3 9002 07877 5096 Catalogue of the Rebecca Darlington Stoddard Collection of Greek and Italian Vases in Yale University. Published in Memory of Rebecca Darlington Stoddard Who in 1913 Generously Gave to Yale University The Collection of Greek and Italian Vases Described in This Volume Yale Oriental Series: Researches, Volume VIII. Catalogue of the Rebecca Darlington Stoddard Collection of Greek and Italian Vases in Yale University. By Paul V. C. Baur. With the assistance of Dr. Arndt's Inventory of the Collection by Dr. Georg Lippold." New Haven • Yale University Press. London - Humphrey Milford • Oxford University Press. Mdccccxxii. Copyright, 1922, by Yale University Press. Published April, 1922. Five hundred copies. CONTENTS OF CATALOGUE Prefatory Note .... Introduction ....... I. Prehistoric Egyptian pottery II. Prehistoric pottery from Asia Minor . III. Cypriote pottery A. Bronze Age .... (a) Painted white ware . (b) White slip wrare (c) Base-ring ware B. Iron Age ..... 1. Early or transitional period (d) Painted white "ware . 2. Middle or Geometric period (d) Painted white ware (continued) (e) Painted red ware 3. Later period (f) Tricolor ware . . ¦ (g) Unpainted red ware . C- Hellenic Age (h) Painted white ware (Amathus) (i) Polychrome ware (j) Uncertain fabric Mycenaean (Late Minoan III) period . Geometric period (a) Non-Attic ware (b) Attic Dipylon ware Unglazed stamped ware Rhodian ware 1. Transitional period 2. Geometric period 3. Archaic period . 4. Later Hellenic period VIII. Graeco-Egyptian Faience ware IX. Laconian (Cyrenaic) ware X. Proto-Corinthian ware XL Corinthian ware IV. V. VI. VII. NUMBER PAGE xi 1 1- 2 27 3- 4 28 5-31 29-38 5- 9 29-31 5- 7 29-30 8 30 9 30-31 10-28 31-36 10-13 31-32 10-13 31-32 14-23 32-34 14-16 32-33 17-23 33-34 24-28 34-36 24-27 34-36 28 36 29-31 36-38 29 36-37 30 37 81 37-38 32-50 38-45 51-60 46-51 51-52 46-47 53-60 47-51 61-63 51-52 64-67 52-55 64 52-53 65 53 66 53-54 67 54-55 68-69 55-56 70 56 71-77 56-59 78-103 59-69 CONTENTS OF CATALOGUE XII. XIII. XIV XV. XVI. XVII. XVIII. XIX. XX. XXI. XXII. XXIII. XXXI. XXXII. XXXIII. XXXIV. Attic black-figured ware . (a) Vourva type (b) Developed black-figured style Attic red-figured ware (a) Painted designs (b) Ground-colored designs Attic vases in the form of various objects Boeotian ware . (a) Orientalizing style (b) Black on brown technique (c) Early black-figured style (d) Cabiric style . (e) Late floral black-figured style (f) Red-figured style Moulded ware (a) "Megarian" bowls (b) Miscellaneous . Late Greek ware (a) Enamel-glazed (b) Incised . (c) Barbotine (d) Unglazed Early Italian ware Etruscan Bucchero ware Italo-Corinthian ware Italo-Ionic and Ionic ware Early Apulian ware (a) Messapian (b) Peucetian (c) Daunian Apulian red-figured ware . (a) Painted designs (b) Ground-colored designs Gnathian ware Apulian ware with yellow slip Canosa ware with white slip Miscellaneous Apulian ware Early Lucanian ware Lucanian red-figured ware Calenian ware Campanian ware from Teanum Sidicinum (a) Small cups on ring-shaped base (b) Various forms . Italian red-figured ware Late Etruscan relief-ware Italian and Sicilian ware (Hellenistic period) NUMBER PAGE 104-127 70-85 104-105 70-71 106-127 72-85 128-170 85-112 128 85 129-170 86-112 171-177 112-115 178-194 115-124 178-181 115-117 182 117-118 183-186 118-121 187 121-122 188-193 122-124 194 124 195-209 125-131 195-204 125-129 205-209 129-131 210-215 131-134 210-211 131-132 212 133 213 133 214-215 133-134 216-220 134-136 221-226 137-139 227-229 139 230-238 140-144 239-253 144-155 239-241 145-147 242-247 147-151 248-253 151-155 254-270 156-166 254-257 156-157 258-270 157-166 271-304 166-180 305-312 180-182 313-315 182-184 316-319 184-187 320-321 187-188 322-325 188-191 326-329 191-194 330-334 195-196 330-332 195-196 333-334 196 335-346 197-203 347 204-205 348-356 205-209 CONTENTS OF CATALOGUE XXXV. Asci and Gutti (a) Black- glazed with reliefs (b) Black-glazed without reliefs XXXVI. Black- glazed ware (Greek or Italian under Greek influence) . XXXVII. Black-glazed Southern Italian ware XXXVIII. Stamped black-glazed ware (a) Greek or Italiote (Campanian) under Greek influence (b) Italiote (Campanian) XXXIX. Black-glazed Greek ware (Hellenistic period) XL. Black-glazed Hellenistic ware with applied white paint XLI. Terra Sigillata (a) Greek red ware (b) Italian red ware (c) Arretine moulds (d) Provincial ware (Gaul and Germany) 1. Plain wares 2. Ornamented wares 3. Fragments of Gaulish moulds . 4. Vases with barbotine decoration (e) Romano-African imitation of terra sigillata (f) Miscellaneous red ware similar to terra sigillata XLII. Roman and Roman provincial ware 1. Plain wares (a) Unglazed or only partially glazed ware (b) Miscellaneous 2. Ornamented wares (a) Saint-Remy-en-Rollat fabric (b) Incised decoration (c) Terra nigra, unglazed . (d) Black-glazed barbotine, Romano- German fabric . . . ¦ (e) Indented ware (f) Mould-made polished terra nigra XLIII. Early Christian ware .... XLIV. Lamps ... ... 1. Greek, thrown on potter's wheel i. Open on top, arched handle, one nozzle ii. Open on top, no handle, central socket . IX NUMBER PAGE 357-376 209-214 357-373 209-213 374-376 213-214 377-457 214-228 458-472 228-230 473-487 230-234 473-481 230-232 482-487 233-234 488-501 234-238 502-508 238-241 509-552 241-255 509-512 241-242 513-521 242-244 522-524 244-245 525-545 245-252 525-534 245-248 535-537 248-250 538-539 250-251 540-545 251-252 546-547 252-254 548-552 254-255 553-591 255-263 553-579 255-260 553-576 255-259 577-579 259-260 580-591 260-263 580-581 260 582-583 261 584 261 585-587 261-262 588-590 262 591 262-263 592-594 263-264 595-675 264-295 595-598 264-265 595-596 264 597-598 264-265 x CONTENTS OF CATALOGUE 2. Italian, thrown on potter's wheel iii. Similar to i, but with high foot iv. Large filling-hole, ring-shaped han dle 3. Roman, mould-made v. Rectangular nozzle vi. Angular volute-nozzle . vii. Rounded volute-nozzle . viii. Nozzle similar to vii, but with volutes extending to the shoulder ix. Long plain rounded nozzle x. Short plain rounded nozzle . xi. Kite-shaped nozzle and decorated shoulder .... xii. Short rounded or pointed nozzle, flat shoulder with lateral panels . xiii. Similar to x, but with heart-shaped nozzle and decorated shoulder xiv. Long rounded nozzle with raised rim, sloping shoulder with knobs . xv. Similar to x, but with solid handle, "quasi-Christian" xvi. Christian . xvii. Early mediaeval . xviii. Moulded in various forms xix. Miscellaneous types xx. Mould for Greek lamp and modern cast xxi. Lanterns . Table of numbers of Preliminary Catalogue . General Index ...... NUMBER PAGE 599-600 265-266 599 265 600 265-266 601-675 266-295 601 266 602-609 266-270 610-628 270-277 629-630 278 631-632 278-280 633-636 280-281 637-640 281-284 641 284 642 284-285 643-645 285-286 646 286 647-653 286-289 654 289 655-660 290-291 661-672 291-294 673 294 674-675 294-295 297 301 PREFATORY NOTE AT a meeting of the Prudential Committee of the Corporation of f\ Yale University on April .5, 1913, a pledge of twenty-five thou- _X7m sand dollars was reported from "an anonymous friend" to enable the University to acquire and care for a notable collection of Greek and Etruscan vases made by Dr. Paul Arndt, of Munich. At the same time another donor, whose name by request has never been made public, prom ised five thousand dollars, which was used to defray the expense of suitably housing the collection in the President's Reception Room, Memorial Hall. On May 19, 1913, the Corporation voted, "to name the important col lection of Greek and Etruscan vases to be installed in the President's Reception Room, Memorial Hall, 'The Rebecca Darlington Stoddard Collection' in honor of the donor, who has now consented that announce ment should be made of her gift which is of such value both to the city and to the University." The Rebecca Darlington Stoddard Collection was first opened to the public on January 25, 1914. Mrs. Stoddard died on December 13, 1913, and therefore never saw the vases. These have, however, as she hoped and planned, proved of great interest to many residents of the City of New Haven and to numerous visitors, as well as to members of the University. The nucleus of the collection was obtained by Dr. Arndt at an auction sale in Paris of some vases which had for many years been in the posses sion of a family there. As opportunity presented itself the gaps were filled by purchases made by Dr. Arndt with a view to rendering the collection of the greatest historical value to university students. The success of his efforts has been attested by the increasing interest shown by many scholars in the vases now exhibited in Memorial Hall. The illustrations in the plates are by the expert hand of Karl Reichhold. P. V. C. BAUR. A Catalogue ofthe Rebecca Darlington Stoddard Collection of Greek and Italian Vases. T INTRODUCTION HE aim of this introduction is to give the layman a comprehensive idea of the scope and importance of the Stoddard Collection. The student will refer to the catalogue itself, where, under each head ing, he will find the important bibliography selected with care so as to give credit to those who have furthered our knowledge of the subject. Occasion ally, however, it has been found expedient to add references to handbooks, especially when the literature on the topic under discussion is therein given more completely than would be warranted in this catalogue. Prehistoric Egyptian pottery, exemplified in Nos. 1-2 of the Collec tion, is of importance chiefly for its historic interest. The occurrence of Nile boats (No. 1) makes it evident that the manufacturers of this pottery once lived in the Nile Valley, even though the ware is often found in the Libyan Desert, where also on walls of caves pictures of Nile boats occur. Libyans and peoples of eastern Africa were the earliest settlers in the fertile Nile Valley even before the invasion by Semitic nomads of Asia, and they were undoubtedly the forefathers of the people we call Egyp tians. The imitation of basketry on No. 2 lends force to the theory that the art of weaving preceded that of the potter. Judging from the shape of these two vases, which imitate egg-shells, it is apparent that egg-shells were actually used as drinking-cups in the period at present looked upon as the dawn of civilization. The date of this class of prehistoric Egyptian pottery, about 5000 B.C., is by no means certain, and we shall probably never be able to determine when the Semitic migration from Asia took place, nor the date of the earliest graves in which examples similar to those of the Stoddard Collection have been found. But the occurrence of the 2 CATALOGUE OF THE Nile boat propelled not only by oars but also by sails, and fitted out with cabins, makes it quite certain that already in this early age extensive com mercial intercourse existed between the several settlements along the Nile. Prehistoric pottery from Asia Minor (Nos. 3-4), dating from about 3000 B.C., was introduced into northern Syria and from there into Cyprus (see No. 8) . Here, too, as in Egypt, the potter copied in clay real objects which served as drinking-vessels, in this case the gourd. Even down to the present day vessels actually made from gourds are in use on the island of Cyprus. The collection of Cypriote pottery (Nos. 5-31) is especially rich. The Bronze Age (c. 3000-1100 B.C.) is represented by painted white ware, by white slip ware, and by base-ring ware, but only the last-mentioned style shows the influence of bronze technique, well exemplified in No. 9, which seems to be of Syrian origin; at any rate, the most primitive exam ples of base-ring ware, now exhibited in the Whiting Collection presented to Yale University by Mrs. Wayland, have been found in Syria. The Iron Age of Cyprus (c. 1200-500 B.C.), which is characterized by geo metric ornamentation, — and therefore usually called "The Geometric Period," — is represented by excellent examples of painted white ware, of painted red, of tricolor and of unpainted red wares. The date of un- painted red ware is uncertain because of its lack of ornamentation. The Hellenic Age (500-300 B.C.) of Cyprus is represented by painted white ware from Amathus, and by polychrome ware. A glance at the map of Cyprus and the surrounding countries makes it apparent that its situation was not favorable for the development of native art. Wedged in between Syria and Asia Minor, and accessible by sea from all lands, it was destined to be subjected to all kinds of influences, which are reflected, as we have seen, in the pottery of the island. Nevertheless, the concentric circle, which may well be called the most characteristic of all Cypriote decoration, holds its own throughout the several periods. The influence of basketry and of leather- work (Nos. 6, 8) may be traced long after any intentional imitation is apparent. The Mycenaean or Late Minoan III fabric is represented by Nos. 32- 50. By the term "Mycenaean" is meant the pre-Hellenic civilization of continental Greece and of the Mgean islands, especially Rhodes. It is so called because the first traces of this epoch (c. 1600-1100 B.C.) were dis covered at Mycenae in the Argolis. By the term "Minoan" is meant the related pre-Hellenic civilization of Crete before and during the Mycenaean Age (c. 3000-1100 B.C.). Here was the cradle of that wonderful" civiliza tion which is connected with the name of Minos, king of Cnossus. Hence STODDARD COLLECTION 3 the term "Minoan" has been established by Evans, the distinguished English scholar and excavator, to designate the early pre-Greek civilization of Crete. Evans divides the Minoan Age into three periods: Early, Middle and Late, synchronizing them as far as is possible with