caXos
the whole enclosed in a narrow circle. Exterior, painted
black, with no decoration.
Lent by W. S. Bigelow. Diameter, M. o. 187. Repaired, and painted over.
391. In Case 6. Form like No. 389. Severe style.
Interior : A satyr, wreathed, standing in a large jar or basin,
bending over, with both hands plunged into the jar (a nar
row wavy line incised about his head, to separate it from the
background). Around the figure is the inscription, —
HO PAI[S
the whole enclosed in a narrow circle.
Exterior : A large palmetto at each side of the handles.
Between the palmettos : A. Two satyrs wrestling. One has
fallen to his knees, and is trying to pull the other towards
him. Above them the inscription of the interior is repeated.
B. Two youths running or dancing to right, looking back.
The foremost is falling to his knees, the other has a pair of
clappers. The latter is wreathed.
Lent by W. S. Bigelow. Diameter, M. o. 305. Repaired.
392. In Case 6. Form like No. 388. Severe style.
Interior : Nude warrior, with helmet, shield, and spear,
kneeling, profile to right, looking back. Figure enclosed in
a narrow circle.
Exterior : Palmettos similar to the preceding. A. Three
warriors striding to left. The first is nude, wears an Attic
helmet, and carries a round shield and spear. He is looking
back at the others. They wear Corinthian helmets and
short chitons, and carry round shields and spears. B. Two
satyrs running to left, with a mule between them.
Gift by contribution, 1889. Diameter, M. o. 27. Painted over. Reg. No.
5667.
393. In Case 6. Form like No. 388. Kylix of the severe
style, probably by Chelis, to whom it is ascribed on account
of the character of the decoration, which is like that on
several vases signed by him, and also because of the name
Memnon, which appears on his vases.

144 CASES 6 &* 7. RED-FIGURED VASES.
Interior : a bearded warrior, full-armed, running to left,
looking back. He carries a round shield bearing the device
of a ship's prow in black.
Around the figure is the inscription : —
M]EM«NO[N] KAAOS
Me/xvuiv koAos
the whole enclosed in a narrow circle.
Exterior : palmettos at either side of the handles, and be
tween the palmettos, on each side, a pair of large eyes, the
pupils, etc., incised circles of red, black, and white. Between
the eyes, on one side, a nude youth, wearing a Corinthian
helmet, is shooting an arrow to the right. On the other side
a warrior, full-armed, and carrying an Argolic shield (device,
three black balls), is jumping or dancing, profile to left.
Lent by W. S. Bigelow. Diameter, M. o. 305. Repaired somewhat patched,
and painted over in places.
394. In Case 6. Form like No. 388. Kylix of the severe
style, — by Euphronios ? The drawing of the design on the
interior strongly resembles the work of that master. The
draperies are indicated by clusters of lines which, though ex
quisitely fine, are firm and strong, and fall in semi-archaic
folds. The eyes also have the peculiar shape of those drawn
by Euphronios, the action of the figures is free and spirited,
and the bacchic nature of the subject is characteristic of him.
Interior : Dionysos and a satyr. The god, full-draped in
Ionic chiton and himation, stands profile to right. He wears
an ivy wreath, and carries a vine in his left hand, and a large
kantharos in his right. The satyr stands facing him, is
wreathed, wears high boots, and holds out an oinoehoe in his
right hand. His left hand rests against his hip. On the left
of the figures is the inscription : —
HO PAIS KAlO£
6 7TCUS KaXos
The design is surrounded by a circle decorated with a
meander. Exterior painted black without decoration.
Lent by W. S. Bigelow. Diameter, m. o. 281. Repaired and painted over,
especially on the exterior.

No. 394.

KYLIX. I45
395. In Case 6. Form like No. 388. Interior, two draped
figures, one seated, the other standing,
surrounded by a circle with a meander
pattern. Outside black without decora
tion.
Gift of J. J. Dixwell, 1884. From Chiusi. Diameter, m. o. 205. Considerably
repaired. (Genuine ?) Reg. No. 102.
396. In Case 6. Form like No. 388. Earlier period of the
fine style. Interior : two youths talking to each other, one
clad in an himation, the other in a long mantle. ' Design sur
rounded by a circle decorated with a meander.
Exterior : A. Three figures. In the middle a girl in chiton
and himation standing profile to left. On either side of, and
facing her, a nude youth preparing to jump.
B. Three figures. In the middle a girl seated, profile to
left, the lower part of her face covered by her himation. At
the left, facing her, a nude youth, about to jump. At the
right, a nude bearded figure, standing on one foot, the right
leg raised, and the right arm extended towards the centre of
the group. Under each handle, a palmetto with a scroll run
ning up on either side. Drawing inferior.
Gift of Henry P. Kidder, 1880. Diameter, M. o. 205. Repaired and painted
over. Reg. No. 142.
397. In Case 6. Form like No. 388. Earlier period of the
fine style. Interior : a youth stands profile to right, talking to
a woman who is seated in front of him. He wears an hima
tion and she a chiton and himation, the latter drawn over her
head. In each hand she holds a round object, possibly a
fruit. Behind the youth is a low stand, upon which is a
bottle or jug. In the background hangs a fillet. The design
is surrounded by a meander.
Exterior, on each side : satyrs and Maenads, playing.
They carry thyrsi, wine-skins, and one satyr has a wine-horn.
The women are full-draped, and one of them has a leopard-
skin over her chiton. At the handles, palmettos and scrolls.
Lent by W. S. Bigelow. Diameter, M. o. 270. Repaired, and partially painted
over.
398. In Case 7. Earlier period of the fine style. Interior :

146 CASES 6 & 7. RED-FIGURED VASES.
a satyr and a Maenad standing opposite each other. He
holds out both hands towards her, as
though asking for the double flute which
she holds in her right hand. In the left
she holds a tall thyrsos. She stands en
face, with her head turned towards the satyr, and wears a
Doric chiton, and a kerchief tied about her head. Behind the
satyr, on the ground, stands a large krater. The design is
surrounded by a circle which is decorated with a meander.
Exterior : palmettos on either side of the handles, enclosing
the two pictures, each of which is a bacchic scene of satyrs
and nymphs, containing five figures. A. A Maenad, wearing
a Doric chiton, and a kerchief about her head, stands between
two satyrs, each of whom is trying to take from her the thyr
sos which she holds in both hands. Another Maenad, wear
ing the same head-dress and an Ionic chiton, over which is a
leopard-skin, advances (right) towards a satyr who is jumping
in front of her, with both hands outstretched toward her.
She carries a staff in her right hand, and her left is stretched
towards the satyr.
B. A satyr walks rapidly to right, offering a cup of wine to
a Maenad, who rejects it, walking away from him, apparently
to the surprise of a second satyr, who stands facing her with
both arms extended downward. The Maenad wears an Ionic
chiton, over which is a short mantle, and carries a thyrsos.
Beyond this group walks a Maenad in Doric chiton, repulsing
with her left hand a satyr who tries to seize the thyrsos
which she holds in the right. All the satyrs in both groups,
and the Maenads in this, wear wreaths of flowers.
The drawing on this vase is exceptionally fine and delicate.
Anonymous gift, 1891. Purchased in Rome. Diameter, M. o. 31. Slightly
repaired. Reg. No. 6258.
399. In Case 6. Form like No. 398. Earlier period of the
fine style. Interior : a youth reclining on a banquet-couch,
playing the game of kottabos. He wears an himation and
an ivy wreath, and swings his kylix in his right hand, holding
one handle between his thumb and forefinger. In his left
hand he holds a large wine-cup (skyphos). Below the figure

KYLIX. 147
are a foot, or shoe, and an object shaped like a short, straight
stick. Above the figure is the inscription : —
» A
The design is enclosed in a circle, which is decorated with
a meander. A. Three figures. At the left a youth, wearing
an himation and shoes, leans upon his staff, looking towards
the middle figure, a youth in an himation, who holds out a lyre
towards him. At the right of the picture is a bearded man,
wearing an himation and shoes, who also leans upon his staff,
facing the centre. In the background, among the figures,
are suspended a long pouch, a pair of shoes, and a bundle
consisting of a strigil, sponge, etc.
B. Composition similar, except that all three figures are
barefooted, and the bearded man is on the left instead of the
right. The youth in the middle holds the lyre out towards
him. In the background are hung a pouch, a strigil, etc., and
a flute-case. All the figures in each group wear wreaths.
Under each handle is a palmetto, and on each side an ivy leaf.
On A. is the inscription : —
>s »" » a * t» W y *
On B is the inscription : —

Gift of Thomas G. Appleton, 1876, and purchased by him of Alessandro Cas-
tellani. Said to be from Capua. Diameter, M. o. 225. Repaired at the
base. Reg. No. 20. 400. In Case 7. Small kylix, painted black,
without decoration. Bowl good, and handles
long and graceful. Color somewhat spoiled
by uneven firing, being red in places.
Gift of J. J. Dixwell. From Chiusi. Diameter, m. o. 14. Intact. Reg. No. 51.
401. In Case 7. Small black kylix, without
decoration. Lent by W. S. Bigelow. Diameter, M. o. 155. Surface
entirely painted over.

148 CASES 6 Sr> 7. RED-FIGURED VASES.
402. In Case 7. Later period of the fine style. Kylix with
flat bottom and no stand. Decora
tions : interior, around the sides, a
large ivy wreath, stems incised ; in
the centre, a wheel, incised, surrounded by palmettos, stamped ;
the whole enclosed by two circles, lightly incised.
Exterior black, with no decoration except on the bottom,
which has concentric circles, alternately red and black.
Purchased 1880. Diameter, M. o. 212. Intact. Reg. No. 269.
2. Drinking-cups of other forms.
A. Skyphos, or Kotyle.
This cup is deep, oval in shape, truncated at the bottom to a
flat base. It has two handles, which are usually small, and
affixed either to the rim or just below it.
403. In Case 7. The body of the cup is painted black, with a
large laurel wreath around the rim, and a band
of cross-hatched lines near the base.
Gift of Thomas G. Appleton, 1876. Purchased by him
of Alessandro Castellani. Said to be from Capua.
Height, M. o. 097. Diameter, m. o. 118. Cracked.
Reg. No. 22.
404. In Case 7. Cup of very thin, light ware, with delicate
handles. Two narrow red lines (painted) en-'
circle the vase at the handles, another one
near the bottom ; below, rays.
Gift of Edward Austin, 1876. Height, M. o. 081 ; diame
ter, M. o. 118. Practically intact. Reg. No. 42.
405. In Case 7. Form like the preceding. Cup of fine oval
shape. Clay thin, painted black, without decoration.
Gift of Henry J. Bigelow, 1888. Height, M. o. 105; diameter, M. o. 132.
Somewhat restored, and painted over. Reg. No. 551 1.
406. In Case 7. Form like the preceding, but of heavier pro
portions and weight. It is well-shaped, and covered with a
red glaze, over which black is painted carelessly, the red
showing in many places.
Gift of B. W. Crowninshield. Height, M. o. 101 ; diameter, M. O. 131. In
tact. Reg. No. 284.

KANTHAROS. 149
B. Kantharos.
A deep cup, with two handles, affixed vertically, and gener
ally large. These are usually attached to the rim and a point
near the base.
In Case 7. Shape imitated from a metal type. The han
dles rise vertically from the rim, and are attached
at their lowest point to a ridge encircling the vase
near the bottom. From the outside of each
handle projects a small point. The entire vase
is painted black, except on the bottom, without decoration.
On the bottom is scratched the monogram : —
Purchased in Athens, 1882. Height, M. o. 09; diameter, M. o. 12. Repaired.
Reg. No. 6286. 408. In Case 7. Decorations : a broad band of
laurel around the body, and below this a wave
meander. Gift of Edward Austin, 1876. Height, M. o. 999. Intact.
Reg. No. 49.
409. In Case 7. Small kantharos, somewhat similar in shape
to the preceding. Painted black, without deco
ration. Gift of Francis Amory. Said to have been found at Thebes.
Height, M. o. 071. One handle broken. Reg. No. 245.
410. In Case 7. Vase painted black, with no dec
oration. Body raised upon a small foot with a short
stem. Handles knotted.
Gift- of J. J. Dixwell. From Chiusi. Height, M. o. 177. Re
paired. Reg. No. 66.
411. In Case 7. Vase somewhat similar in shape, also with
small base. At the top of each handle a horizontal
projection. Painted black, lower part dark brown,
without decoration.
Gift of Henry P. Kidder, 1881. Height, M. o. 114. Practically intact. Reg.
No. 341. 412. In Case 7. Body hemispherical, with small
base. Handles somewhat like preceding, but much
smaller. Upper half black, lower half dark brown.
Purchased, 1883. From Asia Minor. Height, M. o. 127. Reg. No. 4286.

150 CASES 6 Sf 7. RED-FIGURED VASES.
C. Miscellaneous cups.
413. In Case 7. Cup resembling a skyphos, but much shal
lower. Outside painted black, with-
rout decoration. In the interior a
star pattern formed by pressed pal-
? -£ mettos, with incised lines joining
them ; around this, concentric circles formed by short radi
ating lines, incised.
Purchased 1883. Said to be from Halikamassos. Height, M. o. 075; diame
ter, M. o. 163. Reg. No. 4287.
414. In Case 7. Very small drinking-cup, of inferior tech
nique, with two small handles projecting like ears
^ ( from the rim. Painted black, without decoration.
^=^ Said to have been found at Thebes. Height, M. o. 042. Intact.
Reg. No. 5286.
415. In Case 7. Similar.
Gift of Francis Amory. Said to have been found at Thebes. Height, M. o. 05.
Handles broken. Reg. No. 246.
416. In Case 7. Small, one-handled cup, painted black with
out decoration.
Gift of Henry P. Kidder, 1881. Height, M. o. 051. Repaired. Reg.
No. 348J.
417. In Case 7. Round bowl without base, painted black.
Incised lines around the rim and on the bottom.
Gift of Henry P. Kidder, 1880. Height, M. o. 083. Repaired. Reg. No. 149.
3. Amphora.
A. Stamnos.
418. In Case 6. Severe style. Principal design, a Sacrifice
O to Dionysos, which encircles the vase.
On the front, an archaic idol of Dionysos
in the centre, in the form of a mask,
wreathed with ivy and attached to a pil
lar which is draped in a chiton and
himation. A large disk on each shoul
der. From behind the head radiate long
branches of ivy. In front of the image
is a table bearing two amphorae similar

^O

AMPHORA. 151
to this, a pile of sacrificial cakes, and several narrow white
fillets. On either side of the table stands a woman, facing
it. The one on the left holds a drinking-cup (skyphos) in
her left hand, grasping it underneath, as though it were full.
Her right hand is raised in an attitude of adoration. The
other woman bends forward to fill her cup from the am
phora nearest her, by means of a long-handled ladle. She
is dressed in a long Ionic chiton, of a crinkly material, with
sleeves reaching to the elbows. The subject is continued on
the right by a woman (inclosed within one of the handles),
who walks rapidly away from the group just described, look
ing back at them, and extending her right arm at full length
towards them. In her left hand she also holds a drinking-
cup by the bottom. Next comes the group of the back of
the vase, consisting of three women, whose action carries on
the subject towards the right. The first of these offers a
filled wine-cup to the middle figure, who refuses it, hurrying
away, her face turned back. In her left hand she carries a
parasol, and behind her is a large chair. The third walks
rapidly in the same direction, carrying a wine-cup, and look
ing back. Finally, inclosed within the other handle, is the
figure that joins the two groups, a woman walking towards
the sacrifice, playing on the double flute. All the women
have bare feet, and, with the exception noted, wear long hima-
tions over their (Ionic) chitons. The one with the parasol
has a diadem in her hair ; the others all wear fillets like those
on the table.
Around the lip of the vase an egg-moulding. Around the
shoulder is a Stabornament, and below the picture a meander
encircles the vase. The cover is nearly flat, with a knob in
the centre, and decorated with rays and circles.
Purchased in Rome, 1890. Anonymous gift. Height, M. o. 40. Repaired.
Cover repainted. Reg. No. 6089.
419. In Case 6. Severe style. Form and minor decorations
like the preceding.
Although in a fragmentary condition, this vase is of excep
tional interest because of its subject, and the manner in
which it is represented. The subject is evidently the Death

152 CASES 6 & 7- RED-FIGURED VASES.
of Orpheus ; but that being a new theme for vase-painters at
the time this vase was made,1 the artist appears to have been
unfamiliar with the details of the story, and therefore to have
resorted to the scheme of using another murder-scene which
was frequently illustrated in his time, and substituting only
the principal figure. The scene he selected was the murder
of Aigisthos by Orestes, which is common on vases of the
severe style ; 2 and therefore we have a combination of two
subjects or types, each unmistakably recognizable from the
analogy of other vases. Orpheus is seated upon a chair, pro
file to left, his head turned to the right. He has long hair,
which falls in ringlets on his breast, and is wreathed. His
costume is quite feminine, consisting of a long Ionic chiton
and himation, the latter fallen about his lap. In his left arm,
which hangs at his side, he holds his lyre. The blood gushes
from his right breast ; and his right arm, outstretched, is seized
by his murderer, who advances, sword in hand, about to thrust
a second time. In this second figure we have the beginning of
the confusion of types. Orpheus was murdered by the women
of Thrace. Neither in literary nor artistic versions of the
story is there any allusion to a man as the slayer ; but the
figure here is that of a youth, corresponding in all respects to
Orestes on the " Aigisthos " vases. For convenience, there
fore, we shall name him and the other figures in the picture
according to the persons with whom they correspond on those
vases. He wears an Attic helmet and a short chiton, over
which is a sword-belt and scabbard, and carries his sword in
his right hand. Behind him follows a woman (Klytaimnestra)
brandishing a double axe above her head with both hands. The
blade of the axe is seized from behind by a youth (Pylades)
with both hands. Most of this figure is gone, but enough re
mains to show that he wore a chlamys, and that his petasos,
1 Cf. Furtwangler, Berliner Winckelmanns-Programm, 1890, page 33, who says
the subject does not occur on vases until nearly the end of the severe red-figured
style. 2 See Robert, Bild und Lied, pp. 149 ff., where a list is given. In Berlin is a
vase with that subject, in which the figures have a strong resemblance to the
principal figures upon this one. It is published, An/tali dell' Instituto, 1853, pi
ll, etc., and described in Furtwangler's catalogue, No. 2184.

AMPHORA. 153
or hat, hung at his shoulder. He ends the group on this
side. On the right, behind Orpheus, a woman (Elektra)
rushes towards him, her right arm outstretched to stay the
assault of his murderer, while with the left she is tearing her
hair. On the other side of the vase are three figures : at the left
a bearded man, profile to right, wearing a long chiton and
himation, and holding a long sceptre in his right hand. He
is approached by two heavily draped women (Ionic chiton
and himation). The first is profile to left, with her right
hand raised ; the second stands en face, with both hands
raised. Anonymous gift, 1891. From Rome. Height, M. o. 288. When received at
the Museum this vase had been completely restored and painted over, with
no traces of breaks. All modern additions have been removed, and, although
many pieces are missing, all the details of the composition are clearly indi
cated in what remains. Reg. No. 6262.
420. In Case 6. Form like No. 418. Early period of the
fine style. A. Two satyrs and a Maenad,
profile to right. The first satyr is playing
on the double pipes, and wears a garland
(white) in his hair. The Maenad is walking
away, looking back at him. She wears a
Doric chiton, narrow white fillet in her hair,
and carries a thyrsos in her left hand. The
second satyr is dancing, with both hands
raised. He wears a white garland in his hair.
B. Three women. The first stands profile to right, hold
ing a torch. She is looking up, with her head raised. She
wears an Ionic chiton, over which is wrapped a long man
tle. The middle figure appears to be dancing. Both hands
are held out flat, the left arm raised, the right extended
downward. She wears a Doric chiton. The third woman
starts away from her in surprise. She also wears a Doric
chiton. All three have narrow white fillets in their hair.
Around the handles and below them are elaborate palmetto
and scroll patterns separating the two pictures. Around the
lip is the egg ornament. At the junction of the neck

154 CASES 6 &° 7. RED-FIGURED VASES.
and shoulder is a Stabornament, and below the figures a
meander. Anonymous gift, 1890. Said to be from Ruvo. Height, M. O. 332. Repaired,
and the entire surface painted over. Reg. No. 6093.
B. Amphora "a colonnette."
421. In Case 6. Severe style. A. A woman in Ionic chiton
and himation, broad fillet in her hair,
stands profile to right, holding a torch in
the right hand, uplifted, and a branch in
the left. Opposite her is a bearded man,
a wreath of myrtle or laurel in his hair,
clothed in an himation, and holding a
long staff. On the neck, above this pic
ture, a chain of elongated lotos-buds,
black on red ground.
B. A youth and a maiden talking together. She stands
profile to right, and wears an himation with chiton visible be
low. He wears an himation and carries a staff. No design
on the neck above this.
Gift by contribution, 1889. Height, m. o. 354. Reg. No. 5671.
C. Amphora of the Nolan type.
422. In Case 6. Earlier period of the fine style. A. Two
women sacrificing at an altar. One of them, wear
ing an Ionic chiton, stands profile to right, pouring
wine upon the fire from a phiale which she holds
in her right hand, the left being raised in a ges
ture of adoration. Her companion, who faces her,
wears an himation over her chiton, and holds the
sacrificial basket in both hands. The basket is of
a familiar type, with three high points. Both women wear
broad fillets, or kerchiefs, about their hair. Between them is
the inscription : —
B. A youth, profile to left, leaning upon a staff. He wears

AMPHORA. 155
an himation and a narrow red fillet. Below the design, on
each side, is a meander. On the base is incised : —
Anonymous gift, 1890. From Nola. Height, M. o. 348. Put together from
many fragments and partially restored. The color has suffered in the firing,
leaving a dirty green about the figures. Reg. No. 6091.
423. In Case 6. Form like the preceding. Earlier period of
the fine style. A. A youth and a maiden talking together.
She stands profile to right, holding a short stick (?) in her right
hand, which is raised. She is dressed in an Ionic chiton and
himation, and wears a white fillet. He is clothed in an hima
tion and shoes, and stands leaning upon his staff. He wears a
wreath (white). Between the two figures is the inscription : —
KAAOS AIAN
KaXos A LtOV
Below the figures is a short border with a herring-bone
pattern. B. A youth, wreathed, stands profile to right, clad in an
himation. In his right hand, extended, he holds two small,
white objects. Below, the same border as on the other side.
Gift of Thomas G. Appleton, and purchased by him of Alessandro Castellani.
From Nola. Described by Heydemann, in the Bullettino dell' Instituto, 1869,
p. 29, No. 6 ; Wernicke, Vasen mit Lieblingsnamen, p. 63, AiW, 1. Height,
M. o. 315. Intact. Reg. No. 16.
Case 6. Earlier period of the fine style. A. A
satyr carrying an old Silenos upon his back, profile
to right. Behind them follows a third satyr, run
ning, and pulling the tail of the Silenos. The Sile
nos has white hair, beard and tail, and is wreathed.
The two satyrs are bearded, and wear wreaths and
long red fillets about their heads. In addition, the
first satyr has a small wreath around his left wrist, and a simi
lar one around his left ankle, and the second satyr has an ivy
wreath about his right thigh. He also carries a flower in his
left hand.
In the field is the inscription (red) : —
XAP/AIAE2 KAIOS
XajD/uoS?? zcaXos
B. A satyr standing with his back to the spectator, head

156 CASES 6 &• 7. RED-FIGURED VASES.
turned to left, holding a staff in his right hand, the arm out
stretched. He wears a wreath. In the field is the word
KaAo's. Surrounding the vase, below both designs, is a meander.
At the base of each handle a palmetto.
Gift of Thomas G. Appleton, 1876, and purchased by him of Alessandro Cas-
tellani. From Capua. Formerly in the Peytriguet collection at Pagani,
near Naples. Described by Helbig, in the Bullettino dell' Instituto, 1864,
p. 177; Wernicke, Griechische Vasen mit Lieblingsnamen, p. 88, No. 11, etc.
Height, M. o. 323. Intact. Reg. No. 19.

425. In Case 6. Earlier period of the fine style. Form simi
lar to the Nolan, but less vigorous. A. A bearded man and
a youth facing each other. The former wears an himation
and leans upon a staff, which is supported under his shoulder.
The youth also wears a himation and holds a lyre in his right
hand. B. Two similar figures, the man holding his staff in his
left hand, his right extended ; the youth with his right arm
raised in a declamatory gesture. Under each group a mean
der. Around the neck a large palmetto pattern, and a pal
metto at the base of each handle. Clay and technique of the
vase inferior.
Lent by W. S. Bigelow. Height, M. o. 39. Repaired, somewhat restored, and
painted over. D. Pelike.
Case 6. Fine style. A. A youth in an himation,
walking, profile to right, followed by his slave, a
misshapen dwarf, with long body and short legs,
who leads a large dog by the collar. The
dwarf has a chlamys over his left shoulder, and
carries a stick in his right hand. His face,
which is turned back, is of a low, brutal type,
with thick lips, heavy jaw, and a scraggly beard.
B. A youth standing profile to right, his right hand rest
ing upon a long staff. He wears a long himation.
Encircling the neck of the vase is a meander, and there is

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idBjaia^iBBnanaTOBHraiTarsataf^UdtBiy/^rriilRal

No. 426.

