History of Ancient Pottery: Greek, Etruscan, and Roman. Volume 2 (of 2) by Walters et al.
7. MILITARY AND NAVAL SUBJECTS
603 words | Chapter 124
Subjects of a military character on vases are chiefly confined to
three—the arming of warriors,[1806] their setting out in chariots, on
horseback, or on foot,[1807] and combats of two or more figures.[1808]
In all these cases we are confronted with the often-recurring
difficulty as to when such subjects have a mythological significance.
Especially on B.F. vases, familiar types—such as the departure of
Hector or the combat of Achilles and Memnon, to be identified in other
cases by inscriptions—occur again and again in the same form, only
diversified by the varying number of bystanders, which is generally
regulated by the space at the painter’s disposal. Even when names are
added they are often of a fanciful kind; and thus, for instance, we
find combats between Homeric heroes which have no counterpart in
literary record.[1809]
In the scenes of warriors arming we may note certain motives as
recurring with more or less frequency—such as that of a warrior putting
on his greaves,[1810] helmet,[1811] or cuirass (Fig. 137),[1812] or
lacing up his helmet.[1813] Kindred subjects are that of a warrior
taking his shield out of his case,[1814] or an archer drawing an arrow
from his quiver,[1815] testing an arrow,[1816] or stringing his
bow.[1817] We may also note the rarer occurrence of such scenes as the
harnessing of a chariot (Frontispiece)[1818] or the equipping of a
war-horse.[1819] In the departure scenes the usual type on B.F. vases
is that of a four-horse chariot to the right, which the warrior is
mounting or has mounted; a woman sometimes give him drink, and an old
man stands at the horses’ heads. This “type” is used for the departure
of Amphiaraos (cf. Berlin 1655), Hector, or other heroes.[1820] It is
sometimes varied by placing the quadriga to the front.[1821] Or, again,
the warrior is seen on horseback, accompanied by his groom,[1822] or a
company on foot set out in marching array.[1823] On later vases the
more usual version is that of a warrior receiving a libation or
“stirrup-cup” from a woman before his departure, but the same scenes
might be interpreted as referring to his successful return.[1824]
Unmistakable instances of the return are those scenes where he receives
a crown,[1825] or is brought back as a corpse by his comrades.[1826]
There are scenes representing warriors taking oaths or omens at a tomb,
or omens by the inspection of the liver of a victim, all before
departure for battle[1827]; and single figures are countless,
especially inside R.F. kylikes.[1828]
[Illustration:
From _Hoppin_.
FIG. 137. WARRIOR ARMING; SCYTHIAN ARCHERS (AMPHORA BY EUTHYMIDES
IN MUNICH).
]
Among the various scenes incident to warfare may be mentioned an
ambuscade,[1829] a wounded warrior dragged out of battle,[1830] a
warrior protecting himself from darts,[1831] the capture of a
prisoner,[1832] warriors carrying dead bodies,[1833] or human heads as
trophies of victory.[1834] Besides single figures of warriors,
heralds,[1835] trumpeters,[1836] slingers,[1837] and archers[1838]
often appear; or representations of the armour of a warrior[1839]; or
of the Δοκιμασία or parade of Athenian knights.[1840] Of a somewhat
burlesque character is a scene depicting warriors riding on ostriches
and dolphins.[1841]
* * * * *
Naval scenes are very rare, but we find occasional early
representations of sea-fights,[1842] as on the Dipylon vases, the
vessels on which appear to be biremes.[1843] On the B.F. and R.F. vases
we find war-galleys[1844] or merchant-vessels,[1845] usually in places
suitable for a row of ships—such as the outer edge of a kylix[1846] or
the broad rim of a _deinos_ or large bowl.[1847] These are specially
common on vases of “mixed” technique. The subject of “keel-hauling,”
the punishment administered to refractory sailors, must also find a
place here.[1848]
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