the Old, Middle and New Kingdoms of Egypt. Furthermore, he found it convenient to make three subdivisions of each period : Early Minoan I (c. 3000-2600 B.C.), II (c. 2600-2400 B.C.), Ill (c. 2400-2200 B.C.). Middle Minoan I (c. 2200-2000 B.C.), II (c. 2000-1700 B.C.), Ill (c. 1700-1600 B.C.). Late Minoan I (c. 1600-1500 B.C.), II (c. 1500-1350 B.C.), Ill (c. 1350-1100 B.C.). In determining these dates the pottery has been of inestimable value. But in this introduction it would be out of place to trace the development of Minoan pottery ; suffice it to say that it can be traced from the neolithic period to the end of this civilization without a break, which therefore means — and this is of the utmost significance — that we are dealing with one and the same race in Crete throughout the entire period. Those who may be interested in the development of Minoan pottery will find a com plete set of fragments, the generous gift of Mr. Seager, in the Archaeologi cal Collection, at present exhibited in Phelps Hall, Room 17. All the examples of Minoan pottery in the Stoddard Collection belong to Late Minoan III (c. 1350-1100 B.C.). Although the Minoans first migrated from Crete to Greece in Late Minoan I (c. 1600 B.C.) and fortified themselves against the native population, it was not until Late Minoan III (c. 1400 or 1350 B.C.) that the typical Mycenaean pottery of the Collection began to be manufactured. And by that time the Mycenaeans had spread from the Argolis as far north as Thessaly, and over the islands to Asia Minor, even to Troy. The provenance of not many pieces of the Collection is known, but of the eighteen vases of the Mycenaean period, six were found near Patras (Nos. 34, 39-41, 43, 46), five on the island of Rhodes (Nos. 37, 38, 44, 45, 48), and it is almost certain that two are from Cyprus (Nos. 49-50). Unique is No. 47, a child's feeding-bottle, in the form of a cow, which served not only to nourish the child's body, but also to improve his mind. The amphorae Nos. 49-50, of very rare style, may be assigned to the very end of the Mycenaean period, and are fore runners of the Geometric amphorae. Next in order is the Geometric period. Between 1100 and 1000 B.C. the pottery shows the influence of the Greek race, and if we did not know 4 CATALOGUE OF THE that the Dorian migration took place about this time we would be com pelled by the change of style in pottery to reconstruct some such upheaval. To be sure, there are many traces of Minoan and Mycenaean civilization to be found in Hellenic art; these foreigners, who were of Asiatic stock, could not live five hundred years in Greece without influencing the natives, and it is also certain that the Minoans and Mycenaeans learned much from the Greeks. With the help of the Dorians, who came down from the North, the native Arcadian and other tribes were finally able not only to conquer the Mycenaeans, but also to oust them from Greece. The Mycenaean strong holds were burned, the population was scattered, some went back to their original homes in Asia Minor, others migrated to Italy and even to Spain and France. Geometric pottery, as we have seen, is typically Greek, and is so called because of the free use of geometric patterns. There were various centers of manufacture: Athens (Nos. 53-60), Boeotia (Nos. 51 (?), 178-181), Rhodes (No. 65), Corinth, where the earliest examples of the so-called Proto-Corinthian fabric are purely Geometric (see especially No. 71), Cyprus, which in some way not yet known to us influenced the Geometric ware of Italy, as, for example, the Polledrara vase (No. 216) and the early Apulian ware (Nos. 239, 245, 249, 251). The local Italian (Apulian) Geometric ware is much later than that of Greece, and of the several Hellenic centers that at Athens is the earliest, dating from about 1000 to 700 B.C. It is usually called Dipylon ware because it was first found in great profusion in the cemetery of Athens just outside the Dipylon Gate. Of the eight examples of this ware in the Collection, No. 53 is quite rare, and is of especial interest because a primitively modelled human figure is attached between the necks of the double pitcher. On No. 55 an aquatic bird is depicted, and although this and the vase just men tioned are of the same date, the bird is truer to nature than the human figure. Indeed, one may say that primitive artists as a rule were more suc cessful in the rendering of animals than of human beings. Though there is much in the art of the Geometric period that reminds one of the work of the cubists and futurists of today, still the real geometric artists of nearly three thousand years ago are infinitely superior to their modern imitators because they represent a natural growth, and their work, there fore, rings true, whereas the modern geometric artists represent an artificial growth which results in affectations and discords. After the Geometric period the next phase in the development of ceramic art is the Orientalizing style of the seventh century B.C., so called because of the strong influence of the Near East brought west through the medium STODDARD COLLECTION 5 of Ionia and of Phoenicia. The Orientalizing style is characterized by zones of animals, real and imaginary, such as lions, panthers, griffins, sphinxes and sirens. In Attica the earliest and purest Orientalized ware was found in Vourva near Marathon, whence the term "Vourva style." With the exception of the National Museum of Athens this ware is seldom repre sented in European and American museums. The Stoddard Collection is exceedingly fortunate in the possession of two examples (Nos. 104-105). One of them (No. 105) is of peculiar interest in that the painter inten tionally imitated textile work. The same animals as are found on this vase were commonly embroidered on the borders of the stylish dresses imported from the Orient, notably from Tyre and Sidon. This Orientalized ware from Vourva is, however, merely transitional. In the next, or sixth, century the Attic black-figured style which finds its beginning in the seventh century B.C., as we have just seen, rapidly develops and towards the middle of the century reaches its acme. Its decline is even more rapid than its rise. It is called "black-figured" because the figures are painted in black silhouette on the red background of the vase. Details are indicated by incised lines, the monotony of the black is relieved by the use of purple-red paint and by incised ornaments on the drapery, and by white paint on the flesh parts of women ; but this white paint, which is superimposed, is seldom well preserved. Now for the first time in Attic vase-painting the subjects depicted are of especial interest, and of these the mythological scenes are the most instructive. No. 110 depicts the com bat between Heracles and Cycnus; No. Ill is the earliest known illustra tion of the Admetus legend. The story is, in short, as follows : The father of Alcestis had stipulated that no suitor need apply for his daughter's hand unless he could drive a chariot drawn by wild beasts. On our vase we see Admetus about to step into his chariot, which is drawn by four wild beasts : lion, panther, boar and wolf. Hermes and two goddesses, who by their gestures are wishing the hero good luck, surround the chariot. A more popular subject, frequently illustrated by the vase-painters, is the death of Argus (No. 116) . On some vases the body of Argus is covered with eyes to indicate his eternal watchfulness, but on our vase the painter, in addition to five eyes on his body, represented Argus with two faces, like Janus, looking in opposite directions. Fie is guarding lo, transformed into a cow by the jealous goddess Hera, and is about to be slain by Hermes, who, in this case, does not lull Argus to sleep by the soothing effect of music, but attacks him while awake, not with a sword but with a caduceus or herald's staff, which must, therefore, have been a magic wand. By a curious mistake of the painter, lo is represented as a bull. 6 CATALOGUE OF THE On one of the legs of a tripod (No. 122) is an illustration from the "Cypria"— one of the lost cyclic poems which dealt with the events imme diately preceding the Trojan war— namely, Achilles pursuing Troilus and Polyxena, a popular subject in the first half of the sixth century, to which period our tripod belongs. Achilles, advancing with long strides, has al ready overtaken Troilus and stabs him in the back, while Polyxena, who has dropped her water-pitcher (hydria), is running away, but looks back in dismay at her brother's tragic death. The spectator behind Achilles has no mythological significance; he is merely added to balance the composi tion. On all other black-figured illustrations of this subject Achilles has not yet overtaken Troilus ; our vase-painting is, therefore, unique in that it illustrates the actual slaying of Troilus. The ancient Greeks had a rather peculiar, and often coarse, sense of humor, at least from our modern point of view, and as early as the sixth century B.C. did not hesitate to poke fun at their gods. A moderate illus tration of this is seen in No. 127, which depicts Dionysus, the god of wine, holding in each hand a vine-branch with clusters of grapes, coming home late at night on a braying, ithyphallic mule. As there were no street lights in ancient Greek cities the god lights his way with a lantern which, since his hands are fully occupied, he ingeniously fastens to the phallus of the mule. That the Greeks were fond of gambling is made clear by the picture on No. 108, a subject often represented on Attic black-figured vases. We see the heroes Ajax and Achilles so absorbed in a game of dice that they are altogether forgetful of the Trojan war, and have to be reminded of their duties by the goddess Athena. Perhaps next in interest are the black-figured vases of the Collection depicting scenes from everyday life, as, for example, a woman spinning (No. 118) . If this were an indoor scene she would not wear cap and cloak (himation) ; the busy housewife carries her distaff and spindle with her as she walks the streets of Athens. Eight years ago, before the war, this would have seemed strange to our ladies, but today they are quite as industrious with their knitting-needles. It is of additional interest that the vase, which once decorated her tomb, was made shortly after the close of the Persian war (c. 470 B.C.), and it is a fitting memorial; she too had done her bit. Before the Persian war, especially during the reign of the tyrant Pisistra- tus (560-527 B.C.), life was very gay at Athens; the young men found their chief sport in riding and in athletic exercises ; the maidens, in dancing. But dancing in those days was often a rather serious, religious perform ance. Men and women seldom danced together and never in pairs. No. 106 depicts a girl (mcenad), in a tight-fitting dress and panther's skin, STODDARD COLLECTION 7 performing in honor of Dionysus a frenzied dance without musical accom paniment. On No. 120, however, two young women holding castanets (crotala) are dancing, purely for pleasure, to the music of the flute. Their poses are most graceful and aroused the interest of Mrs. Watts, one of the most scholarly of modern interpreters of the art of dancing. Immodest dances by men are depicted on No. 122 (3) , men who lived during the age of Solon (600-560 B.C.) , the famous lawgiver. Youths on horseback, in all cases riding without saddle and stirrups, are seen on Nos. 107, 109, 115, 122. Combats of warriors (Nos. 107, 110) are of no little interest, in that we get a clear idea of the various kinds of helmets, swords, spears, shields and greaves in use in the middle of the sixth century B.C. Athletes and gymnastic exercises are much more frequent, as we shall soon see, on Attic red-figured ware, which begins about 525 B.C. and which, in the course of the next forty or fifty years, put black-figured ware entirely out of the market. Before discussing red-figured ware, however, attention must be called to other centers of the manufacture of black-figured vases. The excavations of the British at Sparta have proved beyond doubt that in Laconia and probably at Sparta itself there was manufactured black-figured ware which formerly went under the name of Cyrenaic pottery. The Collection has only one example (No. 70) of this style, a Spartan wine-cup (cylix), unfortunately not complete. At Corinth, also, black-figured ware was manufactured, but the devel oped style of the sixth century is not represented in the Collection. In the seventh century, under Oriental (Phoenician) influence, animals usually form the decoration (see Nos. 78, 79, 81, 91, 101) ; in the sixth century, human beings (Nos. 86-87). Another series of the sixth century has floral ornamentation (Nos. 80, 83-85), or quarterings (Nos. 82, 89), and it is quite possible that Boeotia was also a center of production of this ware. Especially fine from an artistic point of view are Nos. 81 and 101 ; note how skilfully their designs and ornamental decorations are placed where they are most effective. The Corinthian toilet-boxes (Nos. 93-96) of the Collection, dating from the fifth century B.C., show no signs of actual use, but elsewhere traces of rouge have been found in them. Perhaps the rouge was also manufactured at Corinth. That city had a monopoly on the manu facture of precious ointments and perfumery in the seventh century B.C., and the Corinthians exported their product to all parts of the Greek world, but especially to southern Italy and Sicily. Typically Corinthian forms of lecythi, alabastra and aryballi were invented to serve as receptacles for these unguents; all are flat-lipped forms with very slender neck, so that 8 CATALOGUE OF THE the precious contents of the bottles could be poured drop by drop. For examples of these forms see Nos. 72-77 (Proto-Corinthian lecythi), Nos. 78-81 (Corinthian alabastra) and Nos. 82-89 (aryballi). The form called "alabastrum" was originally made — in the Orient — of alabaster, whence its name, and the reference in Mark 14. 