AMPHORA. 157
also one under each design. Below each handle is a pal
metto. Gift of Thomas G. Appleton, and purchased by him of Alessandro Castellani.
From Capua. Height, M. o. 242. Intact. Reg. No. 18.
427. In Case 7. Fine style. Form like No. 426. A. Two
youths, wearing long mantles, and both wreathed (wreaths
white), stand talking to each other. One of them carries a
long staff. Below, a Stabornament.
B. A youth, wrapped in a large mantle, a narrow white
fillet in his hair, stands en face, head turned profile to left,
and holds a long staff in his right hand.
Gift by contribution, 1889. Height, m. o. 148. Slightly repaired. Reg. No.
5662.
428. In Case 7. Fine style. Form like No. 426. A. A
woman rushing to right, looking back, with both arms out
stretched. In one hand she carries a long, round object
which she holds vertically. She wears bracelet and necklace
(yellowish white). Rising from the ground in front of her is
a scroll pattern. Above and below the figure, a Staborna
ment. B. A nude youth, white fillet in hair and wearing shoes,
walks rapidly to right, carrying a flat basket (?) held in his
outstretched left hand. In front of him is a low, square
pillar. Above and below, a Stabornament. The form of the
vase is fair, but the drawing very careless.
Anonymous gift, 1890. From Capua. Height, M. o. 188. Surface somewhat
damaged and repaired. Reg. No. 6094.
E. Miscellaneous amphorae.
429. In Case 7. Fine style, later period. Tall, slender am
phora, of remarkably pure, oval outline, painted
black, with no decoration except a laurel wreath
around the neck, and a line terminating in a trefoil
pendant around the base of each handle. These
ornaments are slightly embossed and gilded. The
vase has a high, pointed cover.
Acquired in Rome, 1890. Height (not including cover), M. o. 562.
Height of cover, M. o. 163. Put together from many fragments
and painted over. Reg. No. 6092. Cover, 6092 A.

158 CASES 6 &• 7. RED-FIGURED VASES.
430. In Case 7. Amphora, of similar type and color, without
a cover. Around the neck, a laurel wreath embossed.
Gift by contribution, 1889. Purchased in Rome. Height, M. o. 452. Painted
over. Reg. No. 5656.
431. In Case 7. Very small amphora, with a vertical
rim. Black, without decorations. Glaze inferior.
Gift of B. W. Crowninshield. Height, M. o. 09. Rim slightly re
stored. Reg. No. 315. 4. Hydria.
The hydnae included in this section are all of the form
called a kalpis.
432. In Case 6. Beginning of the period of the fine style.
Principal design, Orpheus put to death
by the Women of Thrace. (See frontis
piece.) The figures surround the vase. On the
front, Orpheus, identified by an inscrip
tion above his head, falls to his knees,
wounded in the hip by the lance of one of
his assailants. He has long hair, which
falls loose about his shoulders, wears a wreath of laurel, and
is clothed in a chiton and Thracian boots. A long, narrow
chlamys hangs from his left shoulder and is caught in his left
hand, while his right raises his lyre high above his head,
against the woman who is wounding him. She advances
rapidly upon him, a long lance in her right hand, and, as she
thrusts, she clutches the top of his head with her left hand.
Between these two is a tree. A second woman attacks Or
pheus from behind, seizing him by the hair and brandishing a
sword. She is followed by another, carrying a sickle and a
staff or lance. On the left, the woman first described is fol
lowed by two others, one rushing forward and brandishing a
staff (?) at one end of which is a small, square block, the other
carrying two similar weapons. At the back the composition
ends, on either side of the handle, with a Thracian youth,
who stands as an idle spectator of the assault. Each of these

HYDRIA. 159
youths is dressed in a simple chiton and Thracian cloak, the
latter decorated with a border. The one on the left is bare
headed, and wears low, moccasin-like shoes. The other
wears a Thracian cap (aXtoTrtKrj) like that worn by Orpheus
on the famous Orpheus reliefs, except that it has long flaps
at the sides. These caps were of fox-skin, with the brush
hanging behind. Both youths carry spears. Near the one
on the right is a tree. The costumes and adornments of
the women are purely Greek, with nothing to characterize
them as Thracian. The legend of Orpheus appears to have
been first treated by artists only about twenty years before
the probable date of this vase, which gives, therefore, one
of the earliest representations of his death, and is the old
est example yet published which shows him in any part of
the distinctively Thracian costume. Until the latter part
of the fifth century, he was usually represented as a Greek
youth, with nothing to indicate his northern origin. Com
pare No. 419 ; and on the merits of this vase see the Intro
duction, p. 24.
Anonymous gift, 1890. Found at Fojano, in Tuscany, 1879, an(i purchased by
the donor in Rome. Described by Helbig in the Bulleltino dell' Instituto,
1879, PP- 242 ^ Height, m. o. 39. Repaired. Reg. No. 6090.
433. In Case 7. Fine style. Form like No. 432. Subject,
a youth departing for the chase, three figures. In the cen
tre is a youth, wearing a chlamys and high, laced shoes, his
petasos, or hat, hanging at his shoulder. He stands profile
to right, with two spears in his right hand, facing a bearded
man, who is wreathed, clad in an himation, and leans upon a
long staff. Behind the youth, and facing him, stands a
maiden, with an oinoehoe in one hand and a phiale, held to
wards the youth, in the other. She wears a Doric chiton, and
her hair is enveloped in a kerchief. Below the figures is a
meander ; above, a palmetto border ; and around the lip, a
Stabornament. Acquired by gift, 1891. Height, M. o. 277. Intact. Reg. No. 6259.
434. In Case 7. Fine style. Form like No. 432. Domestic
scene, three figures. In the centre, a lady seated on a chair,
profile to right, holds in her lap a box from which she is

160 CASES 6 &* 7. RED-FIGURED VASES.
taking an embroidered fillet. Another piece of embroidered
stuff hangs from the lid of the box. She is dressed in a thin,
sleeveless chiton, over which is a mantle, and wears a broad
fillet in her hair. Facing her stands a handmaid, holding out
another box towards her. The handmaid is dressed in a long
Ionic chiton, which is not girdled, and three narrow bands are
twisted around her hair. Behind the seated lady stands a
second handmaid, who is watching her. She wears an Ionic
chiton, and an himation which is wound about her waist. On
her head is a kerchief with three flowers fastened to it, and
a row of white dots (perhaps a piece of jewelry) surrounding
it. In the background hangs a fillet similar to that which the
lady is taking from the box. It is placed thus to indicate
that the scene is an interior. All three women are bare
footed. Below the figures is a meander ; above, a palmetto
border ; and around the lip a Stabornament.
Gift of Thomas G. Appleton. Purchased by him of Alessandro Castellani.
From Nola. Height, M. o. 293. Intact. Reg. No. 17.
435. In Case 7. Fine style. Form like No. 432. Toilet
scene, three figures. In the centre a woman,
profile to left, stands at the side of a chair, gir
dling her chiton, one end of which she holds
in her mouth.1 Over her chair is thrown her
mantle. Facing her, at the left, is a hand
maid, who holds a long fillet or girdle in the
left hand, and a candle (?) in the right. She is
dressed in an Ionic chiton on which a pattern is indicated, an
himation, and a kerchief about her hair. Behind the central
figure stands a second woman, in an Ionic chiton and long
mantle. She offers an alabastron, or ointment-vase, to her
mistress. All three women are barefooted. Below the prin
cipal design, a meander ; above, a short border of scrolls
and palmettos; around the lip, a Stabornament.
Acquired by gift, 1891. Height, M. o. 256. Intact. Reg. No. 6260.
436. In Case 6. Very small kalpis, later period of the fine
1 The figure resembles that published in the Gazette Archeologique, V. 23 ;
Baumeister, I, p. 609.

No. 434.

KRATER. l6l
style. Form like No. 432. On the front an owl. Slight deco
rations at the side and on the shoulder. Drawing careless.
Gift of Howard P. Arnold. Height, m. o. 099. One handle restored in plas
ter. Reg. No. 5606.
437. In Case 7. Miniature kalpis of similar character. The
decorations have entirely disappeared, leaving the vase in the
natural color of the clay, with traces of white about one
handle. Purchased, 1887. Neck repaired, and the two side handles broken. Height,
M. o. 089. Reg. No. 5297.
438. Like the preceding.
Purchased, 1887. Height, m. o. 087. Base and rim broken. Reg. No. 5298.
5. Krater.
439. In Case 7. Form called an oxybaphon. Later period of
the fine style. A. Three figures walk
ing, profile to right ; the first a bearded
man, wearing an himation and a laurel
wreath, and carrying a long staff. Ahead
of him walks a woman playing on the
double pipes, and wearing an Ionic chi
ton and himation, her hair enveloped in
a kerchief. The third figure is a youth,
who walks ahead of the woman, looking
back at her. He wears an himation and
a laurel wreath, and carries a long staff.
B. Three youths standing, clad in long mantles, the "first
and second profile to right, the third facing them. The first
and third figures carry long staves ; the middle figure has his
mantle wrapped closely about him, covering the lower half
of his face. Above the figures, around the lip, a laurel wreath
encircles the vase. Below is a meander under each group.
Gift of Thomas G. Appleton. Purchased by him of Alessandro Castellani.
Said to' have come from Ruvo. Height, m. o. 294. Intact. Reg. No. 23.
440, 441. In Case 7. Two small "bell" kraters, of graceful
shape and delicate execution, but painted in an in
ferior manner. Black without decoration. (In No.
440 the color runs to red at the base.)
Purchased in Athens, 1882. Height, M. o. 163. No. 441 repaired ;
the other intact. Reg. Nos. 6282, 6283.

162 CASES 6 &* 7. RED-FIGURED VASES.
6. Lekythos.
Group I. Red figures and decorations on a black ground.
442. In Case 6. Beginning of the fine style. Surface much
damaged, most of the design being apparently inten-
J~fa tionally chipped away. Around the shoulder is a pal
metto pattern, above which are short rays. Below, the
remains of the figure of a youth, standing profile to left,
clad in an himation, his right arm extended obliquely
downwards in front of him. Behind him is a square
pillar. Above his arm are the remains of an inscription, —
¦mix -A"'-i ukz'
Gift by contribution, 1889. From Rome. Height, m. o. 17. Reg. No. 5668.
443. In Case 6. Earlier period of the fine style. Form like
the preceding. On the top of the shoulder, rays encircling
the vase. Principal design, a satyr seizing a woman. He
wears a leopard-skin tied about his shoulders, and she is full-
draped (chiton and himation). He carries in his right hand
a long stalk of some fruit or flower. She wears a wreath,
necklace, and bracelet. These are painted yellow, as is the
fruit or flower carried by the satyr. Above the figures is a
meander. Lent by George W. Wales. Height, M. 0. 162. Intact.
444. In Case 6. Shape like 442, except that the body is more
slender. Around the shoulder are two rows of rays. The
body of the vase is covered with a fine metallic glaze, undec
orated except for a meander at the top, and a narrow line of
natural red near the bottom.
Lent by the estate of Alfred Greenough. Height, M. o. 175. Neck repaired.
445. In Case 7. Tall, graceful lekythos of the best
type. Principal design, a youth and a maiden stand
ing on either side of a tall grave stele, which is
mounted on two steps, and has a large palmetto at the
top. Around it are tied a red and a white fillet. The
youth, at the left, wears a long himation, and carries
Wa long spear in his right hand. He stands with his
body slightly turned towards the stele, and his head in
profile. The maiden stands in profile. She has short

LEKYTHOS. 163
hair, and wears an Ionic chiton, ungirdled. Her right arm
falls in front of her, and the left is bent at the elbow. Both
hands are empty. Above and below the design, a meander.
Around the shoulder, a palmetto scroll. Drawing excellent.
Anonymous gift, 1893. From Eretria. Height, M. o. 422. Intact. Reg. No.
6374-
446. In Case 7. Companion to the preceding, and evidently
the work of the same hand. Principal design like the preced
ing, but the two figures differ somewhat. The maiden is on
the left, and holds before her, in both hands, a vase of the
type called a " plemochoe," 1 with a cover. She wears her
hair in a knot, and is wreathed. Over her chiton is a long
himation. The youth wears a short chiton, a chlamys, and a
petasos, or broad-brimmed hat, which hangs at his shoulder.
He also wears a sword, and carries a long spear in his left
hand. His right hand is extended towards the maiden, palm
down. Drawing excellent.
Anonymous gift, 1893. From Eretria. Height, M. o. 422. Mouth and lower
part repaired. Reg. No. 6375.
447. In Case 6. Form like the preceding. On the shoulder
dots and rays. On the front a meander at the top and a zig
zag at the base. The rest of the vase, except the neck, is
painted black with no picture. Clay, a pale brownish ; glaze
inferior. Gift of B. W. Crowninshield, 1881. Repaired. Height, M. o. 234. Reg. No.
306. Group II. The white Attic lekythos, decorated with figures
in bright colors. See Introduction, page 26.
448. In Case 7. The white is of a decidedly yellow tone, and
glossy, but soft and easily scratched. Principal de
sign, two women talking. The one on the left stands
in profile, and wears a sleeveless chiton of bright red.
Her right arm is bent sharply at the elbow, and the
left is extended in front of her, as though to receive
\J the "plemochoe" which her companion holds towards
her. This second woman stands en face, with her
1 See No. 535.

1 64 CASES 6 & 7. RED-FIGURED VASES.
head in profile. Her chiton (Ionic) is of the color of the
ground, with narrow red stripes. Over this she wears a
heavy red himation, the red being a deeper shade than the
dress of the other woman. She holds the "plemochoe" in
her right hand, and in the left a tall alabastron. The flesh
of both women is pure white. The outlines are dark brown.
Behind the first woman hangs a fillet, behind the other a small
oinoehoe. ¦ Between the two is painted the inscription, —
Al+A< KAAO<
At^as KaAos
Above the picture is a meander. On the shoulder is a pal
metto scroll, red and black. Drawing excellent. Near the
bottom is a small round hole, evidently original.
Anonymous gift, 1893. From Eretria. Height, M. o. 307. Intact. Reg. No.
4376.
449. In Case 7. Form like No. 448. Two women standing
before a tall and rather broad grave stele, which is mounted
on two high steps, and has no palmetto at the top. It is
bound with red and black fillets, and there are two fillets,
drawn in outline, on the base. The woman on the left wears
an Ionic chiton, represented in outline only, and over it a
heavy himation of deep red. In her right hand she holds
a " plemochoe." The other woman wears a chiton, which is
drawn in outline, without color, and shows the lines of the
figure as plainly as those of the garment. She holds a red
fillet (almost effaced) in both hands. Above the picture is
a meander. Drawing excellent ; the outlines of a deep or
ange, and the palmetto scroll on the shoulder is of the same
color. Near the bottom is a small round hole, evidently
original. Anonymous gift, 1893. From Eretria. Height, M. o. 327. Neck and handle
repaired. Reg. No. 6377.
450. In Case 7. Form like No. 448. Principal design, a
woman and a man, standing opposite each other, in front of a
grave stele. The woman is dressed in an Ionic chiton with
red and white stripes, over which she wears a red himation.
Her hair is yellow. In her left hand she carries an oinoehoe,
or wine-jug, and in her right a rod or staff, which she holds

LEKYTHOS. 165
obliquely in front of her. The man carries in his left hand a
large round shield (device, a lion, dark blue), which conceals
the greater part of his figure. In his right he holds his hel
met. He has yellow hair and beard, and wears a red cloak,
only the ends of which are visible below the shield. The
stele is decorated with red fillets, which are tied around it.
Above the figure runs a meander (brown). On the shoulder
is a scroll and palmetto pattern in red and black, and where
the white joins the neck, an egg pattern. Drawing good.
Purchased in Athens, 1882. Height, M. o. 314. Extensively repaired (when
purchased it was intact). Published by J. H. Wright in the American Jour
nal of Archaeology, Vol. II, 1886, p. 394, pi. XI. Reg. No. 6284.
451. In Case 7. Form like No. 445. Principal design, two
figures before a tall, slender stele which is surmounted by a
palmetto. The figure on the left, the greater part of which
is obliterated, is a nude (?) woman kneeling. Her left hand
rests upon her head, and the right is stretched out in front of
her. The figure appears to be drawn in outline in black, no
other color being visible. Above her flies an eidolon (the
little figure supposed to personify the soul of the deceased)
with both arms outstretched. The figure on the right is that
of a youth standing en face, his head turned towards the cen
tre. He has yellow hair, and there are traces of what appears
to have been a red mantle, thrown over the left shoulder and
reaching below the knees. The right hand and arm are ex
tended downward. The stele is hung with red fillets, and the
palmetto on the top shows traces of red. Above the figures
is a meander, and the shoulder is decorated with a palmetto
and scroll in red. Drawing average.
Purchased, 1886. From Athens, 1875. Height, M. o. 312. Intact. Pub
lished by J. H. Wright in the American Journal of Archaeology, Vol. II,
1886, p. 396, No. 4, and pi. xii-xiii, fig. 7. Reg. No. 4936.
452. In Case 7. Form like No. 445. Principal design, two
figures before a stele which is surmounted by a palmetto.
The figure on the left is a youth, standing profile to right,
with his right arm held out in front of him. The greater
part of the figure has been obliterated, but there are faint
traces of a garment which was apparently indicated in flat
color and ended just below the knees. On the right kneels a

1 66 CASES 6 fir* 7. RED-FIGURED VASES.
woman, facing the youth, her right arm outstretched in front
of her, and her left bent above her head. What remains of
her figure is nude, but the greater part has been obliterated.
Above her head flies an eidolon, as in the preceding.
Above her there is also a mirror near the stele. What re
mains of the design is in outline, drawn in red, except that
the hair of both figures is indicated as a solid mass in the
same color. Drawing fair ; what remains of the woman
better than the average.
Above the figures is a meander, and black and brown lines
encircle the shoulder. On the shoulder a palmetto scroll.
From Athens, 1875. Purchased, 1893. Height, M. o. 265. Practically intact.
Surface somewhat worn. Reg. No. 6380. Published by J. H. Wright in
the American Journal of Archaeology, Vol. II, 1886, p. 395, No. 3, pi. xil-
XIII, fig. 9.
453. In Case 7. Form like No. 445. The principal design,
drawn in black, with liberal touches of red, is considerably
effaced, but shows a draped woman standing in front of a
grave stele, her left arm extended. The monument is in the
form of a small stele on a high, round-topped base. Both
stele and base are decorated with red fillets, and a single
fillet is suspended in the background, behind the woman. The
top of the shoulder is decorated with a palmetto and scroll.
Drawing sketchy.
Gift of B. W. Crowninshield. Height, M. o. 22. The neck has been added,
and apparently does not belong to the vase. Reg. No. 307.
7. Jugs of other forms.
454. In Case 7. Olpe, a jug of ordinary shape, with
a round mouth and rolling lip. Covered with a fine
black glaze. No decoration.
Gift of Thomas G. Appleton, 1876. Purchased by him of Ales
sandro Castellani. From Nola. Height, M. o. 20. Intact.
Reg. No. 24.
455. In Case 7. Prochoos, a small jug with high shoul
der, body tapering to a small base, and long, narrow
mouth with upright lip. Black, with no decoration.
Gift of Henry P. Kidder, 1880. Height, m. o. 103. Intact. Reg.
No. 172.

VASES OF PLASTIC FORM. 1 67
456. In Case 7. Ribbed olpe. Sides ribbed from
the junction of the neck and shoulder. Black,
with no decoration.
Gift by contribution, 1889. Purchased in Rome. Height, m. o.
131. Surface entirely painted over. Reg. No. 5658.
457. In Case 7. Ribbed and gilded olpe. On the ribs
are numerous traces of gilding, which show that the
entire body was formerly gilded.
Lent by George W. Wales. Height, M. o. 09. Practically intact.
458. In Case 7. Small oinoehoe, of graceful shape.
Black, without decoration.
Gift of Thomas G. Appleton, and purchased by him of Alessandro Cas-
tellani. From Cuma. Height, M. o. 139. Intact. Reg. No. 25.
459. In Case 7. Very small oinoehoe with oval body and
quatrefoil mouth. Decoration almost obliterated. Traces of
black. Gift of Francis Amory, 1887. Height, M. o. 063. Lip slightly broken. Reg.
No. 5283.
460. In Case 7. Very small jug, of ordinary form, with
round mouth. Clay red, painted black. No decoration.
Gift of Howard P. Arnold, 1889. Acquired by him in Rome, 1853. Height,
M. o. 067. Intact. Reg. No. 5607.
8. Vases of plastic form, or with plastic decorations.
461. In Case 6. Oinoehoe in the form of a human head.
Severe style. The body of the vase is in the form of
a woman's head, and is made from a stamp or mould.
The upper part of the face is surrounded by four
rows of small points intended to represent hair. En
circling these is a diadem decorated with a meander
in black. The face is the natural color of the clay, the
eyes being very long and oval, and painted black and
white, with black eyebrows above them. In the hair are
traces of brilliant red.
The rest of the head is finished in a smooth black glaze, and
is encircled by a wreath, in white. The neck and handle rise
vertically from the top and back of the head. The figure is
cut off squarely at the neck, which forms the bottom of the
vase. Gift of Henry P. Kidder, 1880. Height, M. o. 186. Intact. Reg. No. 196.

1 68 CASES 6 & 7. RED-FIGURED VASES.
462. In Case 6. Similar, but smaller. There is no diadem
surrounding the hair, and the neck and handle are much
shorter. Gift of Henry P. Kidder, 1880. Height, M. o. 143. Intact. Reg. No. 197.
463. In Case 6. Similar to the preceding, without a diadem.
Hair painted white.
Gift of Henry P. Kidder, 1880. Height, M. o. 15. (Genuine?) Reg. No. 195.
463A. In Case 6. Kantharos, in the form of two heads,
back to back. One is the head of a satyr
with goat's ears, and a beard which projects
obliquely, making almost a complete circle
around the lower part of his face. The hair,
beard, and brows are black, with a fine glaze,
in which wavy lines are incised. On the
moustache are traces of a purplish red, and white is used in
the eyes and teeth.
The other is the head of a woman, of archaic type, resem
bling the Attic sculptures of the end of the sixth century.
The hair is modelled, forming a thick mass around the fore
head. On the hair and face are numerous traces of red.
Above each head, on the rim of the cup, is painted a re
clining youth, severe style, profile to left. The one above the
satyr stretches out his right arm towards a bowl ; the other
holds a skyphos in his right hand. At his feet lies a large
amphora, on which is the word KaXo's (backwards).
Lent to the Museum. Found at Nola, and formerly in the Van Branteghem
collection. Described in Frohner's catalogue of the same, No. 259.
Height, M. o. 192. Slightly repaired.
In Case 7. Later period of the fine style. Small, oval
lekythos, of fine form and excellent black glaze, with
decoration in relief, gilded, upon the front, representing
Herakles attacking the Nemean lion. The hero is of
the fourth century type, beardless, and swings an axe with both
hands. He is en face, and the lion, leaping to right, hides the
lower part of his figure. Below, also in relief, an egg pat
tern. Lent by George W. Wales. Height, M. o. 085. Neck repaired.

VASES OF PLASTIC FORM. 1 69
465. In Case 7. Later period of the fine style. Oinoehoe in
the form of two female heads, back to back. From
between the heads rise the neck and trefoil mouth.
The heads are of a type which is characteristic of the
latter part of the fifth century, and are colored, the
whole vase being first covered with a white ground,
over which the other colors are laid. The neck of the
vase is black, the two faces of a warm red, hair brown, lips
and nostrils carmine.
Gift of B. W. Crowninshield. Height, M. o. 154. Repaired at the junction of
the necks and heads. Handle restored in plaster. Reg. No. 318.
466. In Case 7. Alabastron, or ointment-jug, in the form of
a monkey's head and shoulders. The clay is red, of a
fine quality and warm tone. The head of the monkey
is covered with small dots of dark brown or black,
and the body with short lines representing hairs, of
the same color. The upper surface of the rim is decorated
with an incised pattern, forming a rosette around the open
ing. On the bottom, which is flat and without a base, is a
wheel or rosette pattern in black.
Gift of Henry P. Kidder, 1880. Height, m. o. 093. Intact. Reg. No. 192.
467. In Case 7. Alabastron in the form of an owl. Clay
and technique like the preceding. Above the eyes is
an elaborate scroll pattern surrounded with dots. The
mouth decorated like that of the preceding.
Gift of Henry P. Kidder, 1880. Height, M. o. 087. Intact. Reg.
No. 203.
468. In Case 7. Vase in the form of a pig. The entire fig
ure is covered with a fine black glaze, on
which the details are either painted in brown
7^\ or incised. These consist of the nose and eyes,
and a vine pattern, running from between the
ears over the back, with a palmetto on each haunch. The
mouth of the vase originally rose from the middle of the back,
but has been broken and the entire neck filed away. When
purchased, the hole was filled in and covered with black paint.
Gift of Henry P. Kidder, 1880. Height, M. o. 07. Length, M. o. 133. Reg.
No. 191.

