History of Ancient Pottery: Greek, Etruscan, and Roman. Volume 2 (of 2) by Walters et al.

1. GENERAL CHARACTERISTICS

982 words  |  Chapter 170

The pottery with which we have now to deal is that which was known to an older generation as “Samian ware,”[3421] but may now be more appropriately termed _Provincial terra sigillata_. In regard to its general characteristics, it is distinguished by a fine close-grained red clay, harder than the Arretine, and presenting when broken an edge of light red. The surface is smooth and lustrous, of a brighter yet darker red colour (_i.e._ less like coral) than that of Arretine ware, but the tone of the red varies with the degree of heat used. The most important feature is the fine red glaze with which it is coated, similar in composition to—though not identical with—that of the Arretine (see the analysis given on p. 436); it is exceedingly thin and transparent, and laid equally over the whole surface, only slightly augmenting the colour of the clay, which resembles that of coral or sealing-wax. The glaze varies in lustre and quality as well as in colour, but as the analyses show, it is produced on the same principle at all periods and in all fabrics, Italian and provincial. The ornamentation is invariably of a coarser nature than that of Arretine ware, and though it draws its inspiration therefrom, is divided from it by a considerable interval of artistic degeneration; nor is the missing link always easy to trace. This ware is found all over Central Europe, from the Balkan to the Spanish Peninsula, in the forests of Germany, and on the distant shores of Britain, but in greatest abundance and effectiveness in the valleys of the Loire and Rhine, a fact which in itself directs us to look to these districts for the centres of its manufacture. Wherever found, it is in its main characteristics identical, and readily to be distinguished from the local wares with their simple, or entire absence of, ornamentation. The vases are usually of small dimensions, consisting of various types of bowls, cups, and dishes, of which two or three forms are preferred almost to the exclusion of the rest, and they usually bear the stamp of the potter impressed on the inside or outside. The angular and sharp profiles of the various shapes indicate that in nearly all cases they are derived from metal prototypes. Although this ware is found all over the Roman world, yet by far the greater proportion of the material at hand comes from the Roman sites of Gaul, Germany, and Britain, and evidence points to two—and only two—districts as the principal centres of its manufacture: the valleys of the Loire and the Rhine and their immediate neighbourhood. Even in Italy the material is exceedingly scanty, and much of the pottery found in Rome or Campania can be proved by the potters’ stamps to have been imported from Gaul. In Greece the finds of _terra sigillata_, though covering a wide area, are few and far between, and we are hardly in a position to state whether these are local fabrics or importations. Dragendorff notes[3422] that in the museum at Bonn there are fragments from Athens, Eleusis, Rhamnus, Oropos, Epidauros, Eretria, Argos, Delos, and Troy, and others in private possession at the same place from Alexandria. In the museum at Dimitzana in Arcadia there is a vase with Latin stamps, and another without stamp is preserved at Chanak Kalessi on the Dardanelles. Furtwaengler records a few fragments from Olympia,[3423] one with OCT · SALVE, and fragments have also been found at Pergamon. There are a few cups from Cyprus in the Museum at St. Germain-en-Laye, and others at Nicosia.[3424] But it must not be forgotten that, as has already been noted (p. 476), there is evidence of manufacture of red relief wares in Greek lands under the Empire, and much of the above-mentioned material may not be able to lay any claim to a Western origin. For the potteries of Central and Western Europe there is indeed no literary evidence, for, as we have seen (p. 479), Saguntum is the only provincial place of any reputation in antiquity, although modern excavations have not upheld its claim. All the evidence is necessarily derived from excavations, and from finds of moulds and potteries; but by the careful and scientific researches of Von Hefner, Dragendorff, Déchelette, and other investigators on Gaulish and German sites results have been obtained of incalculable value for establishing the provincial centres which during the first century of the Empire inherited the traditions of Arretium. In the succeeding enquiry, therefore, we shall devote our attention almost entirely to the _terra sigillata_, of which Gaul, Germany, and Britain have yielded such abundant quantities, and after a general consideration of its history and characteristics, shall discuss in detail the peculiarities of separate fabrics.[3425] * * * * * In his invaluable treatise on _terra sigillata_[3426]—the first comprehensive attempt at a general scientific discussion of the subject which has been contributed—Dragendorff collected a series of over fifty varieties of forms (almost exclusively cups, bowls, and dishes), which embrace all the examples of Arretine and provincial wares with relief-ornamentation. Of these he considers the first fourteen peculiar to the Arretine ware, but there are other vases found both in Italy and the provinces which in form and colour are not distinguishable from the Arretine, and seem to be undoubted examples of early importations. Such vases are found at Andernach, Neuss, and Xanten on the Lower Rhine,[3427] bearing the stamps of Ateius, Bassus, Primus, and Xanthus, who are also frequently found in Southern Italy.[3428] With regard to the first-named, however, there is evidence to show that he may have worked in Southern Gaul, and the Italian origin of this pottery is not absolutely certain.[3429] At all events, the finds in Germany to which a date in the first century can be given seem to show the adoption of a new form of dish differing from that characteristic of Arezzo[34