3 to the woman who anointed the head of Christ with the precious contents of "an alabaster box" which she broke is a mistranslation of the Greek text. What the woman really did was to break the thin neck of a clay alabastrum instead of wasting time in withdrawing the clay stopper. Also in Boeotia black-figured ware was manufactured, but examples of the fully developed style, which dates from about 550 B.C., are very rare. The Collection, however, fortunately contains two excellent wine- cups of this style. The first (No. 183) depicts on each side a group of six nude men dancing to the music of the so-called double flute. This term, however, is a misnomer, for the instrument resembles more closely our modern clarionet. The other (No. 184) represents a number of intoxicated rioters in most undignified postures. The very rare Boeotian wine-cup (cylix), No. 186, showing marked Oriental influence, is of earlier date. We have already seen that in Boeotia, as well as in Athens, the black- figured period — to which the Orientalizing, transitional style belongs — was preceded by the Geometric, and that in Athens the black-figured style gave way to the red-figured. Although there also was a red-figured Boeotian style (see No. 194) it was very short-lived, the great majority of Boeotian vase-painters evidently preferring to continue in the old style, even down to the end of the fourth century (Nos. 185, 187-192). These include vases made at the Cabirium, a sanctuary of lesser deities, near Thebes. Unfortunately, the Collection does not possess any of the best examples of Cabiric pottery. Neither does the Collection possess black-figured Chalcidian pottery nor so-called Tyrrhenian amphorae, though the wine-cup No. 102 is closely allied. The Collection is, however, rich in black-figured Ionic and Italo- Ionic ware (Nos. 230-238). By the latter term is meant pottery made in Italy under Ionic influence. In this group three pieces are so important as to claim special attention. The importance of the amphora No. 230 lies in the fact that its clay and technique closely resemble Clazomenian sar cophagi, wherefore I am inclined to consider it a rare example of Clazo menian fabric. Pharmakowski, on the other hand, calls it late Milesian. The amphora No. 231 is certainly Italo-Ionic; it is of especial interest because of the subject depicted on the obverse side: A triton-like monster, swimming in water indicated by a wavy line and three fish, is about to be STODDARD COLLECTION 9 caught by Heracles, who will then force him to divulge the secrets of the future. The reverse side depicts two wolves attacking a deer in a thicket. Wolves are rarely represented in the art of the archaic period. Of genuine Ionian workmanship, again, is the amphora No. 232, on which are drawn athletic contests with much greater vigor than is ever found in Attic vase- painting. So far as I know, there are only two more extant examples of this style; they are in the Metropolitan Museum of Art, New York. Al though the question of fabric is still open, it seems to me that Miletus may well lay claim to work so full of action and life because just those char acteristics are found in the sculpture of that city. We now come to the acme of vase-painting, the red-figured style. As a rule we care more "for the products of the full maturity of the Greek spirit than for its immature struggles," and it is for this very reason that the Attic red-figured style has received more attention than any of the other styles. Red-figured ware was manufactured not only in Attica, but also in Boeotia (No. 194), in Apulia (Nos. 258-270), in Lucania (Nos. 322-325), in Campania (Nos. 335-346) and probably in the Crimea (No. 138), in a branch factory of an Athenian firm. Of the southern Italian wares we are not always able to ascertain the centers of manufacture. The red-figured style was invented at Athens in about(5|j5 B.C. ; all the other fabrics are later and imitate as closely as possible Attic ware. By reversing the process of the black-figured style, that is, by reserving the figures in the red clay and by glazing the background in black, a much better oppor tunity was offered the draughtsman to show his skill. In the new method anatomical details and folds of drapery could be drawn in with pen or brush, whereas in the old method they had to be incised with a sharp- pointed stylus of metal. If a red-figured vase-painting of the best period be closely examined, traces of an incised preliminary sketch may be de tected. The figures were first roughly sketched in so as to procure a properly balanced grouping. The Collection contains an interesting vase (No. 324) on which the preliminary sketch started on one side was soon abandoned as unsatisfactory and then carried out successfully on the other side. With a little practice the development of the red-figured style may readily be traced. In the beginning the figures stand in rather awkward poses with severe outline; the human eye, when seen in profile, is drawn as if in full face ; the figures themselves are very seldom drawn in full face, exceptions being masks such as that of Medusa and of Phobos. About 460 B.C. the outlines become freer, the poses more graceful, the eye more and more natural, and the diaphanous drapery of the female figure hangs 10 CATALOGUE OF THE in rippling folds revealing the beautiful structure of the body. The influ ence of the great painters of the day, especially of Polygnotus, leaves its mark on the lesser painters of vases (cf. No. 325). The shapes of the vases reach perfection, with much pride in his work the potter signs his best products, and the painter, too, often signs his name. It is to be re gretted that the Stoddard Collection contains no signed pieces. Yet it possesses some very fine examples of the vase-painter's art, as is seen in Mr. J. D. Beazley's "Attic Red-Figured Vases in American Museums." Mr. Beazley, of Christ College, Oxford, the greatest authority on the red- figured period, finds it convenient to group the works of masters who for some reason or other did not sign their paintings, either according to the subject of their best work or according to the place where their finest work is now exhibited, and we are fortunate enough to have some painters named after the Yale Collection. So, for example, one vase-painter will from now on be called "The Painter of the Yale Olpe" (No. 143) , another (No. 165) will be known by the name "The Painter of Yale 165," a third will go under the name of "The Painter of the Yale Lecythus" (No. 146) . Then, too, we have examples of unknown masters whose best works are in other collections: for example, No. 132 is by the same hand as British Museum E 447; No. 133 is by "The Master of the Berlin Amphora"; No. 134 is by "The Boston Phiale Painter"; No. 144 is by "The Bowdoin Box Painter"; No. 158 is by "The Orchard Painter" ; Nos. 169-170 are by "The Cerberus Plate Painter," a contemporary of Epictetus, the best artist of the earliest red-figured ware. Also No. 162 is by a painter of the Epictetan group; No. 164 is an unsigned work of the Brygus painter; and No. 152 is in the style of Meidias, who belongs to the end of the fifth century, which also marks the end of this great period. Meidias was evidently one of the few painters to survive the Peloponnesian war. In making the Stoddard Collection Dr. Arndt laid special stress on pro curing the greatest variety of forms. To the ancient Greek the form of the vase was of vital importance; the vase-painting was usually of secondary importance, a fact made clear by the great preponderance of signatures of potters over those of painters. In the period under discussion the vases were thrown on the potter's wheel with most accurate mathematical and geometric precision, as is evinced by Mr. Jay Hambidge in his book on "Dynamic Symmetry: the Greek Vase." Mr. Hambidge's investigations are absolutely original and are of the greatest importance to those who wish to know how the shapes of ancient Greek pottery of the best period were constructed. Even more instructive than the illustrations of the black-figured period STODDARD COLLECTION 11 of the sixth century B.C. are those of the red-figured vases of the fifth century. We get a glimpse into the homes of the Athenians and the Greeks of southern Italy and learn how they spent their time, how they dressed, with what toys children played; we may watch the young men at their athletic sports ; we gain information about the popular musical instruments of the day, about religion, superstitions and mythology, and finally about their burial customs. It may not be out of place to cite the important exam ples of the Collection illustrating these points. On No. 146 we see the thoughtful housewife about to put a folded garment into a wooden chest which is so carefully drawn that a modern cabinet-maker could accurately copy it. The same holds true for the chair behind her; note also the em broidered cushion on the chair, and the hand-mirror on the wall. On No. 153, a pyxis or toilet-box, an appropriate wedding-present, a bridal scene is depicted; the locality is indicated by double doors decorated with a wreath. In front of the house the bride is seated, and the painter has written on her seat, "She's a beauty." The bride is watching the approach of three friends who are singing and dancing. Nos. 344-346 are fish-plates, such as were actually used, decorated with the kinds of fish most highly prized. A banquet-scene, or rather a symposium, is depicted on No. 324 : two men reclining at table, as was customary among the ancient Greeks, are being entertained by a female flute-player. For another symposium see No. 163. Most charming is the picture (No. 130) of a girl about to execute on a i small platform a solo dance to the accompaniment of the double flute, in this case played by Eros (Cupid) ; on the other side of this vase is a girl with a tambourine (tympanum). On No. 160 we see a dwarf dancing around a wine-cup, and on No. 167 a silenus dancing in ecstasy around a wine-cask of which only the spout is represented. For a torch dance by sileni or satyrs in honor of Dionysus see No. 129, and for a picture of Dionysus entertained by a dancing silenus, No. 170. The Collection is poor in the representation of children's games, the only example being an infant on all fours playing with a toy dish; the subject is appropriate, for the little pitcher (No. 142) on which this scene is painted is also a toy. Parents were very superstitious about their children, and in this picture the infant wears around his waist an amulet consisting of a knotted and looped string to ward off evil influence. Sometimes (Nos. 258, 261, 264, 265, 267, 342 ) the amulet consists of a string of beads tied around the leg or the body^.. In the red-figured period athletes are represented most frequently as boxers, wrestlers, runners and jumpers. Two wrestlers — they may be iden tified as such, though they are not wrestling, by their strigils or instruments 12 CATALOGUE OF THE to scrape the sand from their bodies — with their trainer are pictured on No. 135, whereas on Nos. 141 and 162 jumpers are depicted. In the latter scene the jumper swings weights (halter es) to give impetus to his body; to be sure, he will drop these when he jumps. Religious scenes, such as men or women at their devotions, are not very well represented in the Col lection; two, however, are noteworthy: No. 150, a woman pouring a liba tion of wine from a saucer over an altar, and No. 164, a youth burning incense on an altar and playing the double flute. Mythological subjects, so common in the red-figured period, are, unfortunately, not well represented in the Collection; No. 138 depicting Heracles in the garden of the Hes- perides, No. 323, an amazonomachy, and No. 325, a centauromachy, are the only good examples. On the other hand, the Collection is rich in the representation of deities not in any particular action, though they often recall myths: as, for example, Poseidon greeting his son Theseus (No. 143 ) ; a group of four deities, Aphrodite, Amymone, Poseidon and Amphi- trite (No. 152) ; two pictures of Athena (Nos. 133, 147), probably copies of famous statues; Hermes (No. 133) ; Boreas (No. 148), the north wind personified as a winged, bearded figure; Pan in the presence of a youth and a maiden (No. 322) ; other followers of Dionysus, such as maenads, sileni and satyrs (Nos. 131, 156, 262, 323) ; and finally some very peculiar busts of amazons (Nos. 136, 137, 339). The contest between Heracles and an amazon (No. 128) is in a rare technique differing from the usual red- figured style in that the figures are painted in opaque colors on black instead of being reserved in the color of the clay. Very interesting is the tragic story on the plate No. 169: Ajax about to drag Cassandra from the image of Athena, a subject treated for the first time in the epic poem "Iliou Persis." All the characters are inscribed in early Attic letters. No. 139 may, perhaps, refer to the story of Ion, the son of Creusa, in conversation with Apollo, but unfortunately it is too fragmentary for us to interpret the scene with certainty. At any rate, the picture, which dates from about 435 B.C., was painted before Euripides wrote his "Ion" (416-414 B.C.). The ancient Greeks were very punctilious in honoring their dead, and, thanks to the vase-paintings, we are well informed on the subject. On No. 149, a