170 CASES 6 &> 7. RED-FIGURED VASES.
469. In Case 7. Rhyton in the form of an ox-head,
beautifully modelled. There are traces of a white
ground, but with this exception all the colors have
disappeared. Gift of Henry P. Kidder. Height, M. o. 20. Repaired. Reg.
No. 193.
470. Jug in the form of a duck. It resembles the archaic
vases of this type, except that the clay is of a
warm red tone, and the decorations suggest a
later hand, especially upon the breast, which
bears a large palmetto, sketchily drawn. The
other decorations are partially imitative of feathers, and par
tially conventional. On the back is a meander.
Gift of Henry P. Kidder, 1880. Height, M. o. 114; length, M. o. 16. Intact.
Reg. No. 178. 9. So-called " Guttus."
In Case 7. So-called " guttus," a vase of somewhat the
Biigelkanne or flat-iron type, with a squat, round
body, handle on top, and a small, round mouth pro
jecting diagonally from one end of the handle.
Black, without decoration.
Gift of B. W. Crowninshield. Height, M. o. 14 ; diameter, M. o. 143. Re
paired. Reg. No. 314.
In Case 7. So-called "guttus" of the "askosian" type,
that is, resembling a wine-skin. Black, with no deco
ration. Gift of J. J. Dixwell. From Chiusi. Neck and handle repaired.
Height, M. o. 094. Reg. No. 81.
473. In Case 7. " Guttus," with a ring-shaped handle affixed
to the top of the shoulder, and a long, narrow neck
(O terminating in a lip. The shoulder ribbed. On
lip the top a relief representing an Eros riding on a
panther or lion. The whole vase painted black
with a metallic lustre. An X bluntly incised under the han
dle, and another below the neck.
Gift of T. G. Appleton, 1876. Intact. Height, M. o. 121 ; diameter, M. o. 108.
Reg. No. 40.

MISCELLANEOUS. 171
474. In Case 7. Shape similar to the preceding, but tech
nique inferior. On the top a palmetto, stamped.
Lent by Miss Helen Griggs. Height, M. o. 088 ; diameter, M. o. 091.
In Case 7. "Guttus" with handle like the preceding,
nose like that of a teapot, the top perforated with
small holes, and surrounded by a circular rim.
The glaze has a metallic lustre.
Gift of Howard P. Arnold. Height, M. o. 059; diameter
M. o. 094. Practically intact. Reg. No. 5605.
10. Miscellaneous unclassified vases of the red-figured
style. ,
476. In Case 6. Pyxis, or toilet-box, of the earlier period
(^p of the fine style. The sides are surrounded with
[ figures forming two pictures. A. At the left is
 , seated a woman, profile to right, clothed in Ionic
^=r>=( chiton and himation. Both hands are raised in front
of her asthough holding an object, of which, however, there
is no trace. At her feet is a work-basket. Facing her stands
a bearded man, wearing an himation. Behind him is a second
woman, standing en face, her head profile towards him, her
right arm stretched obliquely to the left. With her left hand
she raises her mantle from her shoulder. Between these two
figures is a swan, and at the right of the woman an altar and
a column. B. In the centre, a youth, fallen to his knees, extends his
right arm towards a Nike, at whom he is looking in surprise.
She is flying towards him from the left, holding in both hands
a wreath or fillet, with which she is about to crown him. To
the right another youth starts away with a gesture of surprise,
looking back. Both youths wear himations. The cover is
flat, with a large knob in the centre, around which are a large
wreath and two smaller patterns. In the wreath, berries of
white. No other accessory colors on the vase.
Anonymous gift, 1893. From Eretria. Height, M. o. 177. Repaired. Reg.
No. 6379.
477. In Case 7. Pyxis (?) Vase of rather squat form, some
what resembling an amphora, with a cover and no neck.

172 CASES 6 &* 7. RED-FIGURED VASES.
Handles rising vertically from the top of the shoulder. Later
period of the fine style. Principal designs : A. A
woman seated profile to right, her head bent for
ward as though in meditation. She wears a ker
chief in her hair, an Ionic chiton, over which is an
himation, which has fallen about her lap, and a
string of red beads around her neck. She holds a
long, narrow red fillet in both hands. Behind her is an Eros,
holding a twig and leaning upon her shoulder ; and in front
of her stands another, with one foot raised, looking into her
face. Behind this Eros comes a handmaid, bearing a large
flat dish of fruit (?) in her left hand, and a twig in her right.
The last figure on the right is a Nike, standing, holding a
long fillet in both hands, extended in front of her.
B. At the left stands a woman, profile to right, with one
foot raised and resting upon the top of a hydria. She is
dressed in a sleeveless chiton, and wears a kerchief about her
hair. She holds in both hands a long red fillet. Behind her
is a work-basket, and above this hangs a wreath. In front of
her is an Eros, with one foot raised, holding a wreath in his
right hand. Next is a woman, profile to left, bending over a
stork, and holding out towards it a wreath in each hand. Be
hind and facing her stands a Nike, with a wreath in the
right hand. Scattered along the ground, on both sides of the
vase, are small plants. These and other details are painted
in red. No other accessory colors are used. The shoulder
is covered with a Stabornament. Below the picture is an egg-
and-dart border. The cover has a high knob, black. The
top of the cover is covered with a Stabornament, and the side
with a wreath.
Anonymous gift, 1893. From Eretria. Height, M. o. 246. Intact. Reg. No.
6378.
478. In Case 6. Saucer, or flat dish, of fine technique, cov
ered with a greenish-black glaze. On the in
side are circles composed of a Stabornament
and palmettos, stamped. On the outside, on the bottom,
black circles on a red ground.
Gift of Henry J. Bigelow, 1888. Diameter, M. o. 173. Intact. Reg. No. 5509.

ETRUSCAN IMITATIONS. 173
479. In Case 6. Flat saucer, or dish, of similar technique,
^ ^^ with the rim slightly raised. In the
~^ ^ centre, a star pattern of palmettos,
stamped, surrounded by circles of short, incised lines.
Gift of Henry J. Bigelow, 1888. Diameter, M. o. 16. Intact. Reg. No. 5510.
480. In Case 6. Flat saucer, or dish, of similar technique,
_ bronze color, rosette stamped in the centre.
Ni ^^ Gift of the estate of Alfred Greenough, 1886. Diameter,
M. o. 18. Reg. No. 4530 A.
481. Case 6. Flat saucer, or dish, of similar technique, but
without decorations.
Gift of Henry J. Bigelow, 1882. Diameter, M. o. 165. Broken. Reg. No. 3810.
11. Etruscan imitations of red-figured ware.
In Case 7.
The vases of the following group are Etruscan imitations of
the Greek types which have been described in this section.
They are readily distinguished by the fact that the figures,
instead of being left in the natural color of the clay, are painted
red over the black glaze with which the vase is covered.
482. Skyphos. Decorated with scrolls and palmettos, which
leave only a small space on the middle of each
side, occupied by a draped figure standing. De
tails incised. Drawing bad.
Gift of J. J. Dixwell, 1876. From Chiusi. Height, M. o. 161.
Broken and repaired. The whole body of this vase has been darkened by
discoloration of some kind, so that in places the decorations are scarcely
distinguishable from the ground. There are also numerous traces of its hav
ing been painted over at some former time with bright colors, red, blue, and
green being still discernible. Reg. No. 97.
483. Skyphos ; shape, size, and decorations like the preced
ing. Gift of J. J. Dixwell, 1876. From Chiusi. Height, M. o. 153; diameter, m. o.
16. Repaired. Reg. No. 100.
484. Amphora " a colonnette." Around the top of the rim a
wreath, composed of thick masses of leaves, with an octopus
on the top of each handle. Around the outer face of the rim
a simple ivy wreath, black on the natural red. Principal

174 CASES 6 &° 7. RED-FIGURED VASES.
designs : A. A bearded satyr, nude, turning a handspring
to left, over a drinking-cup (skyphos). B. A bearded satyr,
also nude, chasing a cock, profile to right. Above the designs
a small Stabornament ; on each side of them a vine. The
drawing of the figures is in imitation of the severe style, the
muscles being delineated with especial care.
Gift of Henry P. Kidder, 1880. Height, M. o. 286. Intact. Reg. No. 198.
485. Stamnos. A. A youth, with a chlamys thrown over his
left shoulder, walks profile to left, head turned
back, leading a ram towards an altar. In his
right hand he carries a sacrificial knife. Be
hind him is a tree of fantastic shape, its
branches being composed of scrolls, and its
fruit or leaves of a design somewhat like the
palmetto.
B. A youth walking profile to left. He wears a chlamys
on his shoulders, holds his right arm outstretched before him,
and in his left hand carries a spear. Around the junction of
the neck and shoulder is a circle of dots.
Severe style. The preliminary colorless sketching of these
figures, and especially of the one last described, is quite
minute, and remarkably vigorous.
Gift of Henry P. Kidder, 1880. Height, M. o. 25. Intact. Reg. No. 199.
486. Kylix. Interior, a nude youth standing en face, his left
hand resting on his hip and his right extended, holding a bas
ket or flat dish, at which he is looking. The figure is sur
rounded by a meander. The exterior was decorated with a
design which included palmettos and scrolls around the han
dles, and two figures on each side, but these have been almost
entirely obliterated.
Gift of J. J. Dixwell. From Chiusi. Diameter, M. o. 21. Repaired, and
partially restored and painted over. Reg. No. 103.
487. Small, spherical lekythos. Design nearly ob
literated. Draped figure on the front, scrolls and
palmettos around the rest of the body, rays on the
shoulder. Lent by W. S. Bigelow. Intact. Height, M. o. 096.

E TRUSCAN IMITA TIONS. 1 75
488. Very small pelike. On each side, a draped fig
ure standing profile to left. Linear decorations above
and below, with scrolls on each side of the handles.
Lent by W. S. Bigelow. Height, M. o. 10. Intact.

CASE 8.
VASES FROM LOWER ITALY.

i . Apulian.
A. Amphora.
489. Amphora " a colonnette." Around the top of the rim a
wave-pattern, with a palmetto on the top
of each handle. Encircling the outside of
the rim, an ivy wreath, the leaves repre
sented by round dots. On the neck, on
each side, a large ivy pattern, black in a red
panel, with rosettes between the leaves.
Principal designs : —
A. Dionysos, a Maenad, and a satyr. In
the centre stands Dionysos, youthful and
beardless, en face, his head bent to the right, looking at a
large phiale, or flat dish, which he holds in his left hand.
His mantle is thrown over his left arm. He wears a wreath,
and holds a long thyrsos in his right hand. At his left
stands the Maenad, looking towards him. She wears a sleeve
less chiton, and has a kerchief twisted about her hair. Her
right hand rests against her hip, and in the left she holds a
mirror in front of her. The satyr, who stands at the right,
his body half turned towards Dionysos, is youthful and beard
less, with tail and pointed ears. He is nude, and wears a
broad fillet about his head. In his right hand he carries
a situla, or pail, and in the left, upraised, a large disk-shaped
object (tympanum ?), decorated with a circle surrounded
by dots. In the lower right hand corner is a laurel-
bush, and between the satyr and Dionysos a low plant.
Above, between them, is a rosette in the shape of a double

APULIAN VASES: AMPHORA. 177
Maltese cross. Yellow, laid over white, is used in the decora
tions of the heads, the phiale, the necklace, bracelets, mirror,
and shoes of the Maenad, the thyrsos of the god, the disk,
fillet, and situla of the satyr, and also in the minor dec
orations. B. Three youths in long mantles. The one on the left
stands profile to right, with both arms enveloped in his man
tle. The other two stand facing him, and carry long staves in
their right hands. Above and between the figures are two
round devices of red, bisected by black, crosses.
Each design is surrounded by a border composed of a Stab
ornament on the top, ivy on the sides, and a meander on the
bottom. Gift of Thomas G. Appleton. Purchased by him of Alessandro Castellani,
1869. From Ruvo. Height, M. o. 506. Handles apparently repaired and
painted over. Reg. No. 38.
490. Amphora "a colonnette." Form like the preceding.
Minor decorations as in the preceding, except that the top of
the rim is decorated with a vine-pattern, and the outside with
a wave-pattern. There is also a small palmetto on the side
of each handle, at the top. Principal designs : —
A. A woman sacrificing to two dead heroes or relatives.
Three figures. On each side a nude youth is seated upon
his mantle, facing the centre. Each wears a broad belt
(yellow and white) around his waist, and a fillet and wreath
in his hair. The one on the left holds a large branch in his
left hand, the leaves of which are round red dots, and the
blossoms clusters of three yellow spots. His companion on
the right holds a kantharos (yellow and white) extended be
fore him towards the woman who occupies the centre of the
picture. She stands en face, with her head turned towards
the youth last described. In her left hand she holds a large
basket of sacrificial cakes, which are represented in yellow
and white, and in her right hand she carries an oinoehoe or
wine-jug. She wears a sleeveless chiton, shoes, and about
her head a twisted kerchief, ribbons, and a diadem of rays.
For other jewelry she has ear-rings, necklaces, shoulder-
clasps, and bracelets. In the field are yellow and white fillets,
rosettes, and a scroll.

178 CASE 8. VASES FROM LOWER ITALY.
B. Three youths in long mantles. The one on the left
faces the others, and carries a staff ; the others carry nothing.
Gift of Nathan Appleton, 1892. Height, M. o. 531. Rim restored. Handles
and neck repaired. Reg. No. 6325.
491. Amphora "a colonnette." Minor decorations similar to
the preceding, except that the top of the
rim is decorated with rays, and the out
side with a herring-bone pattern on one
side and a zigzag on the other. Principal
designs : —
A. A youth pursuing a woman, profile to
right. He wears a chlamys, and a fillet
and wreath in his hair. In his left hand
he carries a phiale, or flat dish, and in the
right a thyrsos. She rushes away from him, looking back,
and carries in one hand a wreath held towards him, and in
the other a long thyrsos. She wears a sleeveless chiton, rib
bons, kerchief, and jewels in her hair, and necklaces and
bracelets. At the feet of the youth is a laurel-bush, and in
the field are fillets, rosettes, and ivy leaves. Yellow and
white are used extensively in the details.
B. Two youths stand talking to each other. Both carry
long staves, and are wrapped in long mantles. Above them
are rosettes, and on either side is a scroll.
Gift of Thomas G. Appleton. Height, M. o. 442. Painted over and appar
ently somewhat restored. Reg. No. 39.
492. Pelike of slender form. The entire vase is covered
with black, except a narrow band of the natural
red just under the lip, and a similar one at the
junction of the foot and body. The glaze has a
fine lustre. Decorations, on one side only : three
bands around the neck, in yellow and white.
On the body an Eros, seated, profile to left, upon
a red cloak. The figure is painted white, with a distinctively
feminine head-dress. The right hand holds a phiale extended,
and the left rests at the side. In the field are a fillet and a
leaf. Red is used in the wings as well as in the cloak.
Gift of Thomas G. Appleton, and purchased by him of Alessandro Castellani.
From Gnatia. Height, M. o. 237. Intact. Reg. No. 29.

APULIAN VASES: KRATER. 179
B. Krater.
493. Oxybaphon, beginning of the Apulian style. A. A
bearded satyr, who is leaning with his left
elbow upon a square pillar, appears to be
tossing stones or knuckle-bones with his
right hand, while in the left he holds a tym
panum. He wears a wreath, a cord with
E=^__J yellow pendants over his left shoulder, and
I i low shoes. From the right hand hangs a
narrow ribbon or fillet, and from the left a broad white fillet.
At his left is a low pedestal or altar, on which are three white
objects like those he is tossing.
B. Dionysos and a young satyr. The god stands profile to
right, leaning upon a long thyrsos. He is represented as
youthful, and wears an himation and shoes. In his left hand he
holds a wreath (composed of yellow and white dots), and with
his right he offers a small, white object to the satyr. The
latter is bending forward, with one foot raised upon a low
mound. He is nude, and wears a wreath and low shoes.
He holds a long white fillet in both hands. Each figure
wears a narrow belt with yellow pendants, passing over one
shoulder and under the other, and the satyr has a similar dec
oration around his left thigh. The other decorations consist
of a broad laurel wreath above the figures, a palmetto scroll
around each handle, with a large palmetto underneath, and a
wave pattern encircling the vase below the design.
Lent by George W. Wales. Height, M. o. 33 ; diameter, M. o. 33. Intact.
494. Shape, size and minor decorations like the preceding.
Principal designs : —
A. Dionysos and Ariadne, or a Maenad. He stands pro
file to right, is youthful and beardless, and wears a short
mantle, which covers the middle part of his figure and is
thrown over the left arm. He also wears a wreath and fillet
in his hair, and over his left shoulder a cord from which are
suspended yellowish dots (jewels?). In his left hand he
holds a thyrsos, and in the right a phiale (?) or other oval
object. She stands facing him, and is clad in a mantle which

180 CASE 8. VASES FROM LOWER ITALY.
leaves the torso nude, and is wrapped about the left arm and
hand. In her hair she wears a kerchief and flowers, or jewels,
indicated by yellow and white dots. She also wears a brace
let, necklace, and over one shoulder a cord, similar to that
worn by Dionysos. In her left hand she carries a thyrsos,
and in the right, which is raised, a small round object. Both
figures wear shoes.
B. A bearded satyr rushing to right, between two small
altars, looking back. He wears a wreath in his hair, a girdle
or cord over his left shoulder, and shoes. In his right hand
he carries a burning torch, and over the same arm is thrown a
leopard-skin. In his right hand he carries a basket, from
which hangs a fillet.
Lent by George W. Wales. Height, M. o. 32. Repaired and somewhat
restored.
495. Bell krater. A. Bacchic procession (thiasos). Diony
sos walking to right, attended by two satyrs
and a Maenad. Dionysos is bearded, and
wears an Oriental costume, consisting of a
large crown, a long garment with tight-
fitting sleeves, and pointed (yellow) shoes.
The garment, which is not girdled at the
waist, is decorated with a rich pattern, and
a fringe at the bottom. Over his left shoul
der hangs his himation. In his left hand he carries a long
thyrsos, and in his right a large kantharos, which he holds as
though it were full. Ahead of him dances a bearded satyr,
looking back, his right arm raised, and a large torch in his left
hand. He wears a crown something like that of the god, but
less elaborate. Behind Dionysos is a Maenad or nymph,
dancing, her head thrown back and hair flying. She waves
a fillet in her right hand, and carries a long thyrsos in her
left. She wears a crown of rays, necklace, and bracelets.
Her chiton is sleeveless, and is decorated with a wave border
around the bottom. At the left of the picture, behind her, a
bearded satyr is dancing in the opposite direction, swinging
what appears to be a string of beads in his left hand. He
wears an ivy wreath in his hair. Yellow and white are used

APULIAN VASES: OINOCHOE. l8l
sparingly in the details, and there are traces of other colors,
especially red, on the fillet carried by the Maenad and at the
bottom of the picture.
B. Three youths wrapped in long mantles. The one on
the right stands profile to left, the other two facing him.
He carries a long staff in his extended right hand. Both
arms of the middle figure are enveloped in his mantle. The
figure on the left holds a fillet, painted red, in his extended
right hand. All three wear fillets painted red in their hair.
Above the designs a laurel wreath encircles the under side of
the rim. Below, under A, are a meander and an egg pattern.
Under B is a meander.
Gift of Thomas G. Appleton, and purchased by him of Alessandro Castellani.
From Ruvo. Height, M. o. 372. Painted over in parts. Reg. No. 37.
C. Oinoehoe.
496. Large oinoehoe of the late Apulian style. The handle,
which is flat, is decorated with a head in relief, at
its junction with the mouth, and a similar one at its
base. On the neck is a horizontal wave pattern with
bands above and below it ; and below this, rays.
All in white. Around the shoulder, rosettes in cir
cles, red on black, the points of the rosettes being
decorated with small, yellow dots. On the back, covering
nearly half the body of the vase, a rich pattern of large
palmettos and scrolls.
Principal design : Battle of the Greeks and Amazons, four
figures. In the centre, back to back, an Amazon and a Greek
youth, mounted upon white horses, each charging at an op
ponent. The Amazon gallops to left, towards a Greek war
rior, at whom she thrusts with a spear. She is dressed in
the Persian costume, with so-called " Phrygian " cap (yellow
and white), a chlamys which flies from her shoulders, and a
short chiton, under which is evidently another garment, only
the long, close-fitting sleeves of which are visible. These are
painted red, with white dots. Her legs are bare, and she
wears high shoes. Under her horse is a white Argolic shield.
The reins of the horse are red. Her opponent is full-armed

1 82 CASE 8. VASES FROM LOWER ITALY.
(armor yellow and white), and wears an Attic helmet, which
has a crest and two long feathers. Over his cuirass is a
chlamys. Between his feet a helmet or cap has fallen on
the ground. In his left hand he carries an oval shield, and
in his right a spear, with which he is about to parry the
Amazon's thrust. The mounted Greek is galloping over the
prostrate form of an Amazon, at whom he is about to de
liver a death blow with his lance. He wears a helmet
resembling a Phrygian cap, and a cuirass, over which is a
chlamys. The fallen Amazon is dressed like her companion,
except that she wears the Oriental trousers (anaxyrides),
which are painted a deep red with white dots, and low shoes,
yellow and white. In the field are scattered rosettes and
other decorations. Below the picture a meander encircles
the vase.
Gift of Henry J. Bigelow, 1889. Purchased in Rome, and said to be from
Ruvo. Height to top of handle, M. o. 455. Repaired. Reg. No. 5657.
497. Similar in shape, but smaller. Around the neck, horizon
tal lines and vertical rays, both white ; around the shoulder, an
egg pattern, black on red. On the back, a large palmetto,
covering the entire height of the body. Scrolls on either
side. Principal design, in white and yellow, the head of Nik6,
winged. Below this, a rich flower and scroll pattern of the
characteristic Apulian type.
Gift by contribution, 1889. Purchased in Rome, and said to be from Ruvo.
Height, M. o. 327. Slightly restored and retouched. Reg. No. 5673.
498. Form like 496. Minor decorations like the preceding.
Principal design, Pegasos (white, details yellow) galloping to
left. In the field, fillets, rosettes, leaves, and flowers.
Gift by contribution, 1889. Purchased in Rome, and said to be from Ruvo.
Height, M. o. 338. Repaired and painted over in places. Reg. No. 5672.
499. Form like No. 496. A head at each end of the handle,
the upper one white with yellow hair, the lower one black.
Around the lip, an egg pattern with two rosettes at each end,
stamped. Around the neck, white rays, with an egg pattern,
red on black, above and below them. On the back of the
body, a rich palmetto-scroll pattern, and below this a meander

APULIAN VASES: OINOCHOE. 183
encircling the vase. Principal design, a female head, profile
to left, rising from a lily. On either side, an elaborate decora
tion of flowers and scrolls. Yellow and white used exten
sively. Gift of Thomas G. Appleton, and purchased by him of Alessandro Castellani.
From Canosa. Height, M. o. 257. Handle repaired. Reg. No. 27.
500. Similar, but smaller. On the neck, rays and lines, white.
Around the shoulder a wave pattern, red and black. On the
back, a large palmetto, with a scroll at either side ; and below,
a wave pattern. Principal design : a large female head, pro
file to left, the hair enveloped in a kerchief which is decorated
with white and black.
Lent by the estate of Alfred Greenough. Height, M. O. 228. Neck and handle
repaired.
501. Oinoehoe of the form known as a prochoos, with a long,
narrow mouth which projects diagonally. Body pear-
shaped, with a base. The vase is black, entirely
covered, on the front, with colored decorations, con
sisting of meanders, zigzag, wave and egg patterns,
and around the middle a grape-vine with a broad red
line running through it. These decorations are in
white and yellow, and the lines separating them are
incised.
Gift of Thomas G. Appleton, and purchased by him of Alessandro Castellani.
From Gnatia. Height, to top of handle, M. o. 196. Intact. Reg. No. 31.
502. Prochoos. The neck and shoulder black, and a black
band around the body. Decorations : on the neck,
white rays. Around the shoulder, a wreath, with
leaves alternately red and white. Between the leaves,
sprays of small white dots ; and above and below the
wreath, a row of yellow dots. Around the rim of
the shoulder, an egg pattern of white and incised
lines. On the front of the black band which encircles the
body, a meander in white and yellow.
Gift of Edward Austin, 1876. Height, M. o. 163. Intact. Reg. No. 48.