Chapters

1. Chapter 1 2. PART III 3. CHAPTER XII 4. CHAPTER XIII 5. CHAPTER XIV 6. CHAPTER XV 7. CHAPTER XVI 8. CHAPTER XVII 9. PART IV 10. CHAPTER XVIII 11. CHAPTER XIX 12. CHAPTER XX 13. Introduction of lamps at Rome—Sites where found—Principal 14. CHAPTER XXI 15. CHAPTER XXII 16. CHAPTER XXIII 17. 111. Gigantomachia, from Ionic vase _Mon. dell’ Inst._ 18. 112. Poseidon and Polybotes, from _Gerhard_ 19. 114. Hermes slaying Argos (vase at _Wiener Vorl._ 20. 115. Poseidon and Amphitrite _Ant. Denkm._ 21. 117. Aphrodite and her following Ἐφ. Ἀρχ. 22. 119. Hermes with Apollo’s oxen (in _Baumeister_ 23. 120. Dionysos with Satyrs and _Brit. Mus._ 24. 121. Maenad in frenzy (cup at _Baumeister_ 25. 122. Charon’s bark (lekythos at _Baumeister_ 26. 123. Thanatos and Hypnos with body _Brit. Mus._ 27. 126. Herakles bringing the boar to _Brit. Mus._ 28. 127. Apotheosis of Herakles (vase _Arch. Zeit._ 29. 129. Judgment of Paris (Hieron cup _Wiener Vorl._ 30. 132. Kroisos on the funeral pyre _Baumeister_ 31. 135. Athletes engaged in the _Brit. Mus._ 32. 136. Agricultural scenes _Baumeister_ 33. 137. Warrior arming; archers _Hoppin_ 34. 144. Maeander (Attic, about 480 35. 148. Spirals under handles 36. 151. Guilloche or plait-band 37. 155. Ivy-wreath (black-figure 38. 158. _Vallisneria spiralis_ 39. 160. Lotos-flowers and buds _Riegl_ 40. 161. Palmette-and lotos-pattern 41. 163. Chain of palmettes and lotos 42. 164. Palmettes and lotos under 43. 165. Palmette on neck of red-bodied 44. 166. Enclosed palmettes (R.F. 45. 168. Palmette under handles (South 46. 171. Facsimile of inscription on _Brit. Mus._ 47. 172. Facsimile of Dipylon _Ath. Mitth._ 48. 173. Scheme of alphabets on Greek 49. 174. Facsimile of inscription on _Roehl_ 50. 175. Facsimile of signatures on _Furtwaengler and 51. 176. Facsimile of signature of _Brit. Mus._ 52. 177. Figure with inscribed scroll 53. 178. Etruscan tomb with cinerary _Ann. dell’ Inst._ 54. 179. Villanuova cinerary urns from _Notizie_ 55. 180. Painted pithos from Cervetri _Gaz. Arch._ 56. 181. Canopic jar in bronze-plated _Mus. Ital._ 57. 183. Terracotta sarcophagus in _Dennis_ 58. 184. Painted terracotta slab in _Dennis_ 59. 190. Diagram of Roman wall- _Blümner_ 60. 192. Method of heating in Baths of _Middleton_ 61. 193. Flue-tile with ornamental 62. 195. Inscribed tile in Guildhall 63. 201. Terracotta coin-mould _Daremberg and 64. 214. Plan of kiln at Heiligenberg _Daremberg and 65. 215. Section of ditto _Daremberg and 66. 218. Arretine bowl in Boston: death _Philologus_ 67. 226. Vase of Banassac fabric from _Mus. Borb._ 68. 227. Medallion from vase of _Brit. Mus._ 69. 228. Medallion from vase: Atalanta _Gaz. Arch._ 70. 230. Roman mortarium from _Brit. Mus._ 71. PART III 72. CHAPTER XII 73. Chapter XV. will be discussed all such subjects as relate to the daily 74. episode most frequent is that of the =return of Hephaistos= in a 75. 1. Marsyas picks up the flutes dropped by Athena: Berlin 2418 = 76. 4. Marsyas performing: B.M. E 490; Reinach, i. 452 (Berlin 2950), i. 77. 5. Apollo performing: Jatta 1364 = _Él. Cér._ ii. 63; _Wiener Vorl._ 78. 6. Apollo victorious: Reinach, ii. 310; Petersburg 355 = Reinach, i. 79. 7. Condemnation of Marsyas: Naples 3231 = Reinach, i. 405; Reinach, 80. 8. Flaying of Marsyas: Naples 2991 = Reinach, i. 406 (a vase with 81. CHAPTER XIII 82. 1. Physical (Sun, Moon, Dawn, Winds, etc.). 2. Geographical 83. 7. Ethical ideas (Justice, Envy, Strife, etc.). 8. 84. CHAPTER XIV 85. introduction to Zeus by Athena, a scene common on both B.F. and R.F. 86. Book I. 187 ff. The dispute of Agamemnon and Achilles. 87. Book II. 50 ff. Agamemnon in council. 88. Book III. 259 ff. Priam setting out in his chariot. 