jug (lecythus) covered with white slip on which the picture is painted in much the same technique as was employed by the fresco-painters, we have a scene in a cemetery where, at a tombstone (stele), a youth and a maiden are in deep mourning. /The spirit or soul of the deceased, in the form of a tiny winged figure holding a wreath in each hand, hovers over his tomb. Lecythi in this technique could not be used for practical pur- STODDARD COLLECTION 13 poses, because the painting and the slip do not bear handling, but we know that they were used as funerary furniture. On a wine-cup (No. 166) an elderly man is shaping a twig into a wreath for the decoration of a tomb stone. More instructive than either of these pictures is the scene on No. 335, an amphora of Campanian fabric, but entirely Attic in spirit. Here we see a more elaborate tomb, a temple-like structure with white and red cornice from which hangs a string of wreaths tied with ribbon. In front of the tomb sits the weeping mother with her mantle drawn over her bowed head. Her two sons stand in the background, each with one hand placed flat on top of his head, the usual attitude of mourning. On a wine-cup (cylix) evidently not made for actual use, but either as a decoration for the grave or as a gift to the deceased, is a picture of a youth seated on a cliff (No. 341), his hands resting in utter physical exhaustion on his knees as he fixes his gaze on a tombstone. Seldom, indeed, does ancient Greek art produce a picture which breathes the spirit of unutterable grief so vividly, even though the draughtsmanship is not particularly good. Throughout the Greek period there must have been a great demand for vases in the form of various objects, judging from the frequency of their occurrence. To be sure, these were sometimes manufactured as appropriate votive offerings to deities, as, for example, the pomegranate (No. 60), sacred to Persephone; but as a rule they were made merely to gratify the whim of the purchaser. The beautifully modelled helmeted head from Rhodes (No. 66), the hedgehogs (Nos. 68-69) of Graeco-Egyptian, prob ably Naucratite, fabric in faience, and the siren (No. 92) were used for precious ointment. The following do not seem to have served any particu lar function: the almonds (Nos. 173-174), the mussel-shells (Nos. 172, 193), and the lobster's claw (No. 175) ; whereas the pitcher in the form of a female head (No. 171), the dog (No. 454), the crouching negro (No. 455), the knuckle-bones (Nos. 456-457) and the mule (No. 505) may have been in actual use. The lecythus in the form of a hippocamp with a nereid clinging to each side (No. 351) was evidently made for sepulchral use, because it has no bottom and was painted in tempera. Also drinking- horns (rhyta) terminating either in a moulded griffin's head (No. 349) or in a bull's head (No. 350) served as tomb-furniture. The Mycenaean cow (No. 47), as we have already seen, served as a child's feeding-bottle, and No. 453, a vase in the form of a female breast, not only served the same purpose, but when empty could be used as a rattle. (Rattles were sup posed in ancient times to ward off evil spirits.) In order to fill this vase with milk it had to be turned upside down, for the filling-hole, which is connected by a tube with the inside, is in the bottom, and to empty it the 14 CATALOGUE OF THE contents had to be sucked through a tubular spout. This remarkable vase was made in Athens in the fourth century B.C. Let us now turn our attention to black-glazed ware. Both in Greece and in southern Italy — especially in Campania — from the very beginning of the fifth century down to the third century B.C. many potters preferred to leave their vases entirely undecorated, covering them, however, with beautiful black glaze varnish which often has metallic luster (Nos. 377- 384, 397-408, 411-433, 435-457, 459, 461-471, 495-497, 499). They did well, especially towards the end of the fifth century when the red-figured technique began its rapid decline, not to mar their beautifully formed vases by such miserable pictures as are so frequently found in the Apulian red-figured ware. When, however, the plain, smooth surface seemed too severe, the body of the vase was skilfully fluted or ribbed, either vertically (as, for example, Nos. 387, 409) or horizontally (Nos. 410, 493-494), according to the shape. In addition to the fluting, stamped patterns begin to occur towards the end of the fifth century B.C., both in Greece and in Campania (Nos. 473-476, 490 [Elean fabric?], 491). When the shape of the vase precludes fluting, some potters make use only of stamped orna mentation, consisting usually of mouldings and of artistically arranged palmettes (as on Nos. 333, 477-487) ; occasionally separately moulded objects are attached to the surface of the vase, as, for instance, the snake on No. 488. Other potters, again, even as early as the fifth century, enliven the black glaze by the addition of gilded ornamentation (No. 389) in what is called barbotine technique, that is, soft clay modelled by hand on the finished surface of the vase in much the same manner as the decoration is added on the frosting of a cake. On a few rare examples designs were painted in red on the black glaze (Nos. 254-257). A few odd shapes of black-glazed pottery deserve special notice: The ink-well and pen-holder (No. 498), probably of the third century B.C., the so-called wine-lifter or sprinkler (No. 499) and the infant's cup (No. 501). The Collection also possesses a very rare black-glazed cup with indented sides (No. 484) in imitation of glass ware. As a rule, indented ware belongs to the late Roman period (see Nos. 589-590). Much of the Campanian black-glazed ware was made for the Etruscan market, as is attested not only by the frequency of its occurrence in Etrus can graves, but also by the occurrence of Etruscan inscriptions incised by the owners on quite a number of these vases. On No. 480 we read maceis- sim; on No. 442, maiflnastami; and on No. 399, a circular inscription, perhaps mcerceprziethemi. There are also four examples in the Collection with the mark of the factory: a leaf (No. 468), a geometric pattern and STODDARD COLLECTION 15 the letter F (No. 445), the letter E (No. 431), and the letter A (No. 425). In the Hellenistic period, which begins with the death of Alexander in 323 B.C., there was a tendency either to enliven the black glaze with super imposed white and yellow paint (Nos. 502, 506-508), occasionally in addi tion to the stamped pattern (Nos. 334, 390), or to cover with red paint bands on which the black glaze had been scratched off (Nos. 504-505). The Collection contains a large series, important for the student, but of less interest to the general public, of Gnathian ware (Nos. 271-304), so called because it was manufactured at Gnathia in Apulia, though there is good reason to believe that this style originated somewhere in Asia Minor, and that there were other centers of manufacture in Apulia besides Gnathia. This ware is characterized by opaque designs — in white, yellow and purple-red — on black glaze. These three colors were chosen because they are most effective in imitating silver, gold and copper inlay of metal ware. Of Hellenistic unglazed fabrics the Collection contains excellent exam ples of Apulian pottery with yellow slip ; this fabric also was made in imi tation of gold prototypes, and was used as tomb-furniture (Nos. 305-312) . The Collection contains only a few examples of Canosa ware (Nos. 313- 315), which may be characterized by polychrome decoration on white slip, and by attached terra cotta figurines ; it too was manufactured solely for sepulchral use. Two examples without any slip whatever (Nos. 353, 492) may be unfinished vases. Local Apulian pottery with geometric designs (Nos. 239-253), dating from about 700 B.C. to 400 B.C. or even later, has already been mentioned in connection with Geometric pottery of other centers of manufacture. It was made in Messapia (the southern province), in Peucetia (the middle province) and in Daunia (the northern province). The earliest examples show, as is to be expected, Illyrian influence, because the Daunians origi nally came from Illyria, but the marked Cypriote and even Boeotian influ ence on examples of the sixth and fifth centuries is still unexplained. Recent excavations in Thessaly, however, prove that there was some sort of connection between the Apulians and that country. So far we have discussed pottery either made by hand or thrown on the potter's wheel. We now come to the mould-made fabrics with reliefs. In the former there are no two pieces exactly alike in form and decoration; in the latter, however, untold quantities could be produced from a single mould. It would lead us too far to give a detailed description of the method of constructing the moulds. Suffice it to say that they were decorated while 16 CATALOGUE OF THE the clay was still soft by impressing small stamps with designs and pat terns, manufactured for the purpose, on the inside of the mould. The Collection possesses two excellent examples of very rare relief- ware of about 200 B.C.^'Nos. 210-211) in the form of amphorae. Each half of the vase with its section of handles was moulded separately and joined with slip, as can be seen on close examination. Flad the mould been in one piece in this case the removal of the finished vase from its mould would have presented considerable difficulty because of the very high relief. On the obverse of No. 210 is represented a copy of a statue of Athena within a vine with large bunches of grapes ; on the reverse, Aphrodite ( ?) . This amphora was once covered with brown iridescent enamel glaze, now much worn. The other amphora (No. 211), found in Smyrna, shows traces of dark green enamel glaze. Each side is ornamented with naturalis tic vines, on the tendrils of which birds are perched. The chief importance of this vase, which was made somewhere in Asia Minor in imitation of a metal prototype, lies in the fact that it is the forerunner of Arretine and related pottery of the Augustan Age (Nos. 522-523). The so-called Megarian bowls (Nos. 195-204) of the early Hellenistic period, also mould-made, are of interest because they are the earliest extant examples of an intentional attempt to procure a red glaze through overfiring, but it was not until later that the process was perfected in the red ware of Italy, in modern times usually called terra sigillata (Nos. 513-521). Quite different in technique is Calenian ware of the third and early second century B.C. (Nos. 326-329, 361-369), so called because the chief center of its manufacture was Cales in Campania; it was, however, also made in Apulia (Nos. 370-373). Its prototype occurs a century earlier in Greece (Nos. 357-360). Here, instead of using a complete mould for the whole vase, as was the case in the Megarian bowls, the decoration at least of the gutti (Nos. 361-373) and of the bowls (No. 326) was moulded separately as a medallion and inserted. If the shape be that of a bowl (No. 326) the medallion is inserted inside, on the bottom; if that of a guttus (Nos. 361 ff.) the medallion is inserted on top. In all cases the glaze is black. The medallions of the Greek asci of the fourth century B.C. (Nos. 357-360) are much finer than those of the gutti from Campania and Apulia. In the Campanian gutti the ribbed body is mould-made and the black glaze, which completely covers the vase, is perfect ; in the Apulian examples the ribs are incised by hand and the glaze, which is omitted on part of the foot, is of an inferior quality. Apulian gutti, furthermore, have a higher foot and a longer neck than those of Campania, and in general are coarser and more carelessly made. A third type of vase manufactured STODDARD COLLECTION 17 at Cales, and inscribed with the name of the potter, is the phiale mesompha- los or libation-saucer with a central protuberance or omphalos — whence the name — for the insertion of the middle finger underneath so as to get a firm grip on the saucer in pouring a libation (Nos. 327-329). On No. 327 a continuous relief representing the rape of Proserpina surrounds both omphalos and inscription; the latter records that the maker was a certain Calenian potter named Canoleios, whose name again occurs on No. 329. It is noteworthy that he not only worked chiefly for the Etruscan market, but that he also copied the Etruscan method of decoration. On No. 328, which is not signed, the reliefs consist of two zones of heterogeneous figures stamped at haphazard into the mould. It is important to emphasize the fact once more that moulded clay vases with reliefs are cheap substitutes for gold and silver vases, and there is reason to believe that casts were sometimes made from metal vases and used as moulds for clay vessels. No survey of ancient pottery would be complete without a discussion of terra sigillata. In its broadest sense this term is used to include all the varieties of glazed red ware, even those without designs. The earliest examples are of the third and second centuries B.C. and were manufac tured in Asia Minor or perhaps in Samos (Nos. 509-512) . Somewhat later, at Puteoli (Pozzuoli) in Campania "Samian" ware was copied, but Arre- tium (Arezzo) in Etruria soon became the chief center of production (Nos. 513-524). The finest examples of Arretine relief -ware belong to the Augustan Age. When Gaul and Germany became Roman provinces terra sigillata was introduced (Nos. 525-539), and it was not long before the factories in the provinces drove the ware made in Italy out of the market. These provincial factories date from about 30 A.D. to about 250 A.D. In all these centers of manufacture the red glaze is the characteristic feature. In