1 84 CASE 8. VASES FROM LOWER ITALY.
D. Lekythos.
Body oval and plump, and neck small and short. Decora
tions : around the outside of the mouth, two Maenads
and a satyr, walking profile to left, carrying wreaths,
etc., in their hands. Around the neck, a meander,
rays, and a wave pattern. Principal design : in the
centre a woman, seated on a rock, profile to left, is playing
with a bird which has perched on her knee. She is dressed
in a sleeveless chiton, with a kerchief and jewels in her hair,
and wears ear-rings, a necklace and bracelets. Facing her,
at the left, stands another woman, similarly clad, holding a
basket or tray in her left hand and a wreath in her right.
At the right, and facing the two women, stands a youth,
wearing an himation and wreath, and leaning with his left
arm upon a long staff. In his right hand, raised, he holds
a strigil (?). Behind him is a tall, square pedestal or pillar.
White and yellow are used in the rock, jewels, bird, etc., and
there is a row of white dots above the figures. On the back
of the vase is a palmetto-scroll pattern, and encircling it, be
low the picture, a meander.
Gift of Thomas G. Appleton, 1876, and purchased by him of Alessandro Cas
tellani. From Ruvo. Height, M. o. 165. Neck repaired. Reg. No. 32.
504. Form similar, but more slender, and neck and mouth
larger in proportion. Around the neck, rays, and be
low, a wave pattern. Principal design : Eros, seated
upon a rock, profile to left. In his right hand he
holds a basket, and his left rests upon the rock. His
head and head-dress are distinctively feminine in type.
He wears ear-rings, a necklace, a girdle of jewels over
one shoulder, bracelets, three rings on the right leg,
above the ankle, and jewelled sandals. In the field are three
rosettes. Yellow and white are used extensively. On the '
back of the vase is a large palmetto, with a scroll on either side.
Gift by contribution, 1889. Purchased in Rome, and said to be from Ruvo.
Height, M. o. 178. Practically intact. Reg. No. 5659.
505. Lekythos of similar shape, but badly proportioned, the
neck being much too large for the body. Decorations : rays

APULIAN VASES: SKYPHOS. 185
around the neck and a wave pattern around the shoul
der. The body of the vase is covered with a network
of fine lines, with white dots where they meet.
Lent by Miss Helen Griggs. Neck repaired. Painted over. Height,
M. o. 138.
Flat lekythos. Neck, mouth, and body covered with
black. Decorations : white rays about the neck ;
below, a narrow circle of white, a broad one of yel
low ; and on the shoulder, a network of narrow white
lines.
Lent by Miss Helen Griggs. Height, M. O. 096. Neck repaired. Painted over.
507. Small round jug or cup with large mouth and neck.
Ribs are roughly scratched on the body with a
blunt tool, with which, also, a double cross is drawn
under the handle. The glaze does not reach quite
to the bottom of the vase. Around the rim is a
V pattern, white, and below this, rings and dots, yellow and
white, the two patterns separated by incised lines encircling
the neck.
Purchased, 1880. Height, m. o. 116. Cracked. Reg. No. 268.
E. Skyphos.
508. Small skyphos, ribbed. Around the rim, above the ribs,
runs a wave pattern, yellow on white. Around
the base, dots.
Gift of Henry J. Bigelow, 1888. Height, M. o. 104. Intact
Reg. No. 5514.
509. Like the preceding.
Gift of Henry J. Bigelow, 1888. Height, M. o. 103. Intact. Reg. No. 5513.
510. Decorations : on one side, around the rim, a white her
ring-bone pattern, between incised lines. Be
low, a large vine pattern in white, mostly effaced,
the branches being incised. Between the leaves
are rosettes of white dots. On the other side
are two white herring-bone patterns between incised lines ;
and below, festoons of leaves and fillets.
The black glaze does not cover the lower part of the vase,
around which is a broad black band.
Gift of estate of Alfred Greenough, 1886. Height, M. o. 111. Reg. No. 5153.

1 86 CASE 8. VASES FROM LOWER ITALY.
511. Form like the preceding. Decorations : on one side,
bands of dots, squares, etc., in white, red, and yellow. In
cised lines between them. From the lowest of these hang
bunches of grapes and leaves, in yellow and white. On the
other side a wreath, with small white leaves, runs from one
handle to the other.
Lent by Miss Helen Griggs. Height, M. o. 086.
512. Skyphos. Form somewhat like No. 375. A. A female
head, profile to left, the hair completely covered by a kerchief
or net. The colors are nearly gone, but there are traces of
white on the face, and of decorations in yellow on the kerchief.
B. A bird, standing profile to left. Feathers drawn in yel
low and brown. Under and around the handles, a palmetto-
scroll pattern.
Lent by Miss Helen Griggs. Height, M. o. 084.
F. Kantharos.
513. Body ribbed. Handles knotted. Decorations : ivy
wreath (yellow over white) on each side of the
neck. At the top of the ribs, a narrow band of
the same color, with traces of red. At the base
of the handles, stripes and rays ; and around the
top of the vase, dots.
Gift of Thomas G. Appleton, and purchased by him of Alessandro Castellani.
From Gnatia. Height, M. o. 161. Intact. Reg. No. 30.
514. Form, handles, and decoration like the preceding, except
that there are branches instead of vines on the neck.
Gift of Henry J. Bigelow, 1888. Height, M. o. 145. Reg. No. 5512. Intact.
Kantharos, with high foot, and handles bent high above
the rim. On the outside of each handle is a
projecting point ; and at the attachment of each
handle with the lip is a head, in relief, wearing
a helmet. Decorations : A. Dionysos seated
on a throne, head and body slightly turned to
the right. He is beardless, has long hair, wears
an himation, which has fallen about his lap, and shoes, and
carries in his left hand a long thyrsos. Above his head runs
a grape-vine, from which branches hang on either side of him.

APULIAN VASES: KANTHAROS. 1 87
The leaves are alternately red and white or yellow. On the
ground at the left is a lyre, and at the right a pair of pipes,
crossed. B. A Maenad, rushing to right, looking back. She carries
a flat dish in the right hand, and a thyrsos in the left. On
either side of her is a long spray of laurel.
Above and below the figure on this side, and below the
Dionysos on the other, is an egg pattern, black and yellow on
red. Gift of Thomas G. Appleton, and purchased by him of Alessandro Castellani.
From Canosa. Height, M. o. 135. Stem repaired. Reg. No. 33.
516. Kantharos of similar shape, also with heads at the junc
tion of the handle with the lip. Decorations : A. Hermes,
seated profile to right, and holding in his left hand a large
basket, in which is a cake. He is beardless, has a wreath
around his hair, and wears a chlamys and high shoes. His
petasos, or hat, hangs at his shoulder. In his right hand, out
stretched, he holds his caduceus. At his side, and facing in
the same direction, stands a large hound, painted white. In
the field, to the left of him, hangs a fillet, and on the right is
a vine. B. Athena, seated profile to left, her head turned to the
right. She wears the usual Apulian head-dress, a short-
sleeved chiton, over which is an aegis, and shoes. In her
right hand she holds two large, flat dishes, one on top of the
other. Her left hand rests upon her shield, which is round.
On her lap is her helmet, which is of the Corinthian type,
with a long white crest, and on the ground, near her shield, is
another dish. To the left of her is a vine, and on the right a
small spray and a fillet.
Encircling the vase, above and below the figures, is an
egg pattern.
Gift of Edward Austin, 1876. Height, m. o. 142. One handle restored and
the vase repaired. Reg. No. 43.
517. Small hemispherical cup with a base and two handles.
Ribbed. Around the rim, above the ribs, runs a
fBlr wave pattern, yellow on white, and below this a
band of deep red.
Purchased, 1880. Surface slightly damaged, otherwise intact. Height, M. o.
08 ; diameter, M. o. 096. Reg. No. 265.

1 88 CASE 8. VASES FROM LOWER ITALY.
518. In Case 7. (Apulian ?) Kantharos with a flat base and
no stem. Decorations : on each side a panel,
filled with a palmetto pattern, white and black
on red ; a broad white wreath, and a roughly
drawn Stabornament, above and below.
Gift by contribution, 1889. Purchased in Rome. Repaired. Height, M. o.
103. Reg. No. 5664.
G. Vases of miscellaneous shapes.
519. Large, flat, round dish, with two handles rising from the
upper face of the rim, and a knob at either side of each han
dle. The exterior is painted black, without decoration. In
terior, three figures. In the middle is a woman, seated, with
her body turned towards the right, and her head looking in
the other direction. She wears a sleeveless chiton, which
has fallen from one shoulder, and an himation. In her left
hand she holds a flat dish, and with the right she lifts a
box or casket from the ground. To the left of her stands
another woman, who offers her an alabastron. This second
woman wears a short-sleeved chiton, and stands with one
foot raised upon a rock (?). At the right of the seated
woman is a satyr, dancing to right, his face turned towards
the two women. He holds a lighted torch over them in his
right hand, and carries a crook in his left. Over his shoulders
he wears a nebris, or fawn-skin. He also wears a wreath,
low shoes, and a ring around the lower part of his right leg.
Below is an egg pattern, black and yellow on red, and en
circling the picture are a wave pattern, red and black, and
a scroll, white on black. On the outside of the rim, a wave
pattern. Gift of Thomas G. Appleton, and purchased by him of Alessandro Castellani.
From Ruvo. Height, M. o. 115 ; diameter, M. o. 403. One knob from the
rim gone. Reg. No. 35.
520. Similar dish with knobs on the handles, as well as at the
« ^rfta sides. Decorations : interior, female head,
profile to left, the hair enveloped in a ker
chief, on the front of which are jewels, indi
cated in yellow. The head is of the natural color of the vase,
with ear-ring and necklace (yellow), and a white ribbon fasten-

APULIAN VASES: MISCELLANEOUS. 189
ing the kerchief. In the field, at the left, is a fillet. The
head is surrounded by a narrow circle, around which runs a
wreath of white, which fills the rest of the interior.
Exterior : A. A woman seated on a rock, profile to left,
holding a mirror in her right hand and a wreath in her left.
She wears a sleeveless chiton, shoes, a necklace and brace
lets. In the field, a fillet and a rosette. B. Eros seated, pro
file to left, upon a rock, holding a large, square box in his
right hand. His head-dress is distinctively feminine, and he
wears a necklace, bracelets, shoes, and a spiral band around
the lower part of his left leg.
In the field, fillets and leaves. The space between the two
figures is filled on either side by a large palmetto and scrolls.
Gift of Thomas G. Appleton, 1876. Height, M. o. 08 ; diameter, M. o. 305.
Painted over. Reg. No. 36.
521. Phiale omphalote, that is, a phiale or patera, with an
omphalos or navel in the middle of it. This om
phalos was hollow, making a hole on the outside
of the vase, in which a finger could be inserted. This type
of phiale was a sacrificial dish, and, held thus by the thumb
and middle finger, was used to pour wine upon the altar.
The present specimen is very thin and delicate, and evi
dently imitated from metal, of which the phialai were usu
ally made. The outside is black, without decoration. Inside,
around the omphalos, an egg pattern ; surrounding this, a
broad band decorated with a flock of geese, alternately white
and the color of the clay, walking, with spread wings.
Gift of Henry P. Kidder, 1880. Diameter, M. o. 222. Cracked. Reg. No. 143.
522. Vase formed of four small jars, welded together, with a
basket handle. They are covered with a
greenish-black glaze. Decoration : a yellow
and white vine encircling the middle of each,
with rays and lines above and below.
Lent by W. S. Bigelow. Height, M. o. 096.
523. Ointment vase, without handles. The body is
ribbed, the ribs being intersected around the middle
by a band, which is black, decorated with a scroll
pattern in brownish yellow and white. Around the

190 CASE 8. VASES FROM LOWER ITALY.
neck, rays and lines, white and brownish yellow. On the
shoulder, a female head looking up, profile to left. From
either side of the head starts a florid scroll pattern which
surrounds the vase.
Gift of Thomas G. Appleton, and purchased by him of Alessandro Castellani.
From Gnatia. Height, M. o. 208. Intact. Reg. No. 28.
524. Form similar to the preceding, but not ribbed. The
vase is covered with a greenish-black glaze. Decora
tions : around the neck, white rays ; below, a yellow
band between two white ones. The body of the vase
is covered with a network of white lines, below which
is a yellow band.
Purchased, 1880. Height, M. o. 128. Intact. Reg. No. 267.
525. Small vase of similar shape, covered with a fine black
glaze. Principal design, on one side only, a female
head, profile to left, surrounded with scrolls and flow
ers. The face and neck are white, the hair is yellow,
and the kerchief which binds it red, with white deco
rations. Above the head are an egg pattern and rays ; and
below, an egg pattern, all white, with incised lines.
Purchased, 1880. Height, M. o. 143. Lip partially restored. Reg. No. 266.
526. Small vase, somewhat in the shape of an amphora, ter
minating at the shoulder with a high, pointed cover.
Two large handles rise vertically from the shoulder.
Decorations : on the cover, rays and a wave pattern.
On the top of the shoulder, rays. Principal designs : —
A. Eros seated, profile to left, upon a low, square
pillar, or block. In his right hand, extended, he holds
a flat dish or tray. The left rests against the seat. The
head-dress is distinctively feminine ; and for jewels he wears
ear-rings, two necklaces, a girdle over one shoulder, bracelets,
and a spiral band around the lower part of his left leg. In
the field, a leaf and a rosette.
B. A woman walking, profile to right, looking back. She
wears a sleeveless chiton, and shoes, and carries a wreath in
her left hand and a mirror in her right. In the field, a fillet.
Under each handle is a large palmetto with a scroll on
either side.

APULIAN VASES: MISCELLANEOUS. 191
Gift of Thomas G. Appleton, and purchased by him of Alessandro Castellani.
From Ruvo. Height, M. o. 118. Cover repaired. Reg. No. 34.
527. Lekane, with cover and foot, of the Apulian type of
imitation of metal vases, the decorations being
in relief and the handles distinctively metallic in
character. Decorations : on the cover, three
Silenos-heads, combined to make a boss, or han
dle, in the centre. Between the heads, palmet
tos, also in relief. Around this central design are three
medallions, bearing the head of the Parthenos, en face, and
three small Silenos-masks, alternating. On the vase, a frieze
representing the Battle of the Amazons, in relief, of the fourth
century type. This frieze is divided by the handles into two
groups. A. Beginning at the left, a Greek warrior, brandish
ing his shield and sword, attacks an Amazon who stands at
the side of her horse, which she holds by the bit with the left
hand, and swings an axe with the right. Beyond these are a
Greek and an Amazon in close encounter.
B. A wounded Amazon, seated upon a rock, is attacked by
a Greek at her left, and protected by a companion at her
right. At the right of these a mounted Amazon, galloping
to left, is seized by the hair by a Greek, who is pursuing her.
All the Amazons wear the late Persian costume, with hood,
long-sleeved chiton and trousers. The Greeks wear helmets,
and are either nude or draped in a small chlamys. Under
each end of the handles is a female head (Medusa?). On
all the reliefs there are numerous traces of gilding. (The
entire vase has been covered with a white slip, over which it
has been painted green and red. These colors are modern.)
Gift by contribution, 1889. Purchased in Rome. Said to be from Ruvo.
Height, without cover, M. o. 149; height of cover, M. o. 068 ; diameter, M. o.
21. Painted over as noted above. Intact. Reg. No. 5666.

192 CASE 8. VASES FROM LOWER ITALY.
II. Lucanian.
528. Large lekythos, with a disproportionately large, bell-
shaped mouth. Decorations : on the neck, rays.
Around the shoulder, isolated palmettos, and below
these, an egg pattern. On the back, palmettos and
scrolls ; below, a meander encircling the vase.
Principal design : a woman seated, and gazing at
herself in a mirror which she holds in her left hand.
Her body is half turned to the left, the upper part
being en face. She wears a kerchief about her hair, from
which project ornaments in the shape of long rays. She
wears a short-sleeved chiton and himation, the latter fallen
about her knees. In her right hand, which rests upon her
lap, she holds what appear to be two palm-branches. From
the right an Eros flies towards her, holding a garland in both
hands. He wears a wreath, shoes, and a spiral band around
the lower part of his left leg. In the field are large flowers,
and a fillet or scarf, suspended.
Gift of Edward Austin. Height, M. o. 36. Mouth and handle repaired, and
slightly restored. Reg. No. 53.
529. Large oinoehoe with oval body merging into a short
neck, and a large mouth. Principal design : In
the centre a goddess (Hera ?) seated, profile to
left. She is full-draped, and her mantle is drawn
over her head. She wears ear-rings and a neck
lace. Both arms are enveloped in her drapery ;
the left rests upon a round shield, and the right
hand is raised nearly to her chin, pointing towards
Dionysos, whom she is evidently addressing, and who
stands at the left of the picture, looking down at her. He
is nude, and carries his chlamys wound about his left arm,
which also holds his thyrsos. He wears a broad wreath ; and
in his right hand, which is raised above his shoulder, he
holds a large kantharos. Behind him is a tall, square pillar,
decorated on one side with a diamond pattern in yellow and
red. At the right of the picture is a Maenad, en face, dan
cing, and beating a large tympanum. She wears a sleeveless
chiton, and ribbons in her hair.

MISCELLANEOUS LATE GREEK TYPES. 1 93
Above the head of the central figure is a bucranium (the
skull of an ox), decorated with fillets of the astragal pattern,
with tassels on the ends. On the neck of the vase, above
the figures, are a vine and an egg pattern. On the back of
the vase is a palmetto-scroll.
Lent by George W. Wales. Height, M. o. 317. Repaired and apparently
somewhat restored. Painted over in parts.
530. Stamnos. Principal designs : A. A youth and a maiden,
talking. She wears a sleeveless chiton, and
holds a small pail (?) in her right hand. He
wears an himation, and carries a long staff.
B. Two nude youths. The one on the
right advances towards the other, laying
one hand upon his shoulder. The second
one holds a pail (?) like that held by the
maiden in A.
Around the shoulder, a large Stabornament. Under and at
the sides of the handles, large palmetto-scrolls. Below the
pictures, a meander. Drawing poor.
Lent by W. S. Bigelow. Height, M. o. 292. Painted over.

MISCELLANEOUS LATE GREEK TYPES.
531-533. Megara Bowls.
In Case 8.
These are among the latest wares of real Greek manufacture.
They are of pale red clay, and their chief characteristic is the
embossed decorations, in low relief, with which the exterior is
covered. They have no painted decorations.
The decorations consist of a band composed of palmettos,
scrolls, and an egg-and-dart pattern. Below
this is the principal band of ornament, which
is composed of a repetition of two designs, one
of which consists of two goats standing on
their hind legs, with a large amphora between them ; the
other of two Erotes flying, each with a mask in his hand, and
below them, a bird with a fillet in its claws. (These details

194 MISCELLANEOUS LATE GREEK TYPES.
are not correctly represented in the accompanying cut.) On
the bottom is a rosette, surrounded by palmettos.
From Megara. Purchased at Athens, 1882. Height, M. o. 082 ; diameter,
M. o. 135. Repaired. Reg. No. 6287.
532. Bowl of similar shape, black around the upper half, red
below, the colors merging without any regular line of demar
cation. Decorations: a band of lilies encircling the vase;
and below these, palm branches (?) radiating from the base,
with rosettes between them. On the bottom is a star formed
by a rosette and branches like those on the sides.
Gift of Henry P. Kidder, 1880. Height, M. o. 075 ; diameter, M. o. 123. Re
paired. Reg. No. 146.
533. Bowl of similar shape. Decorations : a scroll around
the upper part ; below, combinations of lines,
dots, and zigzags. On the bottom, a large star
pattern. Gift of Henry P. Kidder, 1880. Height, M. o. 067 ; diameter,
M. o. 102. Repaired. Reg. No. 145.

534. In Case 8. Small two-handled cup with base, with dec
orations embossed in low relief. Clay red,
with feeble glaze. Decorations : around the
upper part, an astragal and meander ; below,
a band of rosettes and circles, with palmet
tos between them. On the lower half, lines in imitation of
flutings with round tops. In one of the flutings is the in
scription, stamped like the other decorations, —

1>~n

A.

Gift of Henry P. Kidder, 1880. Height, M. o. 065 ; diameter, M. o. 086. Re
paired. Reg. No. 148.
535. In Case 8. Vase of the form called a "plemochoe" by
Pottier and others,1 though the name is evidently
not the right one. A plemochoe was a vessel used
for pouring libations at sacrifices, and we know from
Athenaeus, XI, 93, that it was shaped like a top,
but with a firm base, whence Pottier identifies it
with this type. But this vase is as ill-adapted as pos-
1 Pottier, Lkythes blancs attiques, p. 67, and authorities there quoted. Opposed
to them is Furtwangler, Sammlung Sabouroff, pi. lii, No. 5, note 17.

MISCELLANEOUS LATE GREEK TYPES. 195
sible for pouring, having neither nose nor lip, and its rim
being turned inwards. It was apparently connected with
funeral ceremonies, as vases of this type are frequently rep
resented on the Attic lekythoi (see Nos. 446, 448, 449), and
was probably meant to contain ointments, or something of
a perishable nature, which was brought as an offering to
the dead, and had to be kept well covered. It will be noticed
that in the present specimen the cover fits very accurately.
The clay is yellowish, covered with a black or dark-brown
glaze of poor quality, which has entirely disappeared from
many parts of the vase. The upper half of the vase itself
and the cover are decorated with dotted rosettes (white ?), and
there is a row of white (?) dots around the middle. The lower
half of the stem is fluted, the flutings being carefully made,
and rounded at the bottom. Period uncertain.1
Gift of Henry P. Kidder, 1881. Height of vase, M. o. 215 ; of cover, M. o. 093.
Cover slightly repaired; base slightly chipped. Reg. No. 346.
536. In Case 8. Similar vase, cover gone. Clay of a dark,
muddy color, covered with a black glaze of poor quality, con
siderably effaced. Apparently no decorations.
Gift of Henry P. Kidder. Height, M. o. 152. Intact. Reg. No. 345.
537. In Case 8. Lekythos, of low, squat form, covered with
a black glaze, which is imperfect, showing red on a
considerable portion of the vase.
Decorations : around the upper part of the neck,
a string of yellow dots. On the shoulder, near the
neck, a vine, the branches incised roughly, and the
flowers being composed of dots originally white, the color
now gone. On the outer edge of the shoulder an egg pattern,
roughly incised. Probably third century B. C.
Gift of B. W. Crowninshield. Height, M. o. 165. Diameter, M. o. 141. Lip
broken. Reg. No. 309.
538. In Case 8. Round, shallow bowl, black, of inferior qual
ity, decorated with lines and a vine pattern, roughly scratched
with a blunt tool, encircling the interior.
Gift of Henry P. Kidder, 1881. Height, M. o. 053; diameter, M. o. 151.
Broken. Reg. No. 336.
1 There is a fine specimen of this type of vase, of white alabaster, in Case 15.

196 MISCELLANEOUS LATE GREEK TYPES.
539. In Case 8. Small lekane, or jar, with cover. Both vase
and cover are left in the natural color of the clay,
which is pale brown, not glazed. Decorations, in
black and white: on the cover, two bands of pal
mettos, the outer one white on a black ground, the
inner one black on red. Around the outer surface of the
rim, black rays ; upon the shoulder, a palmetto border, black
on red, and below this, a wreath of white leaves upon a black
band. Gift by contribution, 1889. Purchased in Rome. Height, M. o. 114; diame
ter, m. o. 118. Intact. Reg. No. 5663.
540. Jug with body shaped something like that of an
alabastron, and round mouth. Black glaze, shading to
red, which does not extend to the lower part of the vase.
Gift of B. W. Crowninshield, 1888. Height, M. o. 166. Reg. No.
55i6.
541. Like the preceding.
Gift of B. W. Crowninshield, 1888. Height, M. o. 1 55. Intact. Reg. No. 5515.
542. Shorter and fuller. Glaze black.
Gift of B. W. Crowninshield. Height, M. o. 123. Intact. Reg. No.
294.
543. Proportions more elongated than the preceding,
but with a well defined shoulder. Handle rises above
the rim.
Gift of B. W. Crowninshield. Height, M. o. 155. Intact. Reg. No.
292.
544. Like the preceding.
Gift of B. W. Crowninshield. Height, M. o. 136. Intact. Reg. No. 291.
545. Like the preceding.
Gift of B. W. Crowninshield. Height, M. o. 137. Intact. Reg. No. 293.
546. Tear-jug. Red glaze around the mouth.
Gift of B. W. Crowninshield. Height, M. o. 178. Intact. Reg. No.
287.
547- Jug 0I inferior make and color. Painted black, of a poor
quality, the color showing green in most parts. No decora
tion. Lent by the estate of Alfred Greenough. Intact. Height, M. O. 138.

MISCELLANEOUS LATE GREEK TYPES. 197
548. Tear-jug. Brown glaze around the mouth.
Gift of B. W. Crowninshield. Height, M. o. 074. Intact. Reg. No.
289.
549. Jug, spherical body, flattened at the bottom, with long
neck, round mouth, and handle. Color and decorations
gone. Gift of William N. Bullard. Height, m. o. 21. Intact. Reg. No.
6079.
550. Olpe, a jug of common type, with oval body, rather
plump, and round mouth. Clay pale yellow, color and dec
orations gone.
Lent by the estate of Alfred Greenough. Height, M. o. 146. Intact.
551. Squat, round jug or cup. Coarse ware without decora
tion. Gift of B. W. Crowninshield. Height, M. o. 066. Intact. Reg. No. 312.
552. Small, deep oval vase, with lip but no handles. No
decoration. Lent by the estate of Alfred Greenough. Height, M. o. 136. Intact.
553. Oval cup, with no handle. Ribbed horizontally
with a blunt tool. Clay red, no decoration. Wheel-
made and quite thin.
Gift of Henry P. Kidder, 1880. Height, M. o. 08. Cracked. Reg. No. 147.
554. Small, round bowl, with two horizontal handles. Clay
Ored, painted black. No decoration.
Gift of Henry P. Kidder, 1881. Diameter, M. o. 064. Practically
intact. Reg. No. 337.
555. Tear-jug, shaped like a tall, slender amphora. No dec
oration. Gift of B. W. Crowninshield. Height, M. o. 182. Intact. Reg. No. 288.
556. Similar, body larger in diameter. Red glaze around the
mouth. No other decoration.
Lent by the estate of Alfred Greenough. Height, M. o. 173. Intact.
557. Similar, no decoration.
Lent by the estate of Alfred Greenough. Height, M. o. 153. Intact.
558. Similar, painted black, traces of colors and gilding.
Gift of Henry P. Kidder, 1880. Height, M. o. 12. Intact. Reg. No. 201.
559. Similar, with shorter neck and base. No decoration.
Lent by the estate of Alfred Greenough. Height, M. o. 116. Intact.