89. Book V. 95–296. Combat of Diomedes and Pandaros (a reminiscence of). 90. Book VI. 215 ff. Diomedes and Glaukos exchanging arms. 91. Book VII. 162 ff. Combat of Ajax and Hector. 92. Book VIII. 89 ff. Combat of Hector and Diomedes. 93. Book IX. Achilles lying sick (apparently a _contaminatio_ or confusion 94. Book X. 330–461. Episode of Dolon; his capture by Odysseus. 95. Book XI. The fight at the ships. 96. Book XIV. Combat of Ajax and Aeneas (? l. 402 ff.). 97. Book XVI. 666 ff. Sarpedon carried off by Hypnos and Thanatos. 98. Book XVII. 60 ff. Combat of Menelaos and Euphorbos, and fight over his 99. Book XVIII. 367 ff. (1) Thetis in the smithy of Hephaistos. 100. Book XIX. 1–18. Thetis and the Nereids bringing the armour to Achilles. 101. Book XXI. 114 ff. Combat of Achilles and Lykaon. 102. Book XXII. 188 ff. Achilles pursuing Hector round the walls of Troy. 103. Book XXIII. 157 ff. Funeral games for Patroklos. 104. Book XXIV. 16 ff. Achilles dragging Hector’s body past the 105. Book II. 94 ff. Penelope at her loom. 106. Book III. 12 ff. Arrival of Telemachos at Nestor’s house in Pylos. 107. Book IV. 349 ff. The story of Menelaos’ interview with Proteus. 108. Book V. 228 ff. Odysseus navigating the sea on a raft. 109. Book VI. 126 ff. Nausikaa washing clothes. 110. Book IX. 345 ff. Odysseus offering wine to Polyphemos. 111. Book X. 210 ff. Odysseus and Kirke (see _J.H.S._ xiii. p. 82). 112. Book XI. 23 ff. Odysseus sacrificing before his visit to Hades. 113. Book XII. 164–200. Odysseus passing the Sirens. 114. Book XVIII. 35 ff. Odysseus and Iros. 115. Book XIX. 385 ff. Odysseus recognised by Eurykleia. 116. Book XXI. 393—XXII. 5 ff. The slaying of the suitors. 117. CHAPTER XV 118. 1. RELIGIOUS SUBJECTS 119. 2. FUNERAL SCENES 120. 3. THE DRAMA 121. 4. ATHLETICS AND SPORT 122. 5. TRADES AND OCCUPATIONS 123. 6. DAILY LIFE OF WOMEN 124. 7. MILITARY AND NAVAL SUBJECTS 125. 8. ORIENTALS AND BARBARIANS 126. 9. BANQUETS AND REVELS 127. 10. ANIMALS 128. 1. Runner with trainer: _Bourguignon Sale Cat._ 31. See on the 129. CHAPTER XVI 130. CHAPTER XVII 131. introduction into Greece at about 660 B.C. is fairly correct. The 132. PART IV 133. CHAPTER XVIII 134. introduction of the wheel into Etruria, but also the introduction of 135. introduction of the furnace; (3) by extensive imitation of Greek 136. 1. CAULDRON AND STAND OF RED WARE FROM FALERII; 2. PAINTED AMPHORA OF 137. Chapter III., regarding the use of clay in general in classical times. 138. 2. ETRUSCAN SARCOPHAGUS (THIRD CENT.) 139. Chapter VIII.). 140. CHAPTER XIX 141. 1. BRICKS AND TILES 142. 1. (_a_) With name of master only (either of _praedia_ or 143. 2. (_a_) Master and potter (often a slave): 144. 3. (_a_) Master, potter, and name of pottery: 145. 1. (_a_) _Ex praedis L. Memmi Rufi._ 146. 2. (_a_) _Ex figlinis_ (vel _praedis_) _Domitiae Lucillae, opus 147. 3. (_a_) _Ex figlinis_ (vel _praedis_) _Caepionianis Plotiae 148. 2. TERRACOTTA MURAL RELIEFS 149. 1. ZEUS AND THE CURETES; 2. DIONYSOS IN THE LIKNON-CRADLE (BRITISH 150. 1. ROMAN STATUES AND STATUETTES 151. Chapter III. when dealing with the Greek terracottas. Large figures 152. 2. GAULISH TERRACOTTAS 153. 3. MISCELLANEOUS USES OF TERRACOTTA 154. CHAPTER XX 155. Introduction of lamps at Rome—Sites where found—Principal 156. CHAPTER XXI 157. 1. INTRODUCTORY 158. 2. TECHNICAL PROCESSES 159. 1. Without glaze[3087]: 160. 2. With glaze[3088]: 161. 3. ROMAN POTTERY-FURNACES 162. 1. ITALY 163. 2. FRANCE 164. 3. GERMANY 165. 4. ENGLAND 166. 4. POTTERY IN LATIN LITERATURE; SHAPES AND USES 167. part 3, No. 10002. 168. CHAPTER XXII 169. CHAPTER XXIII 170. 1. GENERAL CHARACTERISTICS

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