the Roman provinces of Africa, however, imitation of terra sigillata was manufactured, but this imitation ware may readily be de tected because it lacks the red glaze (Nos. 546-547), and in our examples the reliefs were made separately and attached. In the Collection there are three moulds of Arretine pottery ( Nos. 522- 524) in perfect preservation, dating from the Augustan Age (about the time of the birth of Christ). Since the method of manufacturing these moulds is practically the same as has already been briefly described in connection with the relief -ware of Asia Minor (No. 211) it is unnecessary to describe the process here. With the exception of these three moulds all the vases of Arretium and Puteoli in the Collection are plain, that is, with out reliefs, and are thrown on the potter's wheel (Nos. 514-521) . They are usually stamped on the bottom, inside, with the name of the proprietor of 18 CATALOGUE OF THE the pottery, or with the name of the slave who made the vase, or with both names. The inscriptions of the Collection, which are of considerable inter est, are as follows : ENNI (Ennius). This potter worked at Puteoli (No. 515). SEX ANN (Sextus Annius). Three members of this family owned factories at Arretium, but Sextus seems to have made only plain wares (No. 514). VILLI (Villius). His signature is impressed on the bottom, inside, of a bowl (No. 517) with a stamp in the form of a footprint, and it is now generally held that inscriptions in the sole of a foot are later than those in rectangular panels. If this be so, Villius, a potter of Arretium, belongs to the first century A.D. That he is late is furthermore attested by the red glaze, which is quite dull and inferior to that of the first and second centuries B.C. P. REF. For this inscription (No. 518) I can offer no explanation. RASN (Rasinius) . There was a well-known potter by the name L. Rasinius Pisanus, but since there was at least one other potter of the Rasinius family it is not certain whether our signature, which occurs twice on a large platter (No. 520), is to be assigned to L. Rasinius Pisanus or to some other member of the gens Rasinia. Repeated inscriptions seem to point to an early date in the period of the Arretine potteries, that is, in the beginning of the first century B.C. /?EA. For this inscription, which occurs twice in an eared tablet on the same platter inscribed by Rasinius (No. 520), I can offer no satis factory explanation. ARE (Aretinum vas?) . This is a retrograde inscription stamped on the bottom, inside, of a plate (No. 521 ) in a rectangle. Retrograde inscriptions are rarely found on the pottery of Arretium. :J^EOE: an Etruscan retrograde inscription is stamped in raised let ters on top of the handle of an Arretine ascus (No. 513) . No. 516 has no potter's inscription, but merely a mark of the factory in the form of a twig in a rectangle. Stamps with fabric-marks appear only in the earliest Arretine vases. Inscriptions in the Collection on provincial Gaulish and German red ware, which dates from about 30 A.D. to about 250 A.D., are as follows: OCIIL (officina Gellif). If this inscription (No. 526), which is on the bottom, inside, of a cup from Andernach, dating early in the first century A.D., be correctly interpreted, it refers to the factory of Gellius, who may be a member of the family to which the Arretine potter L. Gellius be- STODDARD COLLECTION 19 longed. Perhaps the inscription is to be restored as Ocella, a name which occurs elsewhere (see the note on No. 526) . PRLMIGSV (Primig(eni) Su . . .). The names of these potters, Primigenius and Su . . . , are stamped on the bottom, inside, of a plate from Andernach (No. 528). Primigenius is known as a slave of the Arre tine potter Gratidius, later as a slave of the potter Titus, but in Cologne there is a fragment on which he signs his name Primigenius fecit, and on our plate it is apparent that in Germany he was no longer a slave, but that he had established an independent factory with a partner whose name begins with Su. MACCARI (Maccarus). His signature is impressed with a rectangu lar stamp on the bottom, inside, of a plate from Andernach (No. 529). Maccarus of Graufesenque is well known as a potter of the first half of the first century A.D. CASTVS • FE (Castus fecit) . Castus, a potter of La Graufesenque, in the ancient territory of Ruteni (Rouergue) , belongs to the end of the first century A.D. In addition to a shallow bowl of the Collection (No. 530) in which he signs himself as the maker we also possess a similar bowl (No. 531 ) in which he signs himself as the proprietor of a factory, namely : OFCAS"|" (officina Casti). On genuine Arretine ware the addition of the word officina has not yet been found. PONTIIAA (Pontii manu) . Pontius was a potter of La Graufesenque (No. 532). Signatures "by the hand of" the potter are rare, but ligatures in which letters — in this case four — are written together are common enough. OFCOCI (officina Coci). Cocus was the proprietor of a pottery at La Graufesenque. He, too, flourished in the first century of our era. He not only signed a shallow bowl (No. 533) of the Collection, but left the imprint of his fingers outside ; he had evidently carelessly handled the vase before the paint was dry, that is, before it was fired. For other examples of finger marks of potters on vases see Nos. 200, 254, 278, 370-372, 512, 543, 564, 568. OF • A/WRAN (officina Murrani) . Murranus was a potter of La Grau fesenque, and may be assigned to the first century A.D. (No. 534) . In Gaul a new form of bowl, hemispherical in shape, with low ring- shaped foot and decorated with reliefs (Nos. 535-539), was invented in about 70 A.D., and finally drove all other shapes of bowl from the market. Here, as on genuine Arretine pottery, the inscriptions are on the outside of the vase and are in the nature of signatures which record either the name 20 CATALOGUE OF THE of the maker of the decorative stamps for moulds or that of the potter who made the vase. The following inscriptions are in the Stoddard Collection: CENSORINI (Censorinus). This signature (No. 535) forms part of the decoration. Censorinus was a potter of Lezoux, in the ancient terri tory of Arverni (Auvergne), and worked in the second century A.D. COMITIAL (Comitialis). Since the mould for this bowl (No. 536) is very carelessly stamped and since the stamps themselves are so inferior to those of Comitialis of Rheinzabern, it seems quite certain that the stamps for the mould of our vase were copied in the third century A.D., and that the copyist even forged the signature of Comitialis, the inventor of the stamps. EPPILLIF (Eppillius fecit). This inscription is on a mould (No. 538) made by Eppillius of Lezoux in the first half of the second century A.D. The Collection contains, in addition to the fabrics of red ware just men tioned in connection with the inscriptions, a number of interesting red- glazed vases with barbotine decoration (Nos. 540-545), dating from the second to the fourth centuries A.D. One of these, a beaker (No. 545) found at Cologne, has a painted inscription REPLE, "Fill (me) !" Impor tant are also the imitations of terra sigillata manufactured in the Roman colonies of northern Africa (Nos. 546-547) with reliefs made separately and attached to the body of the vase. Although the red ware fabrics of Gaul were largely exported to Italy and eventually drove the genuine Arretine ware from the market, there continued to be made in Italy and especially in Rome vast quantities of unglazed ware which was exported to, and copied by, all countries under Roman domination (Nos. 553-579). These are the plain wares in common use. No. 579 is a money-box in the form of a small chest with a lock indi cated in relief. On the lid is a slit, — enlarged by the owner to extract the money, — an incised pig and an incised inscription FELIX. The pig may be symbolic of good luck, though it is not otherwise known to have that significance in ancient times. In addition to the unglazed wares of Rome there were also glazed and partially glazed wares manufactured at the capital city. For a painted bowl found at Rome with the incised name of a slave Chrysanti sum, "I am the property of Chrysantus," see No. 560, and for an incised inscription of a man named Demetrius on an ink-well covered with red glaze see No. 578. On top of this ink-well are applied masks. Another ink-well (No. 577) has a dark brown lustrous glaze on its upper half. Space forbids more than passing mention of the various local fabrics STODDARD COLLECTION 21 of the provinces, such as St.-Remy-en-Rollat ware (Nos. 580-581) , the so- called unglazed terra nigra (No. 584), the black-glazed barbotine of Romano-German fabric (Nos. 585-587), the indented ware in imitation of glass (Nos. 588-590), and the mould-made terra nigra pilgrim's flask (No. 591). The Collection also possesses an early Christian pilgrim's flask (No. 592) and two Coptic vases (Nos. 593-594). These, too, are only mentioned here to show the great scope of the Stoddard Collection. Nor is it possible in this general survey of the Collection to give a de tailed account of the early Italian and Etruscan vases (Nos. 216-226) of the seventh and sixth centuries B.C. Of these No. 216 is of Polledrara fabric, No. 219 is an example of Faliscan ware, No. 220 a unique platter of Etruscan bucchero with a frieze of birds and an Etruscan inscription impressed seven times and a part of an eighth time from an engraved cylinder. The inscription reads lari screpus m. The term "bucchero" is applied to pottery which is neither glazed nor painted, but often polished with wax, especially when the paste is of a dark brown or black color. No. 221 is an Etruscan cinerary urn, and No. 222 has, in addition to incised ornamentation, figures moulded separately and applied to the surface. The Greek and Roman lamps, however, must be treated more in detail. The earliest lamps in the Collection are of the sixth century B.C. and were manufactured in Corinth. These are bowl-shaped with turned-in rim to prevent the oil from spilling, and had floating wicks (Nos. 99-100) , a type still in use in Attica (No. 123) and in Apulia (No. 254) in the fifth cen tury B.C. However, the usual type of Greek lamp in the fifth and fourth centuries B.C. has a deep, open bowl with incurved rim, a nozzle with wick- hole and a handle opposite to the nozzle (Nos. 595-596) ; on No. 595 the owner, a man named Archytas, has scratched his name in the black glaze ; on No. 596 the name of Aristippos appears. The Greek type of lamp in common use in the fourth and third centuries B.C. has a flat, watch-shaped body open on top as before, with one or two nozzles, but without handle (Nos. 597-598). The chief innovation in this type is a central socket into which the lamp was fastened by means of a spiked projection. The earliest lamps found at Rome, on the Esquiline Hill, are more Greek than Roman in type, and seem to be of Campanian fabric. They date from the third and second centuries B.C. (No. 599), and differ chiefly from their prototype in that the bowl is partly enclosed. On our example (No. 600) the owner has incised an inscription reading, quis emet is vendicat, which means, "The purchaser is the owner." Is this a legal phrase of the rei vindicatio, the legal action by which an owner may protect his property? Other sentiments expressed on lamps from the same cemetery on the Esquiline Hill are: 22 CATALOGUE OF THE "Do not touch, I am not yours, I am the property of M." or "I am the lamp of Sota, do not touch me." All the types of lamps so far discussed were thrown on the potter's wheel, and were covered with black glaze, except those of the sixth century. Roman lamps, however, are usually covered with red glaze and are either hand-made or mould-made; in fact, two moulds were necessary for their production, one for the body and another for the circular top or discus which contains a relief. In or near the center of the discus is a filling-hole ; a second small hole at the base of the nozzle is either for air or for the inser tion of a needle used for adjusting the wick. Tweezers or snuffers were also used. The wicks were made of vegetable fiber, the oil was also a vege table product. Traces of usage may often be found on the nozzles of Roman lamps. When they show no signs of usage they served either as offerings in temples or as tomb-furniture. In the early days of the Roman Empire lamps were considered to be a suitable New Year's gift — there are no examples in the Stoddard Collection — and are inscribed annum novum faustum felicem, "a happy and prosperous New Year." In the second century B.C. occur the earliest examples of mould-made lamps, an invention not of Rome, but of Greece. The Collection contains a mould for a Greek lamp of this period (No. 673). In the first century B.C. is found in Greece a type which forms the transition to the ordinary types of Roman lamp. It is therefore safe to assume that the earliest types of Roman lamp were borrowed from the Greeks, but that later — that is, in the Imperial period — the Romans developed these types. It is customary to classify Roman lamps according to the shape of the nozzle and of the body. Those in the Stoddard Collection may be classified as follows: I. With square-ended nozzle, dating from the second half of the first century B.C. (No. 601). II. Here the nozzle ends in an obtuse angle and is flanked on either side by a volute with a scroll only at its base (Nos. 602-609). This class dates from the second half of the first century B.C. to the middle of the second century A.D., but it is particularly popular in the first century of our era. In the earlier lamps of this class the nozzle tapers towards the point (No. 603), in the later examples the nozzle is of equal breadth from base to wick-hole. As a rule, this type of lamp is without handle, but examples with handle (No. 605) occur, and S. Loeschcke has noticed that the latter usually come from Haltern in Westphalia. III. The nozzle is rounded at the end, and is flanked by double volutes (Nos. 610-628). This class is synchronous with class II. Occasionally one STODDARD COLLECTION 23 and the same design occurs on lamps of both classes; it seems probable, therefore, that both classes were made in one and the same factory. When a handle is present it is ring-shaped, often with an attachment modelled in the form of a leaf (Nos. 610, 619) or a crescent, or with a triangular attachment of two separate pieces, the lower moulded with the ring-handle, the upper, with a moulded relief, attached (Nos. 624, 625, 628) . The lat ter variety of lamp was very popular in Egypt and may be of Egypto- Roman fabric. Lamps with more than one nozzle occur in this class (Nos. 627-628). In another group of class III — of the first and second centuries A.D. — the volutes which flank the nozzle have scrolls only on the nozzle, the other end of the volute merging into the shoulder of the body of the lamp (Nos. 629-630). IV (a). The nozzle, which has no volutes, is short and rounded at the extremity, and is either semicircular or heart-shaped, with an incised line at the base, or circular in form (Nos. 633-636) . This class was in vogue in the first, second and third centuries of our era. A rectangular lamp of the Collection (No. 636) has eight circular nozzles and a ninth heart-shaped nozzle. In another group — of the second and third centuries — with heart- shaped nozzle the sloping shoulder is decorated (No. 642). The so-called quasi-Christian type of lamp (No. 646) is the latest development of our class IV (a), and should be assigned to the third rather than to the fourth century A.D. IV (b). Here the short nozzle, which is slightly raised above the shoul der, is either kite-shaped with oblique incised lines at the base (Nos. 637- 640), or rounded at the extremity (No. 641), and on the broad, flat shoulder is a floral pattern usually interrupted on either side by a small rectangular panel in relief. This group, which occurs in the first two cen turies of our era, is commonly found in Greece, though No. 637 was found at Tarentum. In all cases, however, the signatures are in Greek letters. Another peculiarity is the lack of glaze, and the invariable occurrence of a handle. V. This class is distinguished by the absence of figured decoration and by the sunk center on top surrounded by a raised rim through which a canal passes to the wick-hole at the extremity of the long, plain nozzle. On the sloping shoulder are two or three pyramidal knobs sometimes pierced for suspension (Nos. 643-645). On the bottom is stamped the name or mark of the maker. They may be assigned to the first century A.D. and to the early decades of the second century. VI. Christian lamps, characterized by an oval-shaped body with solid handle which extends behind to a ring-shaped standing-base. The slightly 24 CATALOGUE OF THE concave center, which may also be decorated, is connected with a large wick-hole by means of a broad groove or canal, and the flat shoulder is decorated with reliefs; the nozzle is long and has a rounded end (Nos. 647-652). They date from the fourth and fifth centuries A.D., perhaps even later. Unique is No. 653, ah almost rectangular lamp with seven burners in a row, and on top a moulded relief representing the death of Goliath (inscribed Goulida in Greek letters) by the hand of David (inscribed David) . Another group of lamps, impossible to classify, are abnormal forms dating from the first century B.C. to the second century A.D. These are moulded in various forms: a dog (No. 655), a negro's head (Nos. 656, 662), a grotesque face (No. 657), a right hand (No. 658), a boat (No. 659) and a fir-cone (No. 660). No. 661 is a Greek lamp from Tarentum with head, arms and legs of a grotesque figure applied to the top of the body, No. 663 has the upper part modelled in the form of an elephant's head, No. 664 is decorated with an eagle in low relief on top, No. 668 is a ring-shaped lamp with ten radiating nozzles and an arched handle over the top, whereas No. 669 is a combination of three lamps and a bowl, and finally No. 670 is a heart-shaped lamp. Nos. 631 and 632 are plain lamps on a decorated stand. The Collection also contains abnormal handles of lamps in imitation of bronze types, as, for example, a handle in the form of a horse's head and neck (No. 671) . A few of the more important subjects in relief on the discus or top of Roman lamps deserve especial attention. Perhaps the most interesting are gladiatorial combats (Nos. 604, 630, 633, 639). On No. 604 a thrax ad vances against a hoplomachus, but is interrupted by the master of arms or umpire because, as the inscription (stantes missi) tells us, it is an "unde cided contest." Even the names of the gladiators, Sabinus and Popillius, are recorded. On No. 630 a hoplomachus has vanquished a thrax who raises his right hand in supplication. Here only one name is inscribed, that of Gaios, in Greek letters, but in this case it is the name of the maker of the mould. No. 633 represents a retiarius who has thrown his net over the right shoulder of a secutor, and on No. 639 we see a secutor who has gained a decided advantage over a retiarius. Here again the maker has inscribed in two places his name Sposianos in Greek letters. A spirited boxing-match is seen on No. 602 ; although one of the boxers is down on his back, lifting his right hand for mercy, his opponent seizes him by the throat and is about to strike him again with his fist. Mythological subjects of interest are as follows: The centaur Nessus carrying off Deianira (No. 608), Dionysus and Ariadne on a panther STODDARD COLLECTION 25 (No. 621), and the infant Telephus suckled by a doe (No. 612). The Romans were particularly fond of depicting frolicking Cupids. There are two examples (Nos. 613-614) of five Cupids playing with the armor of Heracles, four are struggling with his huge club and a fifth is drinking from his wine-cup. One of the Cupids calls out adjuvate sodales, "Help, comrades!" Again (No. 609) we see two Cupids playing with a lion; one gives him wine to drink, the other twists his tail, to which treatment the lion tamely submits, because it is all in loving play (cf. also No. 623). Of scenes from everyday life the Collection contains the following exam ples: a dwarf carrying two baskets (No. 611), a juggler with a monkey and a weasel trained to do tricks (No. 618) and a butcher eviscerating a goat (No. 622). Of impersonations there is only one example, but that is of the greatest interest, for it is the personification of the Nile and of Egypt (No. 625). The fertility caused by the inundation of the Nile is indicated by a horn of plenty in the hand of the God of the Nile, whereas the Goddess of Egypt looks up into his face and spreads her garment to receive the riches of the Nile into her lap. Of ancient Greek lanterns, seldom found in collections, there is an excellent archaic example in the Collection (No. 675). The body of the lantern roughly imitates a human head with open mouth into which a lamp was intended to be placed. The effect when this lantern was recently lighted was quite as weird as that of the modern Hallowe'en pumpkin- lantern. I. PREHISTORIC EGYPTIAN POTTERY (ABOUT 5000 B.C.) Literature : Jean Capart, "Primitive Art in Egypt," pp. 118 ff*. Fig. 1 1. Fig. 1. Cup in form of ostrich egg. H. 5%g in. Light brown clay, dark brown paint. Hand-made and sun-baked. Perforated projections for a string. Above two horizontal bands at the base, a plant (aloe?) on each side of the vase. Between the plants are spread sails, and above each sail, a row-boat with two cabins. Under the string-holes, a vertical row of reclining S-shaped ornament, and above, a series of broken lines. On the rim ( chipped ) , a reticulated pattern. For similar boats on prehistoric Libyan and Arabian walls of caves see Capart, I.e.,, pp. 202 ff . ; for boats on slate palette, ibid., p. 229. Cf. also Breasted, "History of Egypt," pp. 26 ff. 2. Fig. 1. Cup in form of ostrich egg. H. 53Ae in. Yellow clay, reddish-brown paint. Hand-made and sun-baked. Perforated projection on each side for suspension. On the flattened base, four wavy lines; similar lines encircle the body and the rim. The general effect suggests an imitation of basketry. 28 CATALOGUE OF THE II. PREHISTORIC POTTERY FROM ASIA MINOR (ABOUT 3000 B.C.) Fig. 2 3. Fig. 2. Hemispherical bowl. H. 5% 6 in. with handle. Brown clay. Hand-made, but baked near open fire. Loop-shaped handle, nearly vertical, at the rim. Where the two prongs of the handle join there are, on the inside, three incised vertical lines. Opposite to the handle, a protuberance split in half by a vertical incision, so as to form a primitive spout. The form of the bowl is derived from the natural shape of the gourd, and the handle from a wooden pattern. This type of vase was very popular in Asia Minor and northern Syria, and was introduced into Cyprus about 2000 B.C. 4. Fig. 2. Hemispherical bowl. H. 4 in. Brown clay. Hand-made, but burned black on the inside and along the rim outside except at one point. The black surface was polished by means of a smooth stone or a piece of leather. On the rim, a perforated projection for a string. This fabric is similar to the Cypriote ware which Myres, "Handbook of the Cesnola Collection in the Metropolitan Museum," pp. 11 f., calls fabric I. STODDARD COLLECTION III. CYPRIOTE POTTERY 29 Literature : Walters, "Catalogue of the Greek and Etruscan Vases in the British Museum," vol. I, part II. Myres, "Handbook of the Cesnola Collection in the Metropolitan Museum." A. BRONZE AGE (ABOUT 3000-1100 B.C.) (a) Painted White Ware (2000-1500 B.C.) Myres, I.e., fabric III, A pp. 25 ff. 5. Fig. 2. Globular flask. H. 5% in. Reddish clay, red paint. Hand-made. Two tubular spouts with pierced circular openings, one handle, and many projections pierced for suspension. On the base is painted the N- shaped linear design which characterizes this class of pottery (cf. Br. Mus. Cat. p. 48) ; the spaces between are filled with circles and wavy lines. On the body, two panels of lattice and two of checker pattern alternating. Around the middle of the body, seventeen, and at the base of the neck, nine perforated projections. The necks are decorated with vertical lines and three string-holes. The pierced orifices in the middle of the necks probably served the purpose of refilling. Similar form : Br. Mus. C 287, 288. For an explanation of the character istic ornament on the bottom see M. Mayer, "Apulien," p. 122. 6. Figs. 3, 4. Ellipsoidal flask. H. 8% in. Greenish-white clay, dark brown paint. Hand-made. 30 CATALOGUE OF THE Elongated body with flattened base, short neck with beak-sbaped mouth and small ring-handles at base, and double string-holes on each side. Around the neck are horizontal rings interrupted by checkers. On each face of the body, two rows of lattice checkers separated by oblong checkers. On the body, three projections pierced with double string-holes, and another at the base of the neck. This vase may repeat either a primitive gourd-form, still popular in Cyprus, or a leathern pouch ; the latter sug gestion accounts for the decoration which imitates the stitched seams of leather-work. Similar form: Br. Mus. C 298 ff. 7. Fig. 3. Ring-shaped ascus. H. 5%6 in. D. 4%6 in. Light brown clay, red in parts, dull red paint. Hand-made. Three small feet ; handle arched across the middle, connecting ring and rim of spout; at the lower base of handle, one string-hole; two similar pierced projections where neck joins ring. Across the handle, groups of three or four lines; on the neck, horizontal bands; on the body, outside, between thick bands which encircle the ring above and below, are vertical panels of lattice lozenges alternating with panels of hatched triangles. Similar form: Br. Mus. C 309, 310; Met. Mus. 201, 202. Ring-vases also occur in the Mycenaean period (see below, No. 46) . Cf. also Mayer, "Jahr- buch des archaeologischen Instituts," XXII (1907) p. 231, type G. (6) White Slip Ware (1500-1200 B.C.) Myres, I.e., fabric V, pp. 31 ff. 8. Fig. 3. Hemispherical bowl. H. 4%g in. Grey clay, white slip inside and outside, dark brown paint. Hand-made. Horned handle set horizontally about an inch below the rim. Outside, around the rim, a ring of dots and a band of lattice pattern; on the body, vertical and horizontal bands of lattice pattern, ladder pattern, and rows of dots, imitating the fancy stitches of leather- work. On the handle, oblique lines, an imitation of rushes or straw with which the original wooden handles were attached to vessels made from gourds. This form of vase originated in Asia Minor ( cf. No. 3 ) . (c) Base-Ring Ware (1500-1200 B.C.) Myres, I.e., fabric VI, pp. 36 ff., Class C. 9. Fig. 51. Jug. H. 15% in. Reddish-brown clay, leathery surface. Hand-made. Flat strap-like handle, triple-ribbed with three incised vertical lines. Ring-shaped standing-base. Around the middle of the neck two sharp- STODDARD COLLECTION 31 edged rings, in relief, are attached, imitating a bronze handle-ridge ; at the base of the neck, a similar ring from which two relief-bands curve down wards to the base of the handle. A pair of sharp-edged relief-bands run up the front of the body and curve outwards so as to form a spiral on each side of the vase. According to Myres, I.e., p. 39, the original intention probably was "to represent, in leather- work, seams like those on the covering of a lawn-tennis ball," but our example seems quite clearly to show the influence of metal technique. This class of pottery is probably of Syrian origin, at least much more primitive examples from Syria may be seen in the Whiting Collection of Yale University. It is noteworthy that these jugs never stand upright, but always lean towards the side on which the handle is attached; the reason for this, however, is not clear. Furthermore it should be noted that the decorative designs were modelled separately and attached to the vase before the firing, the earliest occurrence of attached decoration. Base-ring ware is usually dated earlier (2000-1500 B.C.) than by Myres; see F. Poulsen, "Jahrbuch des deutschen archaeologischen Instituts," XXVI (1911) p. 218; he admits, however, that it is still in vogue after 1500 B.C. B. IRON AGE 1. EARLY OR TRANSITIONAL PERIOD (1200-1000 B.C.) (d) Painted White Ware Myres, I.e., fabric XVI, (a) pp. 64 ff. 10. Fig. 3. Amphora. H. 171%r, in. Grey clay, buff slip, black and dull dark red paint. Repaired. Egg-shaped body with wide neck and small handles close to sides. On the rim, parallel strokes at intervals and two bands inside ; around the neck, a red band between four rings and broad black bands. On the shoulder each side, in a panel framed by six vertical lines, a lozenge of lattice checkers bounded by heavy angular strokes ; above, three rings, and below, two groups of three rings separated by a red band ; on the body, a black band. Black paint on handles and foot; a blot of red paint mars one of the panels. It is noteworthy that in the potter's oven this vase had touched its neighbor, which left a faint imprint of its lozenge decoration on an inden tation at the point of contact. Similar form: Met. Mus. 501 ff. 11. Fig. 3. Shallow bowl. H. l"/i6 in. D. 6 in. Grey clay, buff slip, black and dark red paint, much worn in parts. 