198 MISCELLANEOUS LATE GREEK TYPES.
560. Amphora, of heavy ware, covered with a red glaze which
shades to black. No decoration.
Gift of B. W. Crowninshield. Height, M. o. 183. Intact. Reg. No. 286.
561. Flat, round dish with foot, covered with a light red
glaze. In the inside are the letters,
AW*
painted in brown with a broad brush.
Lent by the estate of Alfred Greenough. Height, M. o. 055 ; diameter, M. o.
151. Intact.
562-567. Six flat saucers. One (562) decorated with a brown
border on the upper face of the rim, the others without
decoration. Lent by the estate of Alfred Greenough.
562. Diameter, M. o. 128.
563. " " 137.
564. " " 144.
565- " " 137-
566. " " 15.
567. " " 146.
568. Small cup with two handles, of thin, light ware. Clay
brown. No decorations.
Gift of B. W. Crowninshield. Height, M. o. 088. One handle broken. Reg.
No. 316.
569. Very small, round jug. Clay pale yellow, covered with
a feeble black glaze.
Gift of B. W. Crowninshield. Height, M. o. 058. Intact. Reg. No. 310.
570. Two-handled cup, or bowl, with lip and base. Around
the shoulder, a band divided into squares, in which
are alternately concentric squares and a checker
board pattern.
Gift of B. W. Crowninshield. Height, m. o. 134; diameter, M. o. 137. Cracked.
Reg. No. 282. 571. Small vase of similar shape and decoration,
fluted below the border ; in the checker-board
pattern, white.
Gift of B. W. Crowninshield. Height, M. o. 081 ; diameter, m. o. 08. Re
paired. Reg. No. 314.

572. Cup of similar shape, but without lip, and the
body less rounded. The colors and decorations

ARRHETIAN WARE. 199
are nearly obliterated, but around the upper part are traces
of a border similar to that on No. 570.
Gift of Henry P. Kidder, 1881. Height, M. o. 089; diameter, M. o. 09.
Intact. Reg. No. 340.
573. Small, deep cup, or vase, tapering almost to a point at
the bottom. No decoration.
Lent by the estate of Alfred Greenough. Height, M. o. 092. Intact.
574. Small jug, with traces of black glaze.
Lent by the estate of Alfred Greenough. Height, M. o. 085. Intact.
575. Small, round dish with foot. No decoration.
Lent by the estate of Alfred Greenough. Height, M. o. 06. Intact.
576. Alabastron, painted white in imitation of alabaster.
Form good, with a broad, thin lip.
Gift of B. W. Crowninshield. Height, M. o. 14. Lip slightly broken. Reg.
No. 290.
577. Small alabastron of pale yellow clay. Encircling it are
the remains of bands of gold and colors. That around the
middle bore a scroll pattern.
Gift of Henry P. Kidder, 1880. Height, M. 0.085. Eip slightly broken. Reg.
No. 242.
578. Low, round dish with two handles, and a ridge on the
inside for the cover. Inside painted roughly brown. Out
side, no decoration.
Gift of B. W. Crowninshield. Diameter, M. o. 168. Intact. Reg. No. 273.

ARRHETIAN WARE.
Commonly miscalled Samian Ware.
In Case 15.
This, the ordinary table ware of the Romans during the
early empire, derives its name from the principal place of its
manufacture, Arrhetium (Arezzo), in Central Italy, where
great quantities of it have been found. The name " Sa
mian," which has become associated with it, dates from the
Middle Ages, and rests upon no classical authority what
ever. This ware is characterized by its deep red color and

200 ARRHETIAN WARE.
high glaze, and also by its decorations in low relief, which
give it an especial interest, because they are generally made
from moulds which were taken from vases of the finer
metals, and give us consequently a good idea of the decora
tions of the gold and silver vases used by the Roman patri
cians, especially in the time of Augustus. An examination
of the fragments in our collection will show that these de
signs were often of exquisite delicacy, and evidently the work
of Greek goldsmiths, although they were made in Italy.
One-handled cup. The decorations, of singular beauty,
consist of a row of dancing girls (originally four,
one gone), separated from one another by conven
tional floral devices. The girls stand on tiptoe,
profile to right. One holds her hands against her
breast, the others have theirs raised as though clapping them.
All wear crowns of long vertical rays or points, and short
tunics. At the base of the handle is stamped a medallion
representing two parrots drinking from a vase. Above one
of the floral devices is the maker's inscription : —
RASINI MEMMI
(Rasinius Memmius)
Purchased in Rome, 1888. Height, m. o. 113. Extensively restored, the
restorations being of plaster, painted gray. Reg. No. 5582.
580. Fragment of a shallow, round bowl with a foot. Decora
tions : acanthus leaves and flowers, and a bird
perched on the edge of a lily.
Purchased in Rome, 1888. Said to have been found in the
gardens of Caesar. Height, M. o. 083 ; diameter as restored,
M. o. 146. Restored in plaster. Reg. No. 5583.
581. Fragment of a low, two-handled cup, decorated with an
egg-and-dart pattern, concentric circles, and
figures shaped like an oyster-shell. In a small
panel is the inscription : —

Purchased in Rome, 1888. Said to have been found in the gardens of Caesar.
Height, M. o. 07 ; diameter as restored, M. o. 10. Restored in plaster. Reg.
No. 5584.

ARRHETIAN WARE. 201
582. Funnel-shaped cup, with an upright rim. The only dec
orations are a small scroll on each side of the rim. On the
bottom, inside, is stamped a foot, with the inscription : —

Purchased in Rome, 1888. Found in Rome. Height, M. o. 064 ; diameter, m. o.
12. Repaired. Reg. No. 5578.
583. Very small cup of similar shape. On the bot
tom, inside, is stamped the inscription : —

<5^)

Purchased in Rome, 1888. Found in Rome. Height, M. o. 038 ; diameter,
M. o. 068. Intact. Reg. No. 5580.
584. Cup of somewhat similar shape, but with a lip instead of
I J an upright rim. On the outside, horizontal lines en-
\=(S circling the vase ; and around the upper part, a band
of vertical lines, roughly incised. On the bottom, inside, is
stamped a Roman amphora between two clubs.
Purchased in Rome, 1888. Found in Rome. Height, M. o. 065 ; diameter,
M. o. 122. Cracked. Reg. No. 5579.
\" "¦ " f 5^5" Small, shallow dish with a foot. Around the
^e^r edge are nondescript devices, stamped.
Purchased in Rome, 1888, and said to be from the gardens of Caesar. Height,
M. o. 033 ; diameter, M. o. 09. Slightly broken. Reg. No. 5604.
586. Similar, but larger (Roman imitation of Arrhetian ware),
slightly discolored by smoke.
Purchased in Rome. Height, M. o. 041 ; diameter, M. o. 151. Surface slightly
broken. Reg. No. 5581.
587. Cover without decoration.
Gift of B. W. Crowninshield. Diameter, M. o. 11. Practically intact. Reg.
No. 279.
588. Fragment. Across the top, an egg-and-dart pattern ;
below, a youth standing profile to right, his head turned in
the opposite direction. His left hand rests upon a shield,
and his right holds a spear. To the right of him, part of a
bearded man looking towards him, one knee raised.
From Rome. Length, M. o. 129. Reg. No. 5592.
58g. Fragment. Upper half of a satyr, carrying a lamb on
his shoulder. Above, a rosette.
From Rome. Height, M. o. 058. Reg. No. 3600.

202 ARRHETIAN WARE.
590. Small fragment. Two Silenos-masks, as part of a dec
oration. From Rome. Length, M. o. 046. Reg. No. 5601.
591. Fragment. Part of the figure of a youth walking to left.
He wears a chlamys, and holds his shield pressed tightly
against his body.
From Rome. Height, M. o. 046. Reg. No. 5603.
592. Fragment. Boar, seated upon his haunches, profile to
right. From Rome. Length, M. o. 057. Reg. No. 5602.
593. Fragment. Upper half of the figure of a woman, reclin
ing upon a couch, her elbow resting upon a cushion. Her
drapery has fallen from her shoulders, leaving the figure nude.
From Rome. Height, M. o. 064. Reg. No. 5598.
594. Fragment. The figure of a woman reclining upon a
couch. Head, left shoulder and arm gone. The right arm is
raised. The drapery falls below the right breast, covering
the lower part of the figure. Above the woman is a grape
vine, and at the left a portion of a curtain.
From Rome. Height, M. o. 081. Reg. No. 5587.
595. Fragment. Above, a moulding and an egg-and-dart
pattern ; below, the upper half of two figures, profile to left.
One is a youth, wearing an himation, the other a veiled
woman, whose veil covers her face.
From Rome. Height, M. o. 06. Reg. No. 5599.
596. Fragment. Haunches of a horse, springing to left.
Behind him the knee of a figure following. Below, rosettes.
From Rome. Length, M. o. 058. Reg. No. 5597.
597. Fragment. Upper half of a female figure, en face,
armed, carrying a shield in the left hand and a sword, above
her head, in the right. The pose of the figure suggests dan
cing. At the right, separated by a considerable interval, are
the upraised hand and a bit of the drapery of a second figure.
From Rome. Length, M. o. 088. Reg. No. 5593.
598. Fragment. A Nike kneeling, profile to left, at the side
of a cow, or bullock. With her left hand she supports a bas
ket standing upon the ground, into which she is about to put
something with her right hand. Below, acanthus leaves.
From Rome. Height, M. o. 094. Reg. No. 5591.

ARRHETIAN WARE. 203
5gg. Fragment. A satyr dancing, profile to right, his head
thrown back, holding his nebris, or fawn-skin, with both hands.
Above him, an egg-and-dart pattern and a festoon.
From Rome. Height, M. o. 071. Reg. No. 5595.
600. Fragment of a comic scene. A stag, seated on his
haunches, raises one of his forelegs at a dog which is bark
ing at him. Only the head and one of the forepaws of the
dog remain. Below, a band of rosettes.
From Rome. Height, M. o. 069. Reg. No. 5594.
601. Fragment of the upper part, including the rim, of a large
bowl. Around the rim and below it are architectural borders,
and below these the upper part of a winged genius playing
the double flute. At the right of him is the beginning of an
inscription : — BAR • • •
From Rome. Length, M. o. 109. Reg. No. 5585.
602. Fragment of a bowl, decorated with an egg-and-dart
pattern along the upper part ; and below, a series of curious
figures, resembling interrogation-points.
From Rome. Length, M. o. 125. Reg. No. 5586.
603. Fragment containing part of the figure of an Eros,
standing upon a flower, and surrounded by a floral scroll.
Below, a narrow border of rosettes, and a wide border of
scrolls and ears of wheat.
From Rome. Length, M. o. 128. Reg. No. 5590.
604. Fragment of a large dish, of inferior technique and de
sign, the latter representing dogs and goats leaping under
arches. This design is produced by repeating several small
stamps, the impressions of which are very careless, and the
moulds much worn.
From Rome. Length, M. o. 145. Reg. No. 5589.
605. Fragment of a bowl, decorated with a pattern composed
of trees, entirely covering the body of the vase.
From Rome. Height, M. o. 145. Reg. No. 5588.
,^j?=^y^> 6o6- Roman jug of the "askosian" type, that is,
^ . J made in imitation of a wine-skin, with a small
\=y nozzle at one end, and a mouth with a round lip at

204 ARRHETIAN WARE.
the other, the two joined by a handle of the " flat-iron "
type. The vase has a small, round base. The clay is red,
and covered with a strong red glaze. On the handle are the
remains of a Latin inscription, stamped, only two or three
letters of which are legible.
Gift of Henry P. Kidder, 1880. Height, M. o. 157 ; length, M. o. 21. Intact.
Reg. No. 190.
607. Roman jug of red ware, coarse in texture, glazed
but without decoration.
Lent by the estate of Alfred Greenough. Height, M. o. 205.
608. Low, round dish with base, of the same ware and glaze.
Gift of the estate of Alfred Greenough, 1886. Diameter, M. o. 196. Repaired.
Reg. No. 4530.
3Q 6og. Small, round dish with two handles. Ware
thin, red, and covered with a red glaze.
Gift of B. W. Crowninshield. Height, M. o. 052. Rim slightly broken. Reg.
No. 313.

qzzp

610-619. Fragments of the same kind of ware, found in
England, principally in London, and presented to the Museum
by A. C Baldwin, 1882. The moulds from which these were
made were evidently of a coarser type and much more worn
than the preceding.
610. At the top, egg-and-dart moulding ; below, bunches of
grapes and vines.
Length, m. o. 10. Reg. No. 349.
611. Lower portion of a running man, enclosed in a circle.
Parts of other figures.
Length, M. o. 12. Reg. No. 350.
612. At the top, egg-and-dart moulding; below, animals run
ning and a man standing.
Length, M. o. 10. Reg. No. 351.
613. Fragment of the lower part of a bowl, including part of
the base. Near the bottom, a row of conch-shells ; above, a
design enclosed in three circles.
Length, M. o. 093. Reg. No. 352.

ARRHETIAN WARE. 205
614. Part of the base of a dish. On the inside is the inscrip
tion : — POTITIN-I
Length, m. o. 12. Reg. No. 353.
615. Ditto. Potter's mark on the inside.
Diameter, m. o. 098. Reg. No. 354.
616. Ditto. On the inside is the inscription : —
ATILIANI-0
Diameter, M. o. 078. Reg. No. 357.
617. Ditto. No design.
Diameter, M. o. 10. Reg. No. 358.
618. Fragment. Border of sea-shells.
Length, M. o. 12. Reg. No. 355.
619. Fragment elaborately decorated, showing a sea-horse,
a row of leaves, and borders.
Length, m. o. 108. Reg. No. 356.

620. Late Roman jar of the amphora type, with
very small mouth, clay coarse and black. No dec
oration. Gift of Charles G. Loring. Height, M. o. 245. Lip slightly
broken. Reg. No. 55.
621. Late Romano-British cinerary urn, of coarse black ware
without decoration.
Gift of Rev. Robert Farquharson. Found in a barrow near Langton, Dorset,
England. Height, M. o. 175. Put together from many pieces. Reg. No.
271.
622. On top of Case 1. Large amphora, of coarse red clay,
undecorated. This kind of jar was used in Roman
times for storing wine, oil, and other fluids. The
present specimen was found at the bottom of the sea,
and sponges have formed about the handles. The
surface is also thickly encrusted with a shell forma
tion.
Gift of Henry P. Kidder, 1885. Said to have been found near Salamis.
Height, M. o. 70. Intact. Reg. No. 4516.

206 CASE 13. ARMENIAN POTTERY.

623. On top of Case 1. Jar of similar ware and
character, used for the same purpose.
Gift of Mrs. A. O. Bigelow, 1891. Found by a fisherman under
the water, near Porto d' Anzio. Height, M. o. 70. Intact.
Reg. No. 6219.

CASE 13.
Armenian Pottery.

In Case 13 is a collection of thirteen pieces of pottery,
mostly jugs arid mugs discovered in prehistoric tombs in
Armenia, by Mr. H. de Morgan, in 1888. They are of black
clay, unglazed, coarse and heavy, with linear decorations, in
cised. The forms are primitive but simple. These vases
have no relation to classical art, and therefore are not de
scribed in detail in the present catalogue.

VASES AND FRAGMENTS FROM
NAUKRATIS.

IN CASE 15 OF THE EGYPTIAN ROOM.
The pottery from Naukratis in this collection was pre
sented to the Museum by the Egypt Exploration Fund, and
includes a liberal selection of specimens of the various types
discovered during the excavations conducted by the Fund in
the years 1884-87.
A satisfactory classification of the local Naukratis ware
according to technical or historical characteristics is difficult,
owing to the fact that most of the pieces are small fragments,
and considerably worn on the surface, so that minor distinc
tions are often obliterated. The few vases which are whole, or
nearly so, show that several different kinds of decoration, which
it is usual to assign to as many different types or epochs, were
frequently combined on one vase. The neck, for example, is
decorated in the " geometric " style ; one band or frieze of
animals is drawn in the so-called "island" style, with heads
in outline ; and another in the Corinthian, with incised lines.
The color of the ground also varies, by an almost impercep
tible transition, from the pure white which is characteristic of
the best Naukratis ware, to a yellow hardly distinguishable
from the Corinthian. Again, on some vases which are akin to
the Corinthian in the manner in which the animals are drawn,
and which might therefore be supposed to be contemporary.
with that style, the minor decorations include meanders and
palmettos drawn exactly as they are upon black-figured ware,
thus combining features which in Greece itself belong nearly
a century apart.1
1 See, for example, No. N 54, published in Naukratis, part II, pi. VII.

208 POTTERY FROM NAUKRATIS.
This combination of elements from a number of different
styles would seem to indicate that the potters of Naukratis
were strongly influenced by those of other Greek cities, and
that they took from them more than they gave. The pres
ence of " Corinthian " characteristics in their decorations has
been attributed to direct Oriental influence, the theory being
that this style passed from the Orient through Naukratis and
Rhodes on its way to Corinth. The drawing on the Naukra
tis vases, however, is distinctly imitative in quality. While
it adopts as its favorites the same peculiar types of animals,
it does not render them with the vigor or freedom of the real
Corinthian work; the incised lines are less spirited, and —
what is much more significant — the strong red of the Nau
kratis clay is covered with a slip or glaze to make it yellowish,
as though in imitation of another ware, while the' yellow of
the Corinthian vases is the natural color of the clay from which
they are made. Inasmuch, therefore, as the first fifty years
of the existence of Naukratis (which, according to Petrie, was
founded about 650 b. c), were those in which the Corinthian
pottery was at the height of its production and development,
and as this was the period when the commerce of Corinth
was most extensive, there seems to be more reason for sup
posing that Naukratis borrowed from Corinth than that she
preceded her in the adoption of this style.
The question of the relations between Naukratis and
Rhodes is much more difficult to answer. Until Petrie's dis
covery of the site of Naukratis, in 1884, Rhodian pottery
was quite unique, its characteristics being well defined and
strongly individual. But an abundance of fragments of sub
stantially the same peculiarities have been found at Naukra
tis ; and proof that they originated there has been given by a
few inscriptions to local divinities, which were painted on the
vases before they were fired.1 Neither the Rhodian nor the
Naukratis pottery bears positive evidence that it was copied
from the other, but the fact that the Naukratis ware has been
established as a local manufacture by means of these inscrip
tions offers reason for believing either that the Rhodian ware
1 See Naukratis, II, p. 42.

POTTERY FROM NAUKRATIS. 209
was an imitation of it, or, what is perhaps more probable, a
direct importation. Naukratis Ware.
For the purposes of the Catalogue our specimens of the
various types of Naukratis ware may be divided into six
groups, as follows : —
I. Vases with a creamy white glaze, decorated only with
lines, in brown shading to red.
II. Vases with a pure white glaze, decorated with geomet
ric and plant forms, and also with human figures, in brown
shading to yellow. Touches of red and purple.
III. Vases with a hard yellowish glaze ; decorations like
those of the preceding group, in brown and yellow only.
IV. Vases of the style resembling the Rhodian, the glaze
varying from greenish to yellowish ; red used extensively in
the decorations ; the ground or field filled with geometric and
floral patterns ; designs with and those without incised lines
combined on the same vase.
V. Decorations in ' red, upon a ground which varies from
a creamy yellow to pure white.
VI. Vases with a brown glaze, decorated with darker
brown, to which touches of red are sometimes added. Clay
light and fine. The interior is black or dark brown, encircled
with lines of red and white. This style of interior decoration
is common also in Groups II and V, and seems to be a
distinctive mark of Naukratis.
In the following description each of these groups is sub
divided according to minor characteristics.
Group I. Vases with a creamy white glaze, decorated only
with lines in brown shading to red.
N 1. Large hemispherical bowl (lebes) with a flat rim, and
two small rings on the shoulder for handles. Decorations :
on the top of the rim, cross-hatched lines ; on the shoulder,
rays; and on the-body, horizontal lines encircling the vase.
Interior painted red, without decorations.
Extensively restored. Height, M. o. 218 ; diameter, M. o. 365. Reg. No. 6224.

2IO POTTERY FROM NAUKRATIS.
N 2. Lamp in the form of a large, hollow ring, mounted on
four legs, with nine mouths for wicks on the top, separated by
rings with which it could be hung. Decorations : on the top
and sides, cross-hatched lines between two bands or stripes.
Interior painted red. Legs, most of the mouths, and other
portions of the lamp, restored.
Published Naukratis, II, pi. VII. No. 3. Diameter, M. 0. 272. Reg. No. 6230.
Group II. Vases of a pure white glaze, decorated with
geometric and plant forms, and also with human figures, in
brown shading to yellow.
A. The interior black, decorated in red and white with
rings, lotos, and other patterns.
N 3. Fragment. At the top, a meander ; below, part of a
frieze,- showing the haunches of an animal, with geometric
patterns in the field. Interior, a lotos, red and white. No
incised lines.
From the Temple of Hera. Length, M. o. 076. Reg. No. 5971.
N 4. Fragment. Exterior, brown lines. Interior, red and
white lines, and a portion of an egg and dart. No incised
lines. From the Temple of Hera. Length, M. o. 07. Reg. No. 5945.
N 5. Part of a small, round box. Exterior, brown and yellow
lines at the bottom. No design on the interior. No incised
lines. Diameter, M. o. 06. Reg. No. 4651.
N 6. Fragment ; bottom of a vase. Exterior, horizontal
lines in brown. Interior, red and white circles, and between
them a pattern in red and white, resembling lotos-buds. No
incised lines.
From the Temple of Hera. Length, M. o. 112. Reg. No. 5944.
N 7. Fragment. Exterior, portion of an elaborate floral
pattern in brown and yellow, with touches of red. Interior,
red and white lines, and a band of white dots. No incised
lines. Length, M. o. 089. Reg. No. 5729.
N 8. Fragment of a cup or bowl. Exterior, two meanders
separated by horizontal bands and a guilloche. Above, the

NAUKRATIS WARE. 211
hoof of an animal, in outline. Interior, red and white lines.
No incised lines.
Length, M. o. 086. Reg. No. 4645.
N 9. Fragment of the rim of a cup. Exterior, pattern in
brown and yellow, evidently in the field of a frieze. Interior,
large lotos, red and white. No incised lines.
From the Temple of Hera. Length, M. o. 078. Reg. No. 5991.
N 10. Fragment of a cup. Exterior, the head of a sphinx,
drawn in outline, in brown. Interior, part of a floral pattern,
red and, white. No incised lines.
Length, M. o. 048.
N 11. Fragment; the boss of a small, round cover. Ex
terior, black, with a rosette in red and white, surrounded with
white rings. Interior, white, with rings in brown and yellow.
No incised lines.
Diameter, M. o. 042. Reg. No. 4646.
Of the same technique, but differing slightly in minor de
tails, are the following: —
N 12. Fragment. Exterior decorated with two brown lines
on a white ground. Interior, an elaborate pattern in white
and purple on a red ground. No incised lines.
From the Temple of Hera. Length, M. o. 065. Reg. No. 5972.
N 13. Fragment, bottom of a bowl or small dish, decorated
with red and white concentric circles, around a dotted ro
sette, on a brown ground. Exterior, brown circles on the
natural clay.
Length, m. o. 059. Reg. No. 4647.
N 14. Fragment of the side of a cup, with a burlesque dan
cing figure, profile to right, head turned back. A touch of
purple on the hip, and incised lines. Interior, two pairs of
narrow white lines.
From the Temple of Hera. Length, M. o. 077. Reg. No. 5942.
N 15. Small fragments of the same ware.
From the Temple of Hera. Reg. Nos. 4648-4651 and 4674.
B. Exterior similar to A, but interior either white or un
decorated. N 16. Fragment; the neck of a vase. Decorations, in dark
brown: near the top, a variety of the Stabornament; below

212 POTTERY FROM NAUKRATIS.
this, rays ; and at the bottom, part of a frieze, showing an
ibex browsing. Head and belly in outline, the latter dotted.
Between these decorations are broad lines of red, in groups
of three, encircling the vase. No incised lines. Interior :
the mouth white ; below this the clay is left plain.
Length, M. o. 16. Reg. No. 6069.
N 17. Fragments of a small krater, including a portion of the
side, the handle, and the bottom (without the foot). Decora
tions : around the line of the handles, a band composed of
two horizontal lines, with groups of vertical lines at intervals,
and in the interspaces a small zigzag, all in yellow. Interior
white, with traces of red lines. No incised lines. Above the
band are scratched the letters,
and on other small fragments, which presumably belong to
the same vase, is scratched a dedication to Apollo : —
-1  'vO^A^
'Airo'XXcuyos e/u (for et/u)
Length, M. o. 123. Reg. No. 4796.
N 18. Fragment, including part of the rim, of a flat bowl or
saucer. Interior, yellow lines on white. Exterior, white,
plain. From the Temple of Hera. Length, M. o. 12. Reg. No. 5948.
N 19. Small fragment of a large dish. Interior, part of a
star pattern in brown with touches of red. Exterior, the bot
tom plain, the sides apparently brown lines on a white
ground. On the bottom are scratched the letters,

V

Length, M. o. 084. Reg. No. 4695-
N 20. Fragment ; head and foreleg of a browsing ibex. Head
drawn in outline. Below, a broad and a narrow line, red. In
terior not colored. No incised lines.
From the Temple of Hera. Length, M. o. 084. Reg. No. 5982.
N 21. Fragment of the bottom of a cup. Exterior, star pat
tern ; above, the body of an ostrich in brown. No incised
lines. Interior, white, plain.
Length, M. o. 092. Reg. No. 4644.

NAUKRATIS WARE. 213
N 22. Fragment, decorated on the exterior with a lotos band.
Interior not colored. No incised lines.
Length, M. o. 068. Reg. No. 4686.
N 23. Fragment ; the forepart of a lion, with an open mouth,
profile to right. In the field, rosettes. Touches of red, and
the details coarsely incised-. A zigzag on the shoulder of the
lion. Interior white.
From the Temple of Hera. Length, M. o. 072. Reg. No. 5962.
N 24. Fragment of similar character, with the figure of a
bull. The glaze on both the exterior and interior has taken
a decidedly pink tinge, which is probably due to the firing.
From the Temple of Hera. Length, M. o. 053. Reg. No. 5968.
N 25. Fragment ; a female head in relief. On one side of
this the beginning of a frieze, showing the haunches of a
seated lion. Details incised. Interior, black lines on a white
ground. From the Temple of Hera. Length, M. o. 07. Reg. No. 5989.
N 26. Round, shallow dish, restored. Interior, dark brown
lines on white. In the centre a star. Exterior, dark brown
lines on white.
From the Temple of Hera. Length, M. o. 218. Reg. No. 5939.
Group III. The glaze is yellowish and hard, with no ten
dency to flake, and the decorations are drawn in brown, shading
to yellow, sometimes with touches of red.
A. The decorations are similar to those in Group II, and are
in brown and yellow only, with no incised lines.
N 27. Fragment of the rim of a large krater. On the top a
meander, on the outside a guilloche.
Length, M. o. 15. Reg. No. 4701.
N 28. Fragment of the rim of a large bowl, decorated with
a guilloche on the top, in brown and yellow. Interior white.
Length, M. o. 094. Reg. No. 4684.
N 29. Fragment decorated with a guilloche, and small verti
cal lines, above and below, in brown and yellow.
Length, M. o. 05. Reg. No. 4685.
N 30. Fragment ; top of the handle of a large vase, dec
orated with a scroll pattern and a meander, in brown.
Length, M. o. 084. Reg. No. 4739.

214 POTTERY FROM NAUKRATIS.
N 31. Fragment. Decorations: a meander; below, horizon
tal lines in brown.
Length, M. o. 063. Reg. No. 4735.
N 32. Fragment of the rim of a large, round, flat dish. Dec
orations : a guilloche and a palmetto ; below, a small me
ander, in brown shading to yellow. Exterior, rim brown ;
bottom white with brown lines.
From the Temple of Hera. Length, M. o. 072. Reg. No. 5979.
N 33. Fragment of the top of a handle of a large vase. Dec
orations : a lotos border and a meander, in brown. Between
the flowers of the lotos, dotted rosettes.
From the Temple of Hera. Length, M. o. 115. Reg. No. 5946.
N 34. Fragment ; part of a frieze, showing an ibex walking
to right. Head and belly in outline. In the field, geometric
patterns, brown shading to red.
From the Temple of Hera. Length, M. o. 073. Reg. No. 5959.
N 35. Fragment showing part of two friezes; in each an
ibex walking to right. The body of each ibex spotted. In
the field rosettes, etc. Interior white.
From the Temple of Hera. Length, M. o. 104. Reg. No. 5981.
N 36. Fragment showing part of a large palmetto, with a
small border above, brown and yellow.
Length, M. o. 088. Reg. No. 4721.
N 37. Whorl decorated with rays and horizontal lines, in
brown shading to yellow.
Length, M. o. 046. Reg. No. 4747.
N 38, 3g, 40, 41. Four fragments with portions of floral and
other patterns.
Length, m. o. 061, M. o. 039, m. o. 077, m. o. 104. Reg. Nos. 4722, 4723, 4804,
4805. Cover of a small, round dish, with a high knob, from
which Vadiate heavy lines of dark brown. Around the edge, a
row of dots between two broad lines of the same color. Be
tween the patterns, narrow lines of yellow. The color of the
ground is nearly effaced. Interior not painted.
From the Temple of Apollo. Length, M. o. 128. Reg. No. 4824.

NAUKRATIS WARE. 215
B. Glaze and colors the same as A, with incised lines, and
red used extensively in details.
N 43. Fragment, including a bit of the rim, of a large, round,
flat dish. Decorations : exterior, the rim brown ; at the bot
tom, brown and yellow lines on a white ground. Interior, on
the rim a guilloche and palmetto, red and brown. At the
bottom, around the edge, two small meanders in brown, one
with touches of red ; then part of a frieze, showing a bull and
a lion, walking profile to left. Brown and red, with finely
incised lines.
Length, M. o. 189. Reg. No. 5724.
N 44. Fragment of a large, shallow bowl. On the exterior,
brown lines, and a portion of a star on a white ground. In
terior, on the rim a meander ; below, a portion of a frieze, show
ing a spotted ibex walking to right. In the field, rosettes.
Brown and yellow, with touches of red. Details incised.
From the Temple of Hera. Length, M. o. 13. Reg. No. 5954.
N 45. Fragment of the centre of a similar dish. Exterior,
red-brown lines on a white ground. Interior, the centre
slightly raised, and decorated with a circle of lotos flowers,
surrounded by two lines and a border of dots. Design in
brown and yellow, with touches of red. Beyond this is a bit
of a frieze, showing part of an ibex, in brown and red, with
incised lines.
Length, M. o. 108. Reg. No. 5742.
Possibly belonging to this group, but the glaze of a browner,
less lustrous quality : —
N 46. Fragment of the shoulder of a vase, with a lotos pat
tern at the top ; below this, a border of lines, and at the
bottom of the fragment, part of the head of a negro. The
design is in black and brown, with touches of red. Painted
to imitate incised details.
Length, M. o. 06. Reg. No. 4653.
N 47. Small fragment, with the head of a sphinx or human-
headed bird. In the field, a rosette. Black and red. Details
incised. From the Temple of Hera. Length, M. o. 037. Reg. No. 5973.

2l6 POTTERY FROM NAUKRATIS.
N 48. Small fragment ; the lower part of the face, and the
right arm, of a man who is lifting a bowl to his mouth, profile
to left. To the left of him, the shoulder of another man.
Technique of the drawing, similar to that of N 19, but with
small incised lines at the wrist and under the shoulder.
Length, M. o. 053. Reg. No. 4757.
N 49. Fragments of a large, hemispherical bowl, restored.
Around the rim, a band of short vertical lines. Below this, a
frieze of sphinxes and swans (details incised), with rosettes
in the field. Surrounding the handles, an elaborate lotos-
scroll pattern. Below this frieze, a meander between two
broad lines, in which red and blue are used. Then another
frieze, two ibexes springing to right, their heads turned back.
Heads and bellies drawn in outline. In the field, rosettes
and dots. No incised lines. Below this a zigzag, under
which is a band composed of rosettes and groups of vertical
lines. Diameter, M. o. 407. Reg. No. 6221.
Group IV Vases of the style resembling the Rhodian.
The glaze varies from greenish to yellowish, but is never the
pure white of Groups I and II The designs are painted in
dark brown, with liberal touches of red. The field is filled
with geometric and floral patterns. On vases of this group
figures with incised details and those with faces drawn in
outline appear on the same specimens, the former being in the
upper bands, the latter in the lower. The borders separating
the friezes are usually composed of red, blue, and dark brown
lines, but in some cases they are brown only.
N 50. Colossal krater (Naukratis, II, pi. xi, No. 3), extensively
restored. Decorations : on the top and side of the rim, a
meander interrupted at intervals by squares. On the tops of
the handles, a checker-board pattern, the handles themselves
apparently of a plain brown. Design of the neck gone.
Around the shoulder and body are four friezes ; first, human-
headed birds, — and swans ? (one among the pieces still left).
Details incised. Touches of red in the figures; the back
ground plain. Second, lions and bulls, drawn with much

NAUKRATIS WARE. 217
spirit. Details incised. Touches of white and red, back
ground plain. Third, a frieze of human-headed birds like the
first, but apparently with flowers used sparingly in the field.
Separating this from the frieze below it is a broad meander.
The fourth frieze apparently consisted wholly of browsing
ibexes, with heads, etc., drawn in outline. No incised lines.
Rosettes and geometric patterns in the field. Around the
bottom of the vase, rays.
This vase has been published as above. Enough fragments were found to
indicate the shape and approximate size of the original, and from them this
restoration was made at the British Museum. Height, M. o. 565. Diame
ter, M. o. 57. Reg. No. 6220.
N 51. Round bowl with two handles, extensively restored.
(Naukratis, II, pi. vii, No. 5.) Around the rim a frieze, which
on one side consists of a human-headed bird between two
griffins. Details incised. It is doubtful whether accessory
colors were used in the figures, which are considerably worn,
but red appears in the lotos-scroll pattern which surrounds
the handles. The design on the other side was different, but
only a small fragment of it remains, showing part of an ibex
fallen to its knees. Below this is a meander, between two
bands of brown and red, and then a second frieze, consisting
of a lotos-palmetto border in brown, with touches of red. No
incised lines. Under this is a second meander, between lines
of red, blue, and brown, and at the bottom rays. The in
terior is of a black glaze shading to red, and surrounded by
lines of red and white.
Published as above. Diameter, M. o. 343. Reg. No. 6222.
N 52. Round bowl with two handles, extensively restored.
Decorations : around the rim, a narrow band of vertical lines,
in brown. Then a broad frieze, consisting, on each side, of
two sphinxes seated vis-a-vis, the two groups separated by an
elaborate lotos-scroll pattern. The sphinxes are drawn with
incised lines, and touches of white and red. Below this frieze
is a band of a checker-board pattern, above and below which
are bands of red, white, and brown lines. On the bottom, rays.
Interior black, surrounded by red and white lines. In the
centre was apparently a circular panel of the same color as
the exterior, only a small fragment of which is left.
Diameter, M. o. 27. Reg. No. 6223.

218 POTTERY FROM NAUKRATIS.
N 53. Oinoehoe, extensively restored. (Naukratis, II, pi. xiii,
No. 3, and p. 46, where it is stated that this jug is in the
Museum at Boulak.)
The surface is much worn, as though by the action of
water, but enough of the glaze and colors are still preserved
to show unmistakably the class to which it belongs. Dec
orations : two friezes, of ibexes, with a broad band of rays at
the bottom. The drawing is in dark brown, with numerous
touches of red (the latter color almost obliterated), the heads,
etc., being drawn in outline. No incised lines. The bands
between the friezes appear to have been composed of several
colors, all of which, except the brown, have faded. The field
of each frieze is filled with a variety of patterns, among
which are the meander-cross, rosette, simple cross, and com
binations of scrolls.
Published as above. Height, M. O. 29. Reg. No. 6225.
Fragments belonging to this group.
A. The glaze is greenish-white, and the faces are drawn in
outline. No incised lines. The borders between the friezes
are brown only, and in the field geometric patterns predomi
nate. In the figures, touches of red or purple.
N 54. Small portion of two ibexes. Field filled with geomet
ric patterns. Interior black.
Length, M. o. 089. Reg. No. 4681.
N 55. Body of an ibex. Geometric patterns. Above the
ibex are scratched the letters M 0 • • • • Interior black.
From the Temple of Hera. Length, M. o. 057. Reg. No. 5960.
N 56. Head of an ibex. In the field, a meander-cross and a
dotted rosette. Interior black.
Length, M. o. 057. Reg. No. 4660.
N 57. Face of an ibex. In the field, part of a meander-cross.
Interior black.
Length, m. o. 049. Reg. No. 4802.
N 58. Forepart of an ibex, browsing. Field filled with
geometric patterns. Geometric border below. Interior not
painted. Length, M. o. 102. Reg. No. 4680.

NAUKRATIS WARE. 219
N 5g. Head of a lion. In the field, a rosette. Interior not
painted. Length, M. o. 056. Reg. No. 5746.
N 60. Back of a wild boar. Geometric patterns in the field.
Interior not painted.
Length, M. o. 074. Reg. No. 4682.
B. The designs are like the preceding, the ibex predominat
ing as a motive, but in the field the patterns are generally
floral rather than geometric. Red is used freely on the figures,
and the borders between the friezes are of red and blue lines
on brown. No incised lines. Glaze varies from greenish to
yellowish. N 61. Portion of two friezes. In the upper, ibexes spring
ing ; the field filled with rosettes. In the lower, a lotos
band. Interior brown, with red and blue lines.
Length, M. o. 137. Reg. No. 4654.
N 62. Part of a frieze, ibexes browsing ; rosettes and trian
gles in the field. Above and below, a meander. Interior
brown, with red (?) lines, almost effaced.
Length, M. o. 128. Reg. No. 4659.
N 63. Part of an ibex ; a rosette in the field.- Above, a
meander. Interior brown, with red and blue lines.
From the Temple of Apollo. Length, M. o. 085. . Reg. No. 4801.
N 64. Small bit of two friezes, showing parts of ibexes ; ro
settes in the field. Interior brown, with one end of a large
pattern, the outlines of which are incised.
From the Temple of Hera. Length, M. o. 065. Reg. No. 5961.
N 65. Lion walking to right ; in the field, rosettes. Interior
brown, with red and blue lines.
Length, M. o. 075. Reg. No. 4683.
N 66. A spotted stag, browsing. In the field, dotted rosettes
and a meander-cross. Interior brown, with red and blue
lines. Length, m. o. 112. Reg. No. 5735.
N 67. Ibex browsing ; geometric pattern in the field. In
terior black.
Length, M. o. 103. Reg. No. 4658.

220 POTTERY FROM NAUKRATIS.
N 68. Fragment of the middle of a saucer, decorated with a
large lion's head. Exterior, red lines on the natural color.
From the Temple of Apollo. Length, m. o. 10. Reg. No. 4803.
N 6g. Ibex browsing ; rosettes and crosses in the field. Be
low, the top of a lotos band. Interior not painted.
Length, M. o. 09. Reg. No. 4656.
N 70. Parts of two ibexes ; rosettes and cross in the field.
Interior not painted.
Length, M. o. 092. Reg. No. 4657.
N 71. A spotted stag, browsing. In the field, rosettes and
crosses. Interior not painted.
Length, m. o. 081. Reg. No. 5752.
N 72. Fragment of a cover, decorated with a band of scrolls
and one of lotos flowers and buds. Interior not painted.
Length, M. o. 087. Reg. No. 5750.
N 73. Fragment of the lower part of a large vase, showing
rays and a band of dots, with red and blue lines above and
below it. Interior brown, with red and blue (?) lines.
Length, m. o. 09. Reg. No. 4819.
N 74. Part of a leaping ibex ; rosettes in the field. Glaze
and accessory colors worn off. Interior not painted.
From the Temple of Apollo. Length, M. o. 129. Reg. No. 4800.
N 75. Fragment of a similar vase, with a border of vertical
lines at the top ; and below, a rosette, and a device resembling
a figure 8. Interior not painted.
From the Temple of Apollo. Length, M. o. 12. Reg. No. 4817.
N 76. Fragment of the shoulder of a vase, with part of a Stab
ornament in red and brown at the top ; and below, the shoul
der of an animal. Interior brown.
Length, M. o. 076. Reg. No. 4699.
N 77. Fragment of the rim and shoulder of a bowl ; a brown
guilloche on the rim, and a Stabornament in red and brown on
the shoulder. Interior brown.
Length, M. o. 097. Reg. No. 4698.
N 78. Part of a shallow dish. Interior, on the rim a me
ander ; below, a large border of lotos flowers, separated by
groups of vertical lines, and in the centre a portion of a
star pattern. Above and below the lotos band are lines of

NAUKRATIS WARE. 221
red and blue on brown. Exterior, brown lines on the natural
clay. Length, M. o. 208. Reg. No. 5725.
N 79. Ditto. A meander, a broad band of brown, on which
are red and blue lines, and in the centre a star. Exterior,
brown lines on the natural clay.
From the Temple of Hera. Length, M. o. 156. Reg. No. 5986.
N 80. Ditto. On the rim, a meander ; below, a lotos band, and
lines of red and blue. Exterior, red lines on the natural clay.
From the Temple of Hera. Length, M. o. 095. Reg. No. 5988.
N 81. Ditto. A meander, a band of rosettes and vertical
lines, and in the centre a star pattern. Touches of red, and
red and blue lines. Exterior, brown and red lines on the
natural clay.
From the Temple of Hera. Length, M. o. 113. Reg. No. 5947.
N 82. Ditto. Similarly decorated.
Length, M. o. 119. Reg. No. 4692.
N 83. Ditto. A band of dots, a meander, and in the centre
a star. Surface considerably worn, and colors obliterated.
Exterior like N 81.
From the Temple of Apollo. Length, M. o. 188. Reg. No. 4815.
N 84. Small fragment of a large, shallow dish. On the rim,
a guilloche in black. Interior, red and blue lines, and a nar
row border of lines, squares, and dots, in black. Exterior,
black and brown lines on white.
From the Temple of Hera. Length, M. o. 072. Reg. No. 5979.
N 85. Fragment of the rim of a large, flat dish. Palmetto
and scroll, in brown with touches of red. Exterior brown.
A red stripe on the bottom.
Length, M. o. 079. Reg. No. 5734.
N 86. Fragment, showing part of a palmetto-scroll pattern in
brown, with touches of red. Interior not painted.
Length, M. o. 075. Reg. No. 4696.
N 87. Fragment, decorated with a lotos. Interior not painted.
From the Temple of Apollo. Length, M. o. 097. Reg. No. 4818.
N 88. Fragment of a large cover. Glaze decidedly greenish.
Decorated with bands and lines in brown, coarsely painted.
Interior not painted.
Length, M. o. 17. Reg. No. 6074.

222 POTTERY FROM NAUKRATIS.
N 89. Fragment of a flat dish, of similar technique.
From the Temple of Hera. Length, M. o. 195. Reg. No. 5985.
N 90. Small fragment, of similar technique. On one side, a
lotos. From the Temple of the Dioskouroi. Length, M. o. 079. Reg. No. 4689.
C. Fragments of necks of large vases of this group, decorated
with geometric patterns in brown shading to red. (Although
the decoration of these necks is quite different from that of the
fragments described above, their connection with this group is
proved by the vase published in Naukratis, I, pi. iv,fig-3, the
neck of which is decorated in the geometric style of the following
specimens, and the shoulder with a frieze of animals and birds!)
N 91. Neck and lip of a large krater, partially restored. On
the top of the lip, a border of short, diagonal lines, of dark
brown shading to red, on a pale yellow ground. On the neck,
two panels of the same pale yellow, and in each of these a
meander in which squares are introduced. The ground be
tween the panels is of dark brown, shading to red. The in
side of the lip is decorated with a red border, otherwise the
interior is unpainted.
From the Temple of Apollo. Diameter, M. o. 328. Reg. No. 4810.
N 92, 93. Two fragments of the neck of a similar vase, the
panels being decorated with a simple guilloche. On the top
of the lip are narrow brown lines encircling the vase. The
inside of the lip is decorated with a dark-brown band, and the
interior of the vase seems to have been painted the same pale
yellow as the exterior.
From the Temple of Apollo. Length, M. o. 138, M. o. 113. Reg. Nos. 481 1,
4812.
N 94. Fragment of the neck of an amphora, with vertical
lines around the lip ; and below, a meander in brown shading
to red. On the inside of the lip are two red lines on a pale
ground. Length, M. o. 135. Reg. No. 4718.
N 95. Fragment of the rim of a flat dish, with a band of
lotos and rosettes. Touches of purple on the inside, and red
lines on a brown ground on the outside.
From the Temple of Hera. Length, M. o. 11. Reg. No. 5980.

NAUKRATIS WARE. 223
D. Decorations with incised lines. These decorations are
usually on the upper part of the vases which belong to this
group. They show strongly the influence of the Corinthian
style, the ibex giving place to swans, lions, and such fantastic
animals as the griffin and sphinx, which are common on Corin
thian vases. In the field, flowers like the Corinthian are gen
erally substituted for rosettes and crosses. The color of the
glaze and the use of red and blue are the same as in B.
N 96. Fragment of the neck of a krater, including the handle,
which is made in imitation of a swinging handle of metal.
To the right of the handle, a panel in which is a seated griffin.
In the field, flowers. On the top of the lip, a meander.
Interior brown, with red and blue lines.
Length, M. o. 221. Reg. No. 4704.
N 97. Similar fragment, not including the handle. Dec
orated with a griffin and flowers. Interior painted red.
Length, M. o. 148. Reg. No. 4667.
N g8. Fragment of the neck and rim of a large vase. On
the exterior a swan, with rosettes in the field. On the top of
the rim, a meander. Interior brown, with red and blue lines.
Length, M. o. 128. Reg. No. 4702.
N gg. Fragment of the neck of a vase. Seated griffin, flow
ers in the field. Interior not painted.
From the Temple of Hera. Length, M. o. 085. Reg. No. 5955 A.
N 100. Fragment of the same (?). A swan and parts of
other figures. In the field, flowers. Interior not painted.
From the Temple of Hera. Length, M. o. 061. Reg. No. 5955 B.
N 101. Fragment of the shoulder of a large vase, showing a
frieze, in which is a lion walking to left. Before him, part of
an ibex or deer. In the field, flowers ; below, a meander and
a border of lines.
Length, M. O. 126. Reg. No. 4668.
N 102. Fragment of a flat dish. Interior, a swan. In the
field, flowers. Above, blue, red, and brown lines. Exterior,
brown lines on a white ground,
Length, M. o. 066. Reg. No. 4678.

224 POTTERY FROM NAUKRATIS.
N 103. Fore-half of a lion. In the field, rosettes. Interior
not painted.
From the Temple of Apollo. Length, M. o. 071. Reg. No. 4807.
N 104. Fragment of the shoulder of a large vase. Two lions
walking, back to back. In the field, flowers. Interior not
painted. Length, M. o. 16. Reg. No. 4666.
N 105. A griffin and a swan. In the field, flowers ; above, a
Stabornament. Interior brown.
Length, M. o. 11. Reg. No. 5740.
N 106. Lion walking to right. In the field, flowers. Interior
not painted.
From the Temple of Hera. Length, M. o. 067. Reg. No. 5958 A.
N 107. Similar. Lion walking to left.
Length, M. o. 067. Reg. No. 5958 B.
N 108. Small fragment. Neck of a swan.
From the Temple of Apollo. Length, M. o. 038. Reg. No. 4809.
N iog. Fragment of the rim of a bowl. Parts of two swans.
Rosettes, etc., in the field. Interior brown, with red lines.
Length, M. o. 064. Reg. No. 4679.
N no. Small fragment. Head of a lion.
Length, M. o. 058. Reg. No. 4676.
N in. Fragment, showing parts of two friezes. In the upper,
a deer, fallen to its knees. In the lower, the tail of an ani
mal, and the head and tip of the wing of a sphinx. In the
field, rosettes, etc. Interior not painted.
From the Temple of Apollo. Length, m. o. 094. Reg. No. 4806.
N 112. Two lions crouching, vis-a-vis. In the field, rosettes
and a meander-cross. Interior not painted.
From the Temple of Hera. Length, M. o. 084. Reg. No. 5957.
N 113. Fragment of a flat dish. Interior, a swan and a
human-headed bird, vis-a-vis. In the field, flowers. Exterior,
white and brown.
Length, m. o. 079. Reg. No. 5730.
N 114. Part of the body of a large cock. In the field, flow
ers. Interior not painted.
Length, M. o. 092. Reg. No. 4677.
N 115. Fragment of a large cover, with a frieze of griffins

NAUKRATIS WARE. 225
walking to right. In the field, rosettes, etc. Towards the
centre, and separated from the frieze by a meander between
two broad lines, is a lotos band. Interior not painted.
Length, M. o. 166. Reg. No. 5721.
N 116. Fragment of a flat dish. Haunches of a lion, and
the body and legs of a large bird. Field plain. Exterior not
painted. Length, M. o. 08. Reg. No. 4669.
N 117. Human-headed bird, walking to right. Field plain.
Above and below, broad bands of dark brown. Interior not
painted. Length, M. o. 107. Reg. No. 5749.
The following three fragments probably belong with this
group, as the use of the accessory colors, red, white, and blue,
and of incised lines, is the same, though the ground is painted
dark brown.
N 118. Part of a large pattern of lotos, with a combination
of the Stabornament. Above, narrow lines of red, white, and
blue. Interior not painted.
Length, M. o. 11. Reg. No. 5741.
N ng. Small bit of a similar pattern.
Length, M. o. 072. Reg. No. 4708.
N 120. Fragment showing a portion of a lotos pattern care
fully incised. Flowers red and white. Interior not painted.
Length, M. o. 088. Reg. No. 4707.
Group V. Decorations in red, upon a ground which varies
from a creamy yellow to pure white.
N 121. Fragment of a large cover. Decorations : lotos and
meander, red, with touches of purple. Ground white. No
incised lines.
Length, M. o. 125. Reg. No. 4713.
N 122. Fragment. Decorations : a Stabornament, a lotos
band, and part of a frieze of animals, showing a portion of an
ibex. Rosettes in the field. No incised lines. Between
these bands are broad stripes of red, and narrow blue lines.
Interior plain.
Length, M. o. in. Reg. No. 4655.