32 CATALOGUE OF THE Perforated with triangular openings. In the interior, black rings and bands separated by a red band in which nine triangular openings pointing downwards are cut. On the exterior and foot, rings of black; here again the perforated part is red. Similar form: Br. Mus. C 997, 998; Met. Mus. 586, 587. About 900 B.C. 12. Fig. 3. Shallow bowl. H. 1/4 in. D. 7 in. Coarse clay, yellowish-white slip, black and dark red paint. Two string-holes, an inch apart, in the flat rim. In the interior, two con centric bands around the center, then eight concentric rings, a broad red band and a narrow black band just below the rim, on which are three rings. Around the exterior, a broad red band beneath the rim, then two narrow bands, eight concentric rings and a broad red band around the flat foot; underneath the foot, concentric rings. 13. Deep bowl. H. 3X%6 in. D. 5%e in. From Lofftz Collection, Munich. Coarse reddish clay, yellowish-white slip, black and dark red paint. Base-ring, two small handles set horizontally and sloping upwards close to the sides. Broad black band around the rim; the black paint on the handles is extended almost to the base and cuts into the band and con centric rings above the foot; underneath the foot, concentric rings. In the interior, concentric rings and bands in three groups ; the space between the two upper groups is filled in with red paint. Similar form: Br. Mus. C 910. 2. MIDDLE OR GEOMETRIC PERIOD (1000-750 B.C.) Myres, I.e., fabric XVI, (f) pp. 78 ff. 14. Fig. 3. Globular jug. H. 4% in. Buff clay, buff slip, dark brown and brownish- red paint. Base almost flat; plain narrow neck with flaring mouth (injured) . Lip, red with red ring inside ; on the neck, brown rings ; handle, brown. On the body, a threefold arrangement of circles, each consisting of two or three brown concentric circles surrounded by a thick red band which, in turn, is bounded by four brown circles. This threefold arrangement of circles is quite rare. Similar form: Br. Mus. C 778; Met. Mus. 633; S. Loeschcke, "Samm- lung Niessen," Coin, II, plate CVII, 3114. 15. Fig. 7. Lentoid flask ("Feldflasche"). H. 1314/i6 in. White clay, burned reddish in parts, dark brown and brownish-red paint. Two small handles connect neck and body; rounded base. Around the edge of the compressed body, a brown ring which is continued to the top STODDARD COLLECTION 33 of the handles ; furthermore, the handles are decorated with oblique strokes. On each face of the body, three inner, three intermediary, and three outer concentric circles ; in each group the middle circle is red. On the rim of the neck, brown dots. This form of water-bottle or pilgrim's flask, which is evidently borrowed from the wood-turner, also occurs on the island of Rhodes (cf. No. 64) ; on a much smaller scale it is found in the Roman and Early Christian periods (cf. Nos. 591, 592) . Similar form: Pottier, "Vases Antiques du Louvre," album I, plate 3, 2 (from Egypt). Myres, I.e., fabric XVI, (g) pp. 80 f. 16. Fig. 3. Globular jug. H. 3% in. White clay, no slip, black paint. Base-ring and handle-ridge. On the lip, rings and vandyked pattern; on the neck, rings; on the handle, cross-bars below and painted imitation of thumb-rest above. On the shoulder, four groups of concentric circles (each of four rings) around a solid center; on the body, five fine rings bounded above by a single band and below by a double band, as on No. 17. Similar form: Met. Mus. 683. (e) Painted Red Ware Myres, I.e., fabric XVII, (c) pp. 106 ff. 17. Fig. 2. Amphora. H. 4% in. Light red clay, non-lustrous slip, black paint. Rings on the rim and zigzag lines down the handle ; on the neck each side, two groups of concentric circles ( four in each ) , and a band around the base. On the shoulder each side, three groups of concentric circles as on the neck; around the middle of the body, five rings bounded by a single band above and a double band below, as on No. 16. Similar form: Br. Mus. C 1031 ; Met. Mus. 846. 18. Fig. 2. Shallow bowl. H. l1^ in. D. 5%o in. Red clay, black paint. No base-ring, no handle. In the interior, a small circle in the center, four rings where the sides begin to slope upwards, and a band around the rim ; on the exterior, the same decoration. 19. Fig. 2. Deep bowl. H. 6% in. D. 9% in. Red clay, red slip worn in parts, black paint. Base-ring, two small vertical handles close to the sides. In the interior, bands and rings around the center, seven intermediary rings, and a ring below the band around the rim. On the exterior around the rim, a black band ; handles, painted black and bounded by oblique strokes ; between the handles each side, three groups of concentric circles (four in each) ; below 34 CATALOGUE OF THE the handles, seven rings corresponding to those within; above the foot, bands and rings ; underneath the foot, concentric rings and a band. 20. Figs. 2, 3. Shallow bowl. H. 2% in. D. 8 in. From Carpasia. Brownish clay, deep red non-lustrous slip, black paint. Two small handles set horizontally, but sloping upwards close to the sides ; base-ring. Broad black band around the rim ; the paint on the handles is continued below the juncture, as on No. 13. On the interior, concentric bands and rings in two groups ; on the exterior, bands and rings ; around the foot, a band; underneath the foot, two concentric rings. Similar form: Br. Mus. C 908. 21. Fig. 2. Globular jug. H. 3% in. Red clay, red slip on body, but not on neck, black paint. Flat base, narrow neck with handle-ridge and wide-spreading mouth. Bands on the mouth and the neck; paint on the handle. On the shoulder, opposite to the handle, one concentric circle of three rings ; around the body, seven rings. Similar form: Br. Mus. C 912. 22. Fig. 2. Globular jug. H. 3% in. Red clay, red slip except on the funnel-shaped part of the neck, black paint. Form as No. 21, but body more globular and flare of neck more gradual. A narrow band on the lip, similar bands below and above the handle-ridge, a broader band between the lip and the handle-ridge. On the shoulder, three groups of concentric circles, each of three rings; around the body, four rings. The paint on the handle is worn in parts. 23. Fig. 2. ffinochoe. H. 3% in. Red clay, no slip ( ?), black paint. Flat base slightly pressed in at the center, ovoid body, no neck, pinched trefoil lip. Paint on the rim and down the sides of the handle; one band below the rim. On the body, five groups of concentric circles (four in each) . Similar form: Met. Mus. 834-839. 3. LATER PERIOD (750-500 B.C.) (f) Tricolor Ware Myres, I.e., fabric XVII, (d) pp. 109 f. 24. Fig. 2. OSnochoe. H. 11 in. Red clay, red slip, black paint with chalky luster- less white (much worn) for details. Globular body, long slim neck with trefoil lip, double-ribbed handle, low small ring-shaped foot. Paint on lip ; bands down the edges of the handle with cross-strokes between; around the neck, three rings above and a band STODDARD COLLECTION 35 at the base. On the body, intersecting bands formed of nine fine horizontal rings and of ten fine vertical circles ; the latter encloses on each side a cen tral group of three concentric bands (covered with white, mostly worn away) surrounded by four groups of small concentric circles (three in each). On the shoulder in front, a pattern of intersecting lines with two groups of concentric circles each side ; below the horizontal rings, a central group of two concentric bands enclosing three fine small concentric circles and surrounded by eight groups of small concentric circles, as on the sides. Under the handle, two groups of concentric bands (two in each) bordered by eight groups of small concentric circles. Originally all the circular bands had been covered with white, of which only faint traces remain. Similar form : Br. Mus. C 920. 25. Fig. 2. CEnochoe. H. 9 in. Light red clay, brownish-red slip, white superimposed (only faint traces left). In form and decoration essentially the same as last ; there are, however, no cross-strokes on the handle, and the small concentric circles consist of four instead of three circles. 26. Fig. 2. CEnochoe. H. 11% in. Brown clay, burned red and dark brown in parts in the firing; brownish-red slip, black paint, traces of superimposed white. Globular body, short neck and trefoil mouth, double-ribbed handle, foot slightly higher than the preceding vase. Paint on the lip, and black bands down the edges of the handle; rings and a band around the neck. On the body, in front, a pattern of intersecting lines with three groups of con centric circles (six in each) each side; in the center, thirteen concentric circles surrounded by a broad band; below, three groups of concentric circles (three in each) in line. Under the handle, four similar groups, two in line with two below. On each side, a vertical band of circles composed of eight fine rings between broader bands enclosing a central group of con centric circular bands and four outer smaller groups (each of six circles). Similar form, but with somewhat different system of decoration: Br. Mus. C 865; Met. Mus. 707. 27. Fig. 2. CEnochoe. H. 8% in. Brown clay, bright red slip turning to brown on neck and upper part of handle, black paint with white accessories. Pear-shaped body, narrow neck with closely pinched lip, arched double- ribbed handle, foot higher than the preceding vase. Paint on the lip ; bands down the edges of the handle with cross-lines above and below; around the neck, two rings above, and a ring and a band at the base. On the body each side, concentric circles and bands in three groups, the inner of three rings 36 CATALOGUE OF THE and a band, the next of two rings, and the outer of six fine rings between heavier rings edged with white ; down the front, four groups of concentric circles (three in each) in a vertical line; at the back, under the handle, three similar groups. Similar form: Br. Mus. C 933; Met. Mus. 881. It dates from about 550 B.C., as is evinced by the fact that the example in the British Museum was found with a black-figured cylix of Ionic fabric. (g) Unpainted Red Ware 28. Fig. 2. Jug. H. 3% in. Grey clay, red slip (black in parts). Angular pear-shaped body, handle-ridge, flat rim, low standing-foot almost flat. Similar form : Met. Mus. 476, but our vase is not true bucchero. The date is quite uncertain. C. HELLENIC AGE (500-300 B.C.) (h) Painted White Ware (Fabric peculiar to Amathus) Myres, I.e., fabric XVI, (m) pp. 102 ff. 29 Fig. 4 STODDARD COLLECTION 37 29. Fig. 4. Amphora. H. 7lyi6 in. Grey clay, cream-colored slip, black, brown and purple paint. Ovoid body, cylindrical neck with thick rim, vertical handles. Black paint on the handles; brown rings with superimposed black zigzag lines on the rim; a purple and a black band around the inside of the mouth; around the neck, a black band and a brown ring above and below, sepa rated by a row of blotches divided horizontally into two halves, evidently a debased leaf pattern; on the shoulder, six black rings, a purple and a black band. On the body each side, between two panels of lattice pattern of black and brown lines, a bird (on obverse to left, on reverse to right) ; below, all around, two black and two brown narrow bands. Under one handle, a black vertical line connecting the upper and lower bands. Similar form: Br. Mus. C 962 ff.; Met. Mus. No. 784. Our example dates from the middle of the sixth century B.C. (i) Polychrome Ware 30. Fig. 2. "Woman-and-Pitcher" jug. H. 15% in. Red clay burned black in parts, black and white paint. Just above the foot, a hole too circular in shape to be accidental. Elongated oval body with double-ribbed handle and flaring foot (in jured) ; on the shoulder, a spout in the form of a pitcher (injured), the handle of which, now lost, was originally held by the right hand of a woman, very crudely modelled, except the features, with rudimentary hands and feet. She wears a peaked