226 POTTERY FROM NAUKRATIS.
N 123. Fragment of a saucer. Interior, diagonal lines around
the rim. Inside, bands and a row of dots, and in the centre
a rosette. Exterior, red lines on the natural clay. No in
cised lines.
From the Temple of Apollo. Length, M. o. 128. Reg. No. 4816.
N 124. Part of a low, shallow dish, with a foot. Decorations:
interior similar to the preceding, with the addition of a me
ander near the rim. The white glaze of the ground is nearly
worn off. On the exterior, red and white lines. No incised
lines. Length, M. o. 185. Reg. No. 5720.
N 125. Fragment of a shallow bowl, with a base. Decora
tions : interior, in the centre a star ; surrounding this a
broad.lotos band, and on the rim a meander. These designs
are separated by bands of red, with lines of white and purple
upon them. Exterior, red lines. No incised lines.
From the Temple of Hera. Length, M. o. 163. Reg. No. 5984.
N 126. Small fragment, including a part of the rim, of a simi
lar dish. On the rim, a meander ; below, a rosette. Exterior,
red lines. No incised lines. The glaze on this fragment is
nearly effaced.
Length, M. o. 112. Reg. No. 471 1.
N 127., Fragment of a similar dish, with no base, showing
part of a star pattern in the centre, and surrounding this a
border of squares and stars, separated by groups of four ver
tical lines. On either side of this border is a broad red line
with a narrow blue line upon it. Exterior, red lines shading
to brown.
From the Temple of Hera. Length, M. o. 12. Reg. No. 5978.
N 128. Fragment of a saucer, with red lines on white, on
both interior and exterior.
From the Temple of Hera. Length, m. o. 094. Reg. No. 5975.
N i2g. Fragment of the neck and shoulder of a large krater.
On the rim, a meander ; on the neck a guilloche, and on
the shoulder, an inverted lotos border. No incised lines.
From the Temple of Hera. Length, M. 0. 177. Reg. No. 5983.

NAUKRATIS WARE. 227
N 130. Small fragment, showing a bit of meander, well
drawn. No incised lines.
Length, M. 0. 073. Reg. No. 4720.
N 131. Fragment of the neck of a vase, with a meander in a
cream panel. Interior painted red. No incised lines.
Length, M. o. 101. Reg. No. 4716.
N 132. Fragment of a large vase, showing the head and
shoulder of a browsing ibex. Head drawn in outline. In
the field, one rosette. No incised lines.
Length, M. o. 084. Reg. No. 5731.
N 133. Fragment of a large vase, with portions of three
friezes. On the lower two are ibexes browsing, heads drawn
in outline. Rosettes and lines in the field. Only a small
bit of the upper frieze remains, but this shows that incised
lines were used here for the details. Interior, ground black,
with a portion of a large pattern in red and white. Incised
outlines. Length, M. o. 088. Reg. No. 4661.
N 134. Fragment of a small bowl. At the top, a band of
vertical zigzag lines. Below, part of a frieze, showing a large
flower and the tail of a bird. Interior painted red.
Length, M. o. 065. Reg. No. 4663.
Group VI. Vases of a brown glaze, decorated with a darker
brown, to which touches of red are sometimes added. The
interior is decorated with a glaze of black, or dark brown, en
circled with lines of red and white. This ware is always
light and thin.
N 135. Small fragment, with an eye in dark brown, shading
to red. Interior dark brown.
From the Temple of Apollo. Length, M. o. 056. Reg. No. 4823.
N 136. Fragment of a bowl, including one handle and part of
the rim. On the rim, dotted rosettes ; below, three lines, dark
brown. Interior dark brown, with red and white lines.
From the Temple of Apollo. Length, M. o. 15. Reg. No. 4822.
N 137. Similar fragment but smaller. Interior black, with
lines of other colors effaced.
From the Temple of Hera. Length, M. o. 095. Reg. No. 5949.

228 POTTERY FROM NAUKRATIS.
N 138. Fragment of the rim of a bowl. A water-fowl, drawn
in the Mykenae style, with cross-hatched lines. Above and
below, bands of dark brown. Interior dark brown, with red
and white lines.
Length, M. o. 074. Reg. No. 4740.
N i3g. Fragment of a large bowl, showing a lotos band, lines,
and two rays of a star, in dark brown with touches of red.
Interior black, with red and blue lines, and one line of the
natural color of the clay.
Length, M. o. 098. Reg. No. 4697.
N 140. Small saucer, decorated with narrow brown lines, and
a broader one around the rim. Interior, broad bands of black,
on which are red and blue or white lines.
From the Temple of Hera. Length, M. o. 104. Reg. No. 5943.
N 141. Fragments of a bowl, of shape and texture like the
above, restored. The surface is much worn, but shows that
there were lines, brown shading to red, around the rim and
the bottom, and that the interior was dark brown with red
lines. From the Temple of Apollo. Diameter, M. o. 16. Reg. No. 4821.
N 142. Bowl of shape similar to the preceding, the lower
half of the exterior covered with a black glaze. Interior
black, with no lines.
Diameter, M. o. 145. Extensively restored.
Akin to this group, but of coarser texture, are the two fol
lowing : —
N 143. Cup-shaped fragment, apparently part of a large vase,
as it is broken raggedly at the bottom, through which there is
a round hole. Ware heavy and rather coarse. Decorations :
horizontal bands of black, and lines of purplish red. Interior
not painted.
From the Cemetery. Length, M. o. 121. Reg. No. 5709.
N 144. One-handled cup, coarsely made. Lower half of ex
terior covered with a poor, dark brown glaze. Interior, same
glaze thoughout.
From the Temple of Hera. Height, m. o. 075. Reg. No. 5940.

CORINTHIAN FRAGMENTS. 229
OTHER GREEK FABRICS.
Corinthian Ware.
I. Greenish-yellozv clay. Incised lines where not otherwise
stated. N 145. Top of the handle of a large krater. Seated sphinx,
profile to right.
Length, M. o. 125. Reg. No. 4671
N 146. Ditto. Swan standing, profile to right, head bent
down. Length, m. o. 103. Reg. No. 4672.
N 147. Part of the rim of a krater. Double lotos-palmetto
band on the top.
From the Temple of Apollo. Length, m. o. 143. Reg. No. 4813.
N 148. Two fragments of a large vase. A cock standing, pro
file to left.
From the Temple of the Dioskouroi. Length, as joined, M. 0. 153. Reg.
Nos. 4665, 4666.
N 149. The lower part, including the base, of a small vase of
exquisite technique, showing the best type of Corinthian
ware. At the bottom, rays ; above, a small bit of a frieze,
with a swan, and the hind legs of an animal, the field filled
with flowers.
Length, M. o. 099. Reg. No. 5733.
N 150. Fragment of the rim of a large vase. On the top
zigzags, not incised.
Length, M. 0. 065. Reg. No. 4814.
N 151. Small fragment, showing part of awheel pattern. No
incised lines.
Length, M. o. 061. Reg. No. 4744.
N 152. Fragment of the mouth and shoulder of an aryballos.
On the lip, rays ; a scroll (?) on the shoulder ; and below, dots
and lines. No incised lines.
Length, M. o. 081. Reg. No. 4741.
N 153. Very small aryballos, rays on the lip and shoulder ;

230 POTTERY FROM NAUKRATIS.
on the body an Oriental star pattern in front, and starting on
either side of this a sort of guilloche, with rosettes or flowers
in the centre of each scroll.
Length, M. o. 034. Reg. No. 4745.
N 154. Part of the lip of an aryballos, decorated with rays.
Length, M. o. 067. Reg. No. 4743.
N 155. Fragment of a small, pear-shaped aryballos, decorated
with dots and lines, not incised.
Length, m. 6. 043. Reg. No. 4746.
N 156. Jug in the form of a rabbit, couchant, the top of the
head pierced by a hole for pouring. The ear is also perfo
rated by a small round hole for hanging. The surface has
been decorated, but the decorations are worn off.
Length, M. o. 081. Reg. No. 5831-J.
II. Clay warmer and more reddish in tone. Incised lines
as above.
N 157. Fragments of a vase, richly decorated with a beauti
ful combination of scrolls and palmettos ; below, broad diago
nal lines. Ground pale yellow. No incised lines.
Length, M. o. 098. Reg. No. 5727.
N 158. Fragment. Browsing goat. Ground pale yellow.
Interior dark brown.
Length, M. o. 092. Reg. No. 4662.
N 159. Fragment. Part of a large bird, walking to right.
In the field, a flower.
Length, M. o. 086. Reg. No. 4742.
N 160. Fragment of a round dish, with convex sides and a
volute handle, perforated. On the top, a band of dots and
lines ; on the sides, a frieze, of which only the wing of a bird
is left. In the field, flowers.
Length, M. o. 119. Reg. No. 4670.
N 161. Fragment. Two bearded men, vis-a-vis. The one on
the left holds a drinking-horn to his mouth. In the field,
flowers. Interior black.
From the Temple of Hera. Length, M. o. 097. Reg. No. 5956.
N 162. Fragment, head and shoulder of a lion or panther.
Interior covered with a red glaze.
From the Temple of Apollo. Length, M. o. 086. Reg. No. 4808.

FRAGMENTS OF BLACK-FIGURED WARE. 23 1
Attic-Corinthian Ware.
N 163. Fragment of an oinoehoe, restored. Clay red. At
the junction of neck and shoulder, a Stabornament ; below, a
frieze of birds, of which parts only remain, showing one
human-headed bird among them ; under this, and separated
from it by a band of dots and lines, a second frieze, of lions
and goats ; and at the bottom, rays.
Height, as restored, M. o. 277. Reg. No. 6226.
N 164. Fragment, clay red. A lion, drawn with spirit. In
the field, a flower.
Length, M. o. 088. Reg. No. 4673.
N 165. Fragment, clay red. Head of a cock, and part of a
lotos pattern.
Length, M. o. 137. Reg. No. 4674.
N 166. Fragment, heads of a lion or panther and a goat.
Clay red. Interior black.
From the Temple of Hera. Length, M. o. 054. Reg. No. 5963.
N 167. Fragment, clay red. Human-headed bird, perched
upon what is apparently part of a lotos pattern.
From the Temple of Hera. Length, M. o. 061. Reg. No. 5965.
N 168. Fragment, head and breast of a swan. In the field, a
flower. Clay red. Interior, fine black glaze.
Length, M. o. 049. Reg. No. 4750.
Fragments of Black-figured Ware.
N 169. Two warriors fighting. Interior, fine black glaze, with
two red lines. Earliest style.
Length, M. o. 093. Reg. No. 5745.
N 170. Small round cover, knob broken. Decoration, chain
of lotos-buds. No incised lines. Earliest style.
Length, M. o. 093. Reg. No. 5748.
N 171. Parts of two nude male figures, dancing or leaping.
Earliest style.
Length, M. o. 074. Reg. No. 4758.
N 172. Parts of two birds, walking to right. Interior, fine
black glaze. Earliest style.
Length, M. o. in. Reg. No. 4749.

232 POTTERY FROM NAUKRATIS.
N 173. Bearded head, profile to left. Earliest style.
Length, M. o. 062. Reg. No. 4754.
N 174. Head and torso of a beardless man, profile to right.
Hair painted red. Earliest style.
Length, M. o. 057. Reg. No. 5739.
N 175. Head and part of the body of a large bearded figure.
Around the shoulders a pair of arms. (Triton embraced by
Herakles.) Earliest style.
Length, M. o. 092. Reg. No. 5726.
N 176. Beardless head, profile to left. Face, below the eye,
painted red. Earliest style.
Length, M. o. 04. Reg. No. 5743.
N 177. Heads and shoulders of a warrior and a horse, profile
to right. Earliest style.
Length, M. o. 019. Reg. No. 4759.
N 178. Lower part of two male figures, profile to right.
Earliest style.
Length, M. o. 054. Reg. No. 4761.
N 179. Head and wing of a sphinx, profile to left. Face
white, hair and part of the wing red. Earliest style.
From the Temple of Hera. Length, M. o. 048. Reg. No. 5967.
N 180. Fragment of a colossal vase. Body- of an octopus.
Interior, broad bands of black on the red.
Length, M. o. 132. Reg. No. 4748.
N 181. Head of a bearded man, profile to right.
Length, M. o. 041. Reg. No. 4760.
N 182. Head of a horse, profile to right. Interior black.
From the Temple of Hera. Length, M. o. 043. Reg. No. 4826.
N 183. Upper half of a sphinx, profile to right. Face origi
nally white. Interior, dark brown glaze.
Length, M. o. 119. Reg. No. 4751.
N 184. Fragment of the neck of a vase. Part of a boxing
scene. Head and left arm of a boxer, and behind him the
judge, holding a staff. Interior, fine black glaze with a red
and a white line.
Length, M. o. 092. Reg. No. 4798.
N 185. Fragment of the top of a large handle. Bearded
head. Length, M. o. 125. Reg. No. 4753.

FRAGMENTS OF BLACK-FIGURED WARE. 233
N 186. Ditto. Seated sphinx, head and upper part of wing
gone. Length, M. o. 108. Reg. No. 4752.
N 187. Small fragment of the shoulder of a lekythos. Beard
less head, and right arm. Above, a bit of a chain of lotos-
buds. Length, M. o. 045. Reg. No. 4776.
N 188. Small fragment. A crane, standing profile to right.
Length, m. o. 036. Reg. No. 4775.
N 189. Neck of an amphora, restored. On each side a lotos-
palmetto decoration. Around the outer edge of the lip, two
red lines. Interior black.
Length, M. o. 107. Reg. No. 4767.
N igo. Fragment of the mouth of an amphora. On the lip,
two red lines on a black ground, inside and out. On the
neck, a lotos-palmetto.
Length, M. o. 15. Reg. No. 4768.
N 191. Ditto, including a piece of the handle, to the right of
which is a female head, flesh white. Inside of lip painted
red, with two red lines below.
Length, M. o. 098. Reg. No. 5736.
N 192. Ditto, lip black inside and out. On the outside, two
red lines. On the neck, a lotos-palmetto.
Length, M. o. 108. Reg. No. 4769.
N 193. Fragment of the rim of a large krater or amphora.
On the top of the rim, a chain of lotos-buds. On the out
side, a meander. Neck black, on exterior and interior, with
two red lines on the latter.
Length, m. o. 143. Reg. No. 4766.
N 194. Ditto. On the top of the rim, a chain of lotos-buds.
On the outside, an ivy vine.
Length, M. o. 095. Reg. No. 4765.
N 195. Ditto. On the neck, a chain of elongated lotos-buds.
Length, M. o. 137. Reg. No. 4763.
N 196. Ditto. On the top of the rim, wavy diagonal lines.
On the outside, ivy leaves, not joined together.
Length, m. o. 273. Reg. No. 5755.

234 POTTERY FROM NAUKRATIS.
N 197. Ditto. Top like the preceding, with the tail of an
animal at the left. Exterior and interior black, a red line on
the latter.
Length, M. o. 15. Reg. No. 4756.
N 198. Handle of a kylix. Between the two ends, a tripod.
Interior of the kylix black.
Length, M. o. 083. Reg. No. 4783.
N igg. Small fragment, parts of two sheep. Interior black.
Length, M. o. 05. Reg. No. 4772.
N 200. Fragment, showing the head of a lion, profile to left,
and one paw raised.
Length, m. o. 05. Reg. No. 5747.
N 201. Fragment. At the top, rays ; then a band of lines
and a Stabornament ; below, a bit of a frieze, showing a
female head and arm, profile to left. In front of this, the arm
and part of the head of another figure, and between them a
branch. Interior black and red, with red lines.
Length, M. o. 094. Reg. No. 4778.
N 202. Fragment of the lip of a large kylix. Exterior red;
with the tail of a lion on the lower part. Interior black.
Length, m. o. 072. Reg. No. 4770.
N 203. Fragment of the shoulder of a lekythos, with a chain
of lotos-buds.
Length, M. o. 074. Reg. No. 4777.
N 204. Fragment of the centre of a kylix, showing a seated
sphinx, with red, white, and blue in the wing, surrounded by a
Stabornament, alternately red and black. Drawing exception
ally fine. Bottom pierced by three holes, showing that the
foot had been riveted on. Exterior black.
Length, M. o. 054. Reg. No. 4773.
N 205. Fragment of the rim of a small kylix, showing the
haunches of a horse, and also a bearded man in a long mantle,
walking to right. Behind the man, a palmetto-scroll. In
terior black.
Length, M. o. 062. Reg. No. 4771.
N 206. Two female heads, profile to right. Flesh white.
Length, M. o. 065. Reg. No. 5737.

FRAGMENTS OF RED-FIGURED WARE. 235
N 207. Fragment of an amphora, with the horses of a quadriga
walking to right. In the background, a draped figure with
rosettes on the drapery. Interior black.
Length, M. o. 114. Reg. No. 4780.
N 208. Part of the foot of a cup. On the interior of the
cup, a Silenos mask.
Length, M. o. 072. Reg. No. 4782.
N 209. Fragment of the rim of a cup. Head of a cock.
Length, M. o. 041. Reg. No. 4774.
N 210. Fragment of a kylix. Interior, head and shoulder of
a youth, profile to left. Exterior black.
Length, M. o. 049. Reg. No. 4781.
N 211. Fragment of the shoulder of a large vase. Double
lotos-palmetto chain.
Length, M. o. 074. Reg. No. 4764.
N 212. Head of a warrior and a white-haired, bearded man,
profile to right.
Length, M. o. 058. Reg. No. 5738.
N 213. Bearded man in a long mantle, seated profile to right.
Behind him, the tail of a horse. Interior black.
Length, M. o. 051. Reg. No. 4762.
N 214. Back leg of a throne, behind which is a grape-vine,
marking the left end of a picture, at the side of which runs a
border ; below, two red lines.
Length, M. o. 082. Reg. No. 4779.
N 215. Foot of a kylix. On the interior of the bowl, which
has been broken away, is a cock, standing profile to right.
Fine black glaze.
Length, M. o. 086. Reg. No. 4784.
N 216. Kylix, restored. Upper half, plain red ground.
Lower half, black bands. Surface much worn and glaze gone.
From the Temple of Aphrodite. Diameter, M. o. 15. Reg. No. 6073.
Fragments of Red-figured Ware.
N 217. Torso and legs of a satyr, walking to left, dragging a
wine-skin. Severe style.
Length, M. o. 077. Reg. No 4786.

236 POTTERY FROM NAUKRATIS.
N 218. Fragment of the shoulder of a large vase. Head of
a woman, profile to right. Severe style.
Length, M. o. 065. Reg. No. 4797.
N 219. Ditto, head of a youth, profile to right. Heroic type.
Fine style, earlier half.
Length, M. o. 129. Reg. No. 4786.
N 220. Ditto. Lotos-palmetto border. Same period.
Length, M. o. 116. Reg. No. 4791.
N 221. Mouth and part of the shoulder of a lekythos. On
the latter a female figure, profile to right. Brilliant black
glaze. Same period.
Length, M. o. 117. Reg. No. 4788.
N 222. Handle of a skyphos. Greenish-black glaze, with fine
lustre. No decorations. Same period.
Length, M. o. 085. Reg. No. 4855.
N 223. Head of an old man, with white hair and beard, pro
file to left. Fine style, later half.
Length, M. o. 054. Reg. No. 4790.
N 224. Bearded Dionysos, reclining. Fragment of a design.
Same period.
Length, M. o. 077. Reg. No. 4793.
N 225. Fragment of a design, showing a woman's hand
holding one corner of her veil, and to the right of this a boy
leaning on his hands and looking towards her. Same period.
Length, M. o. 068. Reg. No. 4789.
N 226. Bottom of a cup or bowl. Exterior greenish. In
terior, red glaze. In the centre, a circle surrounded by small
palmettos, stamped. Same period.
Length, m. o. 107. Reg. No. 4859.
N 227. Small, two-handled cup, covered on both sides with
a dark greenish glaze. In the centre, a star pattern of -
palmettos and spirals, stamped. Same period.
Length, M. o. 11. Reg. No. 5714.
N 228. Fragment of a Bacchic scene. Head of Dionysos
leaning on his left hand ; and behind him, the head and shoul
der of a flute-girl, playing on the double pipes. In the field,
ivy leaves and white dotted rosettes. Same period.
Length, M. o. 108. Reg. No. 4792.

FRAGMENTS OF RED-FIGURED WARE.

237

N 229. Fragment of the centre of a kylix. Interior, a nude
youth reclining. Exterior black. Severe style.
Length, M. o. 071. Reg. No. 4785.
N 230. Small, black lekythos with a palmetto pattern on the
front, coarsely drawn. Bottom flat, with a base, the neck
large in proportion to the body. Good black glaze.
Length, M. o. 102. Reg. No. 4794.
N 231. Similar.
Length, M. o. 075. Reg. No. 4795.
N 232. Similar.
Length, m. o. 083. Reg. No. 5707.
N 233. Similar. Mouth gone.
Length, M. o. 075. Reg. No. 5715.
N 234. Similar. Mouth, neck, and handle gone.
Length, m. o. 059. Reg. No. 5716.
N 235. Similar, without the palmetto, a red band around the
shoulder. Length, M. o. 064. Reg. No. 5705.
N 236. Very small teapot-shaped vase, for pouring. On the
top, a scroll pattern in black on a red ground.
Height, M. o. 04. Reg. No. 5713.
N 237. Small jug with a round mouth.
tion. Length, M. o. 064. Reg. No. 5706.
N 238. Small, round box, cover gone.
ration. Length, M. o. 053. Reg. No. 5710.
N 239. Very small, round dish, concave sides.
no decoration.
Length, M. o. 04. Reg. No. 5712.
N 240. Very small bowl, black with no decoration.
Length, M. o. 063. Reg. No. 5708.
N 241. Large, two-handled drinking-cup, shaped in imitation
of metal, covered with a black, metallic glaze. No decora
tion. From the Temple of Hera. Length, m. o. 205. Reg. No. 5938.
N 242. Neck of a small amphora. Black, with no decoration.
Length, m. o. 107. Reg. No. 6071.

Black, with no decora-

Black, with no deco-

Black, with

238 POTTERY FROM NAUKRATIS.
Miscellaneous Unclassified Specimens.
N 243. Large lamp, primitive type, consisting of a shallow
bowl, the rim of which overhangs the interior and is perfo
rated with eighty-six holes for wicks. The outer edge ter
minates in rudely modelled points. This lamp has been ex
tensively restored, the whole surface of the dish itself being
covered with plaster, so that the only original part which still
remains visible is the rim, which is entirely blackened.
Diameter, M. o. 425. Reg. No. 6229.
N 244. Jug with a round mouth (olpe). The glaze and deco
rations of this jug are almost effaced, and the surface is worn
as though by the action of water. The clay is pale yellow,
rather fine in texture, and powdery on the surface. The han
dle, neck, and base still show numerous traces of a red glaze.
At the junction of the neck and shoulder was a Stabornament
of the same color, between two narrow lines of chocolate
brown. Near the bottom is a narrow red band between two
lines of the same brown, and below this are traces of an egg
pattern, the colors of which are gone.
Height, M. o. 26. Reg. No. 6227.
N 245. Handle of a jug, of black ware of an early type (Les
bian ?). Undecorated.
Length, M. o. 174. Reg. No. 4643.
N 246. Fragment of Phoenician ware. At the top, a frieze
of birds ; below, three geometric borders. Decorations in
purple, with touches of brilliant red, on a pale yellow ground.
From the Temple of Apollo. Length, M. o. 087. Reg. No. 4799.
N 247. Small fragment, covered with a yellow slip, on which
is a small bit of an elaborate pattern of lotos and other floral
designs in brown.
Length, M. o. 06. Reg. No. 4652.
N 248. Fragment of the rim of a large bowl (Phoenician ?),
the top divided by a zigzag line into two halves, the inner of
which is white, the outer red and purple. Around the neck,
on the outside, an ivy vine in purple.
Length, M. o. 129. Reg. No. 5722.

UNCLASSIFIED SPECIMENS. 239
N 24g. Fragment of late Egyptian pottery. Coarse red clay
covered with a red glaze, on which is a coarsely drawn pat
tern in dark blue and white.
Length, M. o. 121. Reg. No. 5723.
N 250. Fragment of a rim. On the top, cross-hatched lines
of white on a mixed ground, in which red, white and black are
discernible. From the Temple of Hera. Length, M. o. 113. Reg. No. 5952.
N 251. Fragment of coarse, black ware, covered with a coat
ing of red, and including part of a handle, made in imitation
of metal. Outside covered with a dirty-grayish slip. No
decoration. From the Temple of Hera. Length, M. o. 103. Reg. No. 5951.
N 252. Fragment of a neck and lip of coarse ware, covered
with a yellow slip. On the lip is a lotos border, and on the
neck several rows of dots in dark brown and black.
Length, M. o. 092. Reg. No. 4717.
N 253. Three fragments of the neck and lip of a jug of fine
ware, yellowish in tone. Around the lip is a broad band of
black, on which are rosettes, stars, etc., in white. The neck
is covered with an entrelac pattern in black. The interior of
the lip is black, and shows one end of a scroll pattern in
white. Length, M. o. 55, M. o. 65, M. o. 04. Reg. No. 5993.
N 254-25g. Six miscellaneous fragments.
Reg. Nos. 4724, 5966, 5969, 5971, 5976, 5987.
N 260. Fragment of a bowl, of Roman ware. Pale yellow
clay, covered with a highly lustrous red glaze. No decora
tions. From the Temple of Hera. Length, M. o. 073. Reg. No. 5950.

INDEX.

Note. Unless otherwise specified, the numbers referred to are those of the vases, not
of the pages. N before a number signifies that the specimen is in the Naukratis collec
tion, described on pp. 207 ff.
Achilles, on black-figured vases, 312 (?), 334.
•' Aegean " pottery. See p. 6.
Aigisthos, murder of, see 419.
Alabastra, proto-Corinthian, 22; Corinthian, 39-46, 56-58; Cyprian, 138; red-
figured, 466, 467 ; miscellaneous, 576, 577.
Alambra type of Cyprian vases, p. 71, Nos. 106 ff.
Alban cemetery, vases from, Nos. 88-100. See also pp. 5, 68.
Amasis I, potter, see p. 47.
Amasis II, potter, see p. 47.
Amasis III (?), potter, see p. 47.
Amazons, on black-figured vases, 318, 341 ; on Apulian vases, 496, 527.
Amphorae, Mykenae style, I; Italic geometric, 15; proto-Corinthian, 27, 28;
Italo-Corinthian, 75; early Etruscan, 81 ; prehistoric Italic, 92, 93 ; Cyprian,
163-166, 190, 191, 198, 204, 220, 224; bucchero, 239, 271-277, 293, 296;
black-figured, 309-327, 329-332, N 189-N 192 (fragments), N 207 (fragment) ;
red-figured, 421-425, 429-431, N 242 (fragment); Etruscan imitations, 484 ;
Apulian, 489-491; unclassified, 560; Roman, 622, 623; Naukratis, N 94
(fragment).
Anakles, potter, see p. 47.
Analyses of Greek potter's paste, p. 35.
Andokides, potter, see p. 47.
Apollo, on bucchero vases, 297 ; on black-figured vases, 322, 333, 343'(?), 349 (?).
" Apollo," or early athlete figure, on a bucchero vase, 280.
Apollodoros, potter, see p. 47.
Apulian vases, 15-18 (archaic), 489 ff ; described, p. 29.
Archikles, potter, see p. 47.
Ariadne, on black-figured vases, 312, 317, 337, 354.
Aristonophos, potter, see p. 47.
Aristophanes, potter, see p. 47.
Armenia, prehistoric pottery from, in Case 13, see p. 206.
Arrhetian ware, 579 ff ; described, p. 199.
Artemis, Persian, so called, on bucchero vases, 284, 293, 294, 298.
Aryballoi, proto-Corinthian, 24; Corinthian, 29-38, N 152-N 155 (fragments).
"Askosian " jugs, 86, 472, 606.
Assteas, potter, see p. 47.
Athena, on black-figured vases, 322, 326, 333, 347 ; on Apulian vases, 516, 527.
Attic-Corinthian vases, 308, 309, N 163-N 168. See Introduction, p. 18.

242 INDEX.
Bacchic scenes, on black-figured vases, 312, 313, 316, 317, 320, 321, 325, 351, 371
373 ; on red-figured vases, 398, 420 ; on Apulian vases, 489, 495.
Bacchus, see Dionysos.
Battle, over a fallen warrior (Achilles and Hektor ?) on a black-figured vase,
312; quadriga in, 313; between two warriors, 322, 352 ; Greeks and Ama
zons, 341, 496, 527.
Bird, vases in the form of a, 85 A, 159, 301-305.
Birds, human-headed, on Corinthian vases, 29, 52, 72 ; on Attic-Corinthian vases,
308, N 16*3, N 167 ; on black-figured vases, 350, 357 ; on Naukratis vases,
N47 (?), N50, N51, N98, N113, N117.
Black-figured style, pp. 20 ff ; specimens, Cases 4 and 5, pp. 1 12 ff ; N 169-N 216.
Boars, on Corinthian vases, 43 ; on black-figured vases, 315 ; on Arrhetian vases,
592 ; on Naukratis vases, N 60.
Boeotian ware, archaic, 13.
Brygos, potter, see p. 47.
Bucchero ware, Case 3, pp. 93-1 n ; description of, p. 93.
Bucranium, on a Lucanian vase, 529.
" Biigelkanne," 221.
Bull, jug in the form of a, 226.
Bulls or bullocks, on Corinthian vases, 43-45 ; on black-figured vases, 315, 322,
328, 342, 374 ; on Naukratis vases, N 24, N 43, N 50.
Campanian vases, p. 31.
Centaurs, on bucchero vases, 299 ; on black-figured vases, 336, 348, 366.
Chachrylion, see Kachrylion, p. 48.
Chalkidian vases, p. 18.
Chares, potter, see p. 47.
Charinos, potter, see p. 48.
Charitaios, potter, see p. 48.
Cheiron (?) potter, see p. 48.
Chelis, potter, see p. 48 ; vase probably by, 393.
Chimaeras, on bucchero vases, 275, 299 (?).
Chiron, potter, see p. 48.
Clay, the, of Greek vases, pp. 33 ff. Its texture, p. 34 ; preparation, p. 34 ; com
position, p. 35.
Cock-fight, on a black-figured vase, 315.
Cocks, on Corinthian vases, 40, N 148 ; on Attic-Corinthian vases, N 165 ; as
tops of bucchero vases, 302-305; on black-figured vases, 315,339, N 209,
N 215 ; on Naukratis vases, N 114.
Corinthian style, pp. 13 ff, 34, 207 ; specimens, Nos. 29-77, N 145-N 162.
Cornelius, inscription, 581.
Cyprus, pottery, see Introduction, pp. 2, 4, 10 ff. Vases from, Case 2, pp. 71 ff.
Cyrene, pottery of, p. 16.
Dancing girls, on an Arrhetian vase, 579.
Decorations, how they were applied to Greek vases, pp. 41 ff.
Deer, on Corinthian vases, 45; on black-figured vases, 332,366; on Naukratis
vases, N66, N71, N 101 (?), N in.
Deer, vases in the form of a, 59^64 ; in the form of a deer's head, 307.
Dein[iad]es, potter, see p. 48.

INDEX. 243
Deinos, black-figured, 378.
Departure of a warrior, 311, 315-317, 319, 329; of a youth for the chase, 433.
Dionysos, on black-figured vases, 312, 313, 316, 317, 320, 321, 324, 325, 337, 340,
341, 351, 354, 355; on red-figured vases, 394, N 224, N 228 ; on Apulian
vases, 489, 494, 495, 515; on Lucanian vases, 529.
Dionysos, sacrifice to, 418.
[Diot]imos, potter, see p. 48.
Dipylon style, p. 8. Specimens, Nos. 7-11.
Dogs, on a proto-Corinthian vase, 19 ; on bucchero vases, 271, 277, 281, 283 ; on
red-figured vases, 388 ; on Arrhetian vases, 600, 604.
Dolphins, 18, 357, 372.
Domestic scenes, on red-figured vases, 434, 435, 476, 477.
Duck, vases in the form of a, 159, 470.
Ducks, on a bucchero vase, 277.
Eidolon, on white Attic lekythoi, 451, 452.
Epigenes, potter, see p. 48.
Epiktetos, potter, see p. 48.
Epilykos, potter, see p. 48.
Epitimos, potter, see p. 48.
Erginos, potter, see p. 48.
Ergoteles, son of Nearchos, potter, see p. 48.
Ergotimos, potter, see pp. 19, 48.
Eros, on a red-figured vase, 477 ; on Apulian vases, 492, 504, 520, 526 ; on Lu
canian vases, 528 ; on Megara bowls, 531 ; on Arrhetian vases, 603.
Esquiline, the, prehistoric vases from, 101-105. See also pp. 5, 70.
Etruscan vases, see p. 93 ; imitations of Greek vases, 330-332, 482-488.
Eucheiros, son of Ergotimos, potter, see p. 48.
Euergides, potter, see p. 48.
Euphiletos, potter, see p. 48.
Euphronios, potter, pp. 23, 48, 140, 144; vases by, 388, 394 (?).
Europa (?), on a black-figured vase, 323.
Euthymedes, son of Polios, potter, see p. 48.
Euxitheos, potter, see p. 48.
Exekias, potter, see p. 48.
Fine red-figured style, pp. 24 ff.
Focolare, bucchero, 295.
Frog, Corinthian vase in the form of a, 66.
Gamedes, potter, see p. 48.
Gauris, potter, see p. 48.
Geese, on an Apulian vase, 521.
Geometric ware, pp. 2, 7 ff ; specimens, Greek, Nos. 7-14; Italic, Nos. 15-18.
See also Dipylon.
Glaukytes, potter, see p. 48.
Glaze on Greek vases, p. 42.
Goats, on Corinthian vases, 44, 45. 52> N 158 ; on Attic-Corinthian vases, N 163,
N166.
Grave, persons meeting at a, 445, 446, 448-453.

244 INDEX.
Griffins, on black-figured vases, 374 ; on Naukratis vases, N 51, N 96, N 97, N 99,
N 105, N115.
" Guttus," form so called, 471-475.
Head, human, vases in the form of a, 461-463 A.
Hegias, potter, see p. 48.
Hektor (?), on a black-figured vase, 312.
Helios, on a black-figured vase, 335.
Hens, on a black-figured vase, 365 A.
Hera (?) on a Lucanian vase, 529.
Herakles, on black-figured vases, 320, 321, 333, 334, 336, 348, N 175.
Herakles and Pholos, 336, 348.
Herakles and the Nemean Lion, 321, 464.
Herakles and Triton, combat between, 320, N 175.
Herakles, marriage of, so called, 333.
Hermaios, potter, see p. 48.
Hermes, on black-figured vases, 312, 321, 322 ; on Apulian vases, 516.
Hermogenes, potter, see p. 48 ; cup by, No. 365 A.
Hermonax, potter, see p. 48.
" Heroic," or early fine red-figured style, p. 24.
Hieron, potter, see p. 48 ; vase probably by, 389.
Hilinos, potter, see p. 48.
Hischylos, potter, see p. 48.
Hissarlik, pottery of, pp. 2, 3.
History of Greek vases, see Introduction, part I, pp. 1-32.
Holkions, bucchero, 261-264, 285-290, 297, 298, 299.
Horsemen, on a bucchero vase, 282.
Horses, on a primitive drinking-cup, 78; on Cyprian vases, 193, 195; on buc
chero vases, 282, 296; on black-figured vases, 310, 315,316, 317, 319, 322,
32°, 329. 334, 335, 34i, 347, 359! N182, N 205, N 207, N 213; on Apulian
vases, 496; on Arrhetian vases, 596.
Horses, winged, on Corinthian vases, 53 ; on bucchero vases, 278, 292 ; on
Apulian vases, 498.
Hydriae, bucchero, 278; Attic-Corinthian, 308; black-figured, 333, 334; red-fig
ured, 432-438-
Hypsis, potter, see p. 48.
Iasiades, potter, see p. 48.
Ibexes, on Naukratis vases, N 16, N 20, N 34, N 35, N 44, N 45, N 49, N 50, N 51,
N53-N58, N61-N64, N67, N74, N101 (?), N122, N132, N133.
Iolaos (?) on a black-figured vase, 321.
" Island " wares, pp. 2, ff. See No. 220.
Italic pottery, pp. 5, 68-70 ; specimens, Nos. 88-105, an^ see P- 94, group I.
Italic geometric vases, 15-18.
Kachrylion, potter, see p. 48.
Kalliades, potter, see p. 48.
Kalpides, red-figured, 432-438.
Kantharoi, geometric, 10 ; primitive unclassified, 78 ; red-figured, 407-412, 463 A ;
Apulian, 513-518.

INDEX. 245
Kentaur, see Centaur.
Kiln used by Greek potters, pp. 39 f.
Kittos, potter, see p. 48.
Kleophrades, potter, see p. 48.
Klitias, potter, see pp. 19, 49.
Kolchos, potter, see p. 49.
Kothons, Corinthian, 70, 71.
Kottabos, 399.
Kotyles, proto-Corinthian, 25. See also Skyphoi.
Kraters, Corinthian, N 147 (fragment) ; black-figured, N 193-N 197 (fragments) ;
red-figured, 439-441; Apulian, 493-495; Naukratis, N 17 (fragment), N 27
(fragment), N 50, N 91-N 93 (fragments), N96, N97 (fragments), N 129
(fragment).
Kriton, potter, see p. 49.
Kyathoi, geometric, 8 ; prehistoric Italic, 90, 105 ; bucchero, 240, 265, 294 ; black-
figured, 357, 358.
Kylikes, geometric, 7, 73; Cyprian, 189; black-figured, 359-371, N202 (fragment),
N204 (fragment), N 205 (fragment), N 210 (fragment), N215 (fragment),
N 216 ; red-figured, 388-402, N 229 (fragment) ; Etruscan imitations, 486.
Lasimos, potter, see p. 49.
Lebes, bucchero, 292 ; Naukratis, N 1.
Leg, vases in the form of a, 74, 306.
Lekanae, Apulian, 527 ; miscellaneous, 539.
Lekythoi, proto-Corinthian, 19-21; Corinthian, 47-50; Italo-Corinthian, 55;
primitive unclassified, 84, 85 (?) ; Cyprian, 136, 143, 188, 200-202, 210, 218,
219, 228, 232 ; black-figured, 335-349, N 187 (fragment), N 203 (fragment) ;
red-figured, 442-447, N 230-N 235 ; white Attic, 448-453 (see also pp. 26 ff) ;
Etruscan imitations, 487 ; Apulian, 503-506 ; Lucanian, 528 ; miscellaneous,
537-
Lichas, inscription, 448.
Lions, on Corinthian vases, 39-45, 52, 54, 72, 75, N 162, N 202 ; on Attic-Corin
thian vases, 308, 309, N 163, N 164 ; on bucchero vases, 273, 276, 279, 280,
282, 288, 293, 294, 299 ; on black-figured vases, 315, 321, 350, 366, N 200 ; on
Naukratis vases, N 23, N 25, N 43, N 50, N 65, N 101, N 103, N 104, N 106,
N 107, Nin, N 116.
Lions' heads, on Corinthian vases, 37 ; on Attic-Corinthian vases, N 166 ; on buc
chero vases, 283, 289; on Naukratis vases, N 59, N 68, N no.
Lucanian vases, 528-530. See also Introduction, p. 31.
Lydos, potter, see p. 49.
Lykinos, potter, see p. 49.
Lysias, potter, see p. 49.
Maenads, on black-figured vases, 316, 317, 320, 321, 325, 330, 351, 367, 371, 373,
375 ; on red-figured vases, 398, 420; on Apulian vases, 489, 494, 495, 503,
515 ; on Lucanian vases, 529.
Makron, potter, see p. 49.
Manufacture of vases, see Introduction, part II, pp. 33-46-
Marathonian bull, 342.
Medusa (?) on a bucchero vase, 285 ; on an Apulian vase, 527.

246 INDEX.
Megakles, potter, see p. 49.
Megara bowls, 531 ff.
Meidias, potter, see p. 49.
" Melian " style, p. 10.
Memnon, inscription, 393.
Mimulukaviiesi, inscription on an archaic Etruscan vase, 301.
Minos, 333.
Minotaur, 333, 370.
Monkey, vase in the form of a, 466.
Mule, on a red-figured vase, 391.
Mykenae, pp. 2, 6.
Mykenae ware, description of, p. 6. Specimens, Nos. 1-6.
Myson, potter, see p. 49.
Myspios, potter, see p. 49.
Naukratis, pottery of, pp. 15 f., 207 ff.
Neandros, potter, see p. 49.
Nearchos, potter, see p. 49.
Negro, head of a, on a fragment from Naukratis, N 46.
Nemean lion, 321.
Nereus, 320.
Nike, on red-figured vases, 476, 477 ; on Apulian vases, 497 ; on Arrhetian vases,
598.
Nikon (?) potter, see p. 49.
Nikosthenes, potter, see p. 49.
Nolan amphorae, 423-425. See also Introduction, p. 25.
Nymphs, on bucchero vases, 297. See Maenads.
Octopus, on a black-figured vase, N 180.
Oinochoae, geometric, 13; Corinthian, 51, 52; Attic-Corinthian, N 163 (frag
ment) ; Cyprian, 167-172, 186, 187, 192-194, 196, 207-209, 225, 233, 248-250,
256,279-283; black-figured, 350-357; red-figured, 458, 459, 461-463, 465;
Apulian, 496-502; Lucanian, 529; Naukratis, N 53.
Ointment vases, Apulian, 523-525. See also Alabastra.
Olpae, red-figured, 454-456, 457; miscellaneous, 550, N244.
Oltos, potter, see p. 49.
[Ones]imos, potter, see p. 49.
Orpheus, death of, 419, 432 (on which see also frontispiece and Introduction, pp.
24 1).
Ostriches, on black-figured vases, 372 ; on Naukratis vases, N21.
Owl, vase in the form of an, 467.
Owls, on Corinthian vases, 45 ; on bucchero vases, 287 ; on red-figured vases,
436-
Oxybapha, red-figured, 439; Apulian, 493, 494.
Pamphaios, potter, see p. 49.
Panaitios, inscription, 388.
Parrots, on an Arrhetian vase, 579.
Paseas, potter, see p. 49.
Pegasos, on an Apulian vase, 498.

INDEX. 247
Peithinos, potter, see p. 49.
Pelikes, black-figured, 328 ; red-figured, 426-428 ; Etruscan imitations, 488 ; Apu
lian, 492.
Persian Artemis, so-called, on bucchero vases, see 284, 293, 294, 298.
' Pheidippos, potter, see p. 49.
Phiale omphalote, Apulian, 521.
Philtias, potter, see p. 49.
Pholos, 336, 348.
Phrynos, potter, see p. 49.
Pig, vase in the form of a, 468.
Pistoxenos, potter, see p. 49.
Plastic decorations upon vases, pp. 28 f.
Plastic vases of the red-figured style, 461-470.
Plemochoae, so-called, 535, 536 ; represented on vases, 446, 448, 449.
Polishing, in the making of a Greek vase, p. 40.
Polygnotos, potter, see p. 49.
Polyxena, 334.
Porcupine, vase (?) in the form of a, 65.
Praxias, potter, see p. 49.
Pre-Hellenic period, see p. 2.
Priapos, potter, see p. 49.
Prochooi, red-figured, 455 ; Apulian, 501, 502.
Prokles, potter, see p. 49.
" Proto-Corinthian " style, p. 13. Specimens, Nos. 19-28.
Psiax, potter, see p. 49.
Pygmy, on a black-figured vase, 372.
Python, potter, see p. 49.
Python II, potter, see p. 49.
Pyxides, geometric, 9 ; proto-Corinthian, 26 (fragment) ; Corinthian, 67, 68, 69 ;
red-figured, 476, 477 (?).
Rabbit, Corinthian jugs in the form of a, 56, 57, 58, N 156.
Rabbits, on black-figured vases, 332.
Ram, vases in the form of a, 85, 158.
Ram's head, modelled on a geometric vase, 16; on a Cyprian vase, 175 ; on a
bucchero dish, 270.
Rasinius Memmius, inscription, 579.
Red-figured style, described, pp. 22-32 ; specimens, Cases 6 and 7,-pp. 140 ff,
and Nos. N 217-N242.
Return of a warrior, on black-figured vases, 319.
Rhodian ware, pp. 2, 5, 9 f, 208.
Rhytons, bucchero, 307 ; red-figured, 469.
Roman pottery, 579-623.
Sacrifice, to Dionysos, 418 ; by two women, 422 ; to two heroes, 490.
Sakonides, potter, see p. 49.
" Samian " ware, so-called, see p. 199.
Satyr's head, vase in the form of a, 463 A.
Satyrs, on Corinthian vases, 36; on black-figured vases, 312, 313, 316, 317, 320,
324, 325, 330, 340, 351, 354, 367, 371, 373, 375 ; on red-figured vases, 391, 392,

248 INDEX.
394, 398, 420, 443, 483, N 217 ; on Apulian vases, 489, 493, 494, 495, 503,
519 ; on Arrhetian vases, 589, 599.
Scythians, on black-figured vases, 319, 329.
Severe red-figured style, pp. 22 f.
Sheep, on black-figured vases, N 199.
Shields, devices on, 311, 312, 313, 317, 322, 352, 393.
Ships, on a black-figured vase, 378.
Signatures of artists upon vases, see pp. 21 and 47-50; of Tleson, No. 364; of
Hermogenes, 365 A ; of Xenokles, 366 ; of Euphronios, 388.
Sikanos, potter, see p. 49.
Sikelos, potter, see p. 49.
Silenos-heads, on black-figured vases, N 208 ; on Apulian vases, 527 ; on Arrhe
tian vases, 590.
Skyphoi, black-figured, 372-377 ; red-figured, 403, 406; Etruscan imitations, 482,
483; Apulian, 508-512.
Skythes, potter, see p. 49.
Sokles, potter, see p. 49.
Sophilos, potter, see p. 49.
Sosias, potter, see p. 50.
Sotades, potter, see p. 50.
Southern Italy, vases of, pp. 29-32 ; specimens, Case 8.
Sphinxes, on Corinthian vases, 72, N 145 ; on Attic-Corinthian vases, 308; on
bucchero vases, 273 ; on black-figured vases, 366, N 179, N 183, N 186,
N 204; on Naukratis vases, N 10, N47 (?), N49, N52, N ill.
Stags, on Corinthian vases, 43-45, 53, 54 ; on Arrhetian vases, 600.
Stamnoi, red-figured, 41S-420; Etruscan imitations, 485; Lucanian, 530.
Statius, potter, see p. 50.
Swans, on Corinthian vases, 39-44, 52, 73, 75, N146, N149; on Attic Corinthian
vases, N 168 ; on Cyprian vases, 189 (?), 190 (?), 192 (?) ; on black-figured
vases, 365; on Naukratis vases, N49, N 50, N98, N 100, N 102, N 105,
N 10S, N109, N 113.
" Swastika," on Cyprian vases, 179, 189, 190, 192.
Taleides, potter, see p. 50.
Tear-jugs, 546, 548, 555-559.
Teisias, potter, see p. 50.
Theodoros (?), potter, see p. 50.
Theozotos, potter, see p. 50.
Thera, pottery of, pp. 2, 4.
Therinos, potter, see p. 50.
Theseus, and the Minotaur, 333; and the Marathonian bull, 342.
Thiasos, 495.
Thracians, at the death of Orpheus, 432.
Timagoras, potter, see p. 50.
Timonidas, potter, see p. 50.
Tiryns, pottery of, p. 7. Specimens from, No. 6.
Tlenpolemos, potter, see p. 50.
Tleson, son of Nearchos, potter, see p. 50 ; cup by, No. 364.
Toilet scene, 435.
Tripods, on black-figured vases, 315, 317, N 198.

INDEX. 249
Triton and Herakles, combat between, 320, N 175.
Troilos, on black-figured vases, 312 (?), 334.
Troy, see Hissarlik.
Tychios, potter, see p. 50.
Typheidides, potter, see p. 50.
" Tyrrhenian " hydria, 308, see also p. 19.
Warriors, on Cyprian vases, 195 ;,_ on bucchero vases, 297 ; on black-figured
vases, 311-313, 315-317, 319, 322, 324, 327, 329> 339, 34', 35z, 358> 37', 372,
N 169, N 177, N 232; on red-figured vases, 392, 393; on Apulian vases,
496, 527.
Wheels used by Greek potters, pp. 35-38.
White lekythoi, pp. 26 ff, Nos. 448-453.
Xenokles, potter, see p. 50.
Xenophantos, potter, see p. 50.
Zeus, on bucchero vases, 297, 298 (?) ; on black-figured vases, 347.

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