cap, a bracelet on the left wrist, a long chiton and mantle. Only the head is made from a mould; the rest of the body is hand-modelled, and has purple paint over a white slip, as on terra cotta figurines. Around the body of the vase, below the figure's feet and above its foot, are two broad bands of a series of black and white rings; below the rim, a narrow black band ; on the handle, white paint. Similar form: Br. Mus. C 973 ff.; Met. Mus. Nos. 936 ff. This peculiar fabric occurs especially at Curium and Marion in western Cyprus. Our example belongs to the first half of the fifth century B.C. (j) Uncertain Fabric 31. Fig. 2. Barrel-shaped jug. H. 6s/iq in. Said to have been found in Egypt. Reddish-brown clay. Hand-made. Short neck with incurved lip ; two handles clumsily attached. The elon gated body is grooved vertically with concentric circles; at each end are slight protuberances. This vase probably dates from the Late Bronze Age, about 1500-1200 38 CATALOGUE OF THE B.C., and has been inserted here because the "barrel-jug" is almost peculiar to Cyprus, though it is not at all certain that it is of Cypriote fabric. IV. MYCEN^AN PERIOD LATE MINOAN III (1400-1100 B.C.) VARIOUS CENTERS OF PRODUCTION Literature : Sieveking-Hackl, "Die Konigliche Vasensammlung zu Munchen," I, pp. 1 ff.; Furtwangler-Loeschcke, "Mykenische Vasen"; Walters, "History of Ancient Pottery," I, pp. 269 ff. 32 Fig. 5 32. Fig. 5. False-necked jar. H. 1.2% in. Coarse brown clay, light buff slip, dull black paint. Pear-shaped body on low stem, false neck (spout) at one side, whereas the proper neck is closed by a stirrup-shaped handle which crosses it. On the closed mouth, a ring around a cross; on the handle, heavy oblique strokes ; on the spout, bands ; at the base of handle, spout and neck, a noose- shaped band. On the shoulder, each side of the spout, a chevron over an alpha with broken cross-bar, and below the spout, traces of a similar pat tern. Around the body, vertical chains of debased flowers bordered above STODDARD COLLECTION 39 by three and below by two bands; further down, three bands, and above the painted stem, two bands. For the decoration on the shoulder, which occurs on a false-necked jar from Rhodes, now in Berlin, published by Furtwangler-Loeschcke, Myken. Vasen, plate XI, 69; on a three-handled jar from Cyprus, also in Berlin, ibid., plate XIV, 90; on two similar jars in the Br. Mus. C 469, 470; and on a Cypriote bowl in the Br. Mus. C 638; see Miss Edith Hall, "The Decorative Art of Crete in the Bronze Age," p. 39. 43 35 44 45 47 ~ 68 39 Fig. 6 63 34 40 61 :;:; 62 33. Fig. 6. False-necked jar. H. 4% 6 in. Reddish clay, buff slip, lustrous red paint. The spout is broken off. Globular body on low foot. On the closed mouth a nipple-shaped pro j ection forms the center of a painted spiral ; down the edges of the handle, bands connected by cross-bars ; at the base of the spout and neck, a noose. On the shoulder, to the right of the spout, concentric arcading; to the left, a fish to left; on the opposite side, a swan to right, and concentric arcading. Around the body and foot, broad and narrow bands. The fish and the swan are of rare occurrence on false-necked jars. For similar form: Furtwangler-Loeschcke, Myken. Vasen, plate XXII, 163 (Br. Mus.). 34. Fig. 6. False-necked jar. H. 4% in. Found near Patras. Yellow clay, buff slip coated with transparent varnish, reddish-brown glazed paint. Cracked in parts but complete. Globular body and low foot. On the closed mouth, a spiral; on the handle, cross-lines which are continued on 40 CATALOGUE OF THE the shoulder, where they are bordered by a loop ; at the base of spout and neck, a noose ; paint within the spout and on the rim. On the shoulder, each side of the spout, concentric semicircles placed horizontally ; below, a group of four concentric semicircles placed vertically; on the opposite side, two large cross-hatched chevrons separated by a vertical wavy line and enclos ing concentric semicircles. Foot and lower half of body, covered with solid paint ; above, five narrow bands. 35. Fig. 6. False-necked jar. H. 3% in. Yellowish-green clay, brown paint almost entirely worn off. Flat body on low foot. Paint on handle, closed mouth and spout ; noose around the base of neck and spout. On the shoulder, three circles of short strokes ; below, four bands ; around the foot, a band. 36. Fig. 14. CEnochoe. H. 2% in. Yellow clay, buff slip, lustrous red paint. Globular body on low foot; beak-shaped spout (chipped). Paint on handle, rim and neck ; on the shoulder, near the base of the handle, a vertical stroke ; below, two groups of wide and narrow bands. Similar form but much larger: Furtwangler-Loeschcke, I.e., plate IX, 53 (Rhodes). 18 38 64 41 Fig. 7 15 37 STODDARD COLLECTION 41 37. Fig. 7. Three-handled jar. H. 18 in. From Rhodes. Brown clay, dull dark brown paint thinned out in parts to reddish-brown. Pear-shaped body, high neck with spreading rim, low ring-shaped foot, flat handles, set vertically, with a ridge down the middle. Paint on foot, neck and rim; bands on the handle each side of the unpainted ridge; thick oval bands surround the handles. Between the handles, conventional floral pattern with two pairs of large volutes occurring three times. Around the body, three groups of three bands. Similar form: Sieveking-Hackl, "Vasensammlung zu Munchen," plate 4, No. 29; Furtwangler-Loeschcke, I.e., plate X, 62, both also from Rhodes. 38. Fig. 7. Three-handled jar. H. 14% in. From Rhodes. Yellowish-brown clay, lustrous dark brown paint thinned out in parts to reddish-brown. Pear-shaped body, somewhat slenderer than the preceding vase, vertical handles without ridge. On the body, a dent received before baking. Paint on neck inside and outside, on handles and foot; horseshoe band around the handles. Around the shoulder above the handles, four narrow bands; between the handles in two of the spaces, two groups of double spirals, in the third space, a triple running spiral ; above and below, a row of quirks (S-ornament). On the body, three groups of bands, three in the upper, two in the middle and one in the lower. Similar form: Sieveking-Hackl, I.e., plate 4, No. 30; Furtwangler- Loeschcke, I.e., plates I, 3, V, 28, VIII, 43, all from Rhodes. 39. Fig. 6. Three-handled jar. H. 6% in. Found near Patras. Yellow clay, lustrous reddish-brown paint, thinned out in parts. Form similar to preceding, but smaller, with very short neck, wide mouth and curved rim ; small thin handles set horizontally, but standing upright ; high stem. Paint on handles, neck and stem; on mouth inside, a band; on rim, groups of strokes. Between the handles, panels of shell pattern or debased flowers in groups of three, bounded on the right by a series of slightly curved strokes ; above and below, a zone of rings ; around the body, four narrow bands, alternately of solid and thinned paint. Similar form: Furtwangler-Loeschcke, I.e., plate XX, 143 (from Thebes) ; Br. Mus. C 437 ff. (Cyprus) ; Met. Mus. 418 (Cyprus) ; Sieve king-Hackl, I.e., plate 4, No. 27. 40. Fig. 6. Three-handled jar. H. 2X%6 in. Found near Patras. Brownish clay, lustrous dark brown paint, thinned out in parts. Same as last, but smaller, with wider mouth, greater slope to shoulder 42 CATALOGUE OF THE and flat rim. Surface slightly damaged; repaired, but complete. Paint on inside and outside of neck, on handles and foot. On the shoulder between the handles, lattice pattern ; below, two bands ; above the painted foot, two bands. 41. Fig. 7. Three-handled jar. H. 9% in. Found near Patras. Yellowish-brown clay, lustrous dark brown paint. Spherical body, high neck with sloping lip, small handles set horizontally but standing upright, no foot. On the body, an indentation caused by the potter's hand before the baking. Paint on the neck inside and outside, on and around the handles. On the shoulder above the handles, two bands; between the handles, arcading with chevrons between ; below, three bands. On the body, two groups of three bands ; on the base in the center, three concentric bands surrounded by three larger bands. 42. Fig. 6. Three-handled jar. H. 25/%e in. Brown clay, cream-colored slip, lustrous reddish-brown paint. Squat body with flat base, three small upright handles set horizontally. Rim and body, slightly chipped. Paint on the mouth inside and outside and on the handles ; two rings on the overhanging lip. On the shoulder above the handles, two rings; on the body, ornament of waves (rocks?) in solid color; below, a ring; on the base, three concentric circles. 43. Fig. 6. Deep bowl. H. 4%6 in. Found near Patras. Brown clay, buff slip, lustrous dark brown paint. Globular body with flaring rim, two upright handles set horizontally on the shoulder, low foot, base slightly concave. Paint on the mouth inside and outside ; blotches on the handles. On one side of the shoulder, four horizon tal wavy lines (almost zigzag) with vertical border between vertical waved lines ; on the other side, a similar design, but with five curved lines between the vertical lines. Around the body below the handles, three bands, and above the foot, one band. 44. Fig. 6. Deep bowl with trough-spout. H. 6% in. From Rhodes. Light red clay, buff slip, lustrous red paint. Lower half of body, almost cylindrical; upper half, flaring; two horizon tal handles below sloping rim; spout below rim; base slightly convex. Re paired; lip slightly restored. Paint on the handles; bands and cross-bands along the outer edges of the spout. Around the rim inside and outside, a broad band; on the rim, rings; the base is undecorated. On the upper half of the body each side, between the handles, a conventionalized lily and rosettes ; on the lower half, two zones of rings between bands. STODDARD COLLECTION 43 Similar form (probably a milk-bowl) : Furtwangler-Loeschcke, I.e., plate I, 7 (also from Rhodes) ; Sieveking-Hackl, I.e., plate 4, No. 42 (from iEgina). For the lily design see Miss Edith H. Hall, "The Decorative Art of Crete," p. 36, Fig. 53, and pp. 43 f. 45. Fig. 6. Beaker. H. 61-%6 in. From Rhodes. Light red clay, buff slip, lustrous red paint. The body is narrowest at the middle and curves outward toward base and rim; base, slightly convex; one flat vertical handle at the side. Around lip, middle and base, double grooves. Paint on the handle; bands around the rim outside and inside, also around the middle dividing the body into two zones, the lower wider than the upper. In each zone, five panels each of two arcs in solid color separated by vertical strokes; the intervening spaces are decorated with crossed oblique lines. On the base, three groups of concentric circles. Similar form: Sieveking-Hackl, I.e., plate 2, No. 43 (iEgina) ; Kinch, "Fouilles de Vroulia," cols. 2 and 3, Fig. 4 (Rhodes) ; Br. Mus. C 618 and 619 (Cyprus) ; Furtwangler-Loeschcke, I.e., plates IX, 56 (Rhodes), X, 65 (Rhodes), XXI, 150 (Nauplia). 46. Fig. 11. Ring-shaped ascus. H. 21:%6 in. Found near Patras. Light brown clay, lustrous black paint varying to red. A ribbon-shaped handle, curving across the top, connects body and flar ing rim of spout. Across the handle, strokes ; around the base of the spout, a band ; encircling the body above, herringbone pattern between bands. Similar form: Pottier, "Vases Antiques du Louvre," album I, plate 32, D 114. For prototype see above, No. 7. Cf. also Mayer, "Jahrbuch des archaeologischen Instituts," XXII (1907) p. 231, type G and note 70. 47. Fig. 6. Vase in form of cow. H. 5 in. L. 6% in. Reddish-brown clay, lustrous dark brown paint, much worn and faded. Hand-made. On the back of the cow is the inlet or mouth and a vertical handle ; the tail forms the spout; the head, which is well modelled, is turned towards the animal's right side; the legs are primitive stumps; the body lacks modelling. Markings on head, tips of horns, neck and body; the eyes are indicated by punched dots surrounded with black; cross-strokes on the handle ; the spout and the rim of the mouth are painted. Around the cow's neck is a wreath of herringbone pattern, which suggests a sacrificial victim, but the spout makes it probable that the vase was used as a child's feeding bottle. 44 CATALOGUE OF THE Similar form: Br. Mus. C 802 (Cyprus), but in that example the vase is for pouring through the muzzle and not for sucking. 48. Fig. 7. Crater. H. 131%6 in. D. 14% in. From Rhodes. Light red clay, buff slip, black paint varying to red. Repaired. Curved sides, slight rim, vertical flat handles, high thick stem, spreading foot. Paint on rim inside and outside, on stem and foot; inside near rim, broad ring; on the handles, two vertical strokes between bands which are continued on the body to form an oval-shaped loop. Between the handles, on one side of the body, fourteen groups of chevrons bounded by vertical double lines; on the other side, twelve; below, three bands encircling the vase ; above the painted stem, a similar band. Similar form, but with smaller foot : Furtwangler-Loeschcke, I.e., plate VI, 32 (also from Rhodes). 49 Fig. 8 49. Fig. 8. Amphora. H. 165/i6 in. Light brown clay, no slip, dull dark brown paint thinned out in parts. Ovoid body, low flat standing-base, neck sharply set off from shoulder. Around the rim inside and outside, a band; on and below the handles, STODDARD COLLECTION 45 crossed streamers; at the base of the neck, a ring from which serpentine streamers hang on each side of the shoulder. Around the body, three groups of bands and rings ; accidental blots of paint on shoulder and body. Very late Mycenaean under the influence of the Geometric style. Date, about 1100-1000 B.C. 50 Fig. 9 50. Fig. 9. Amphora. H. 15/4 in. Light brown clay, lustrous dark brown paint much faded in parts. Neck and one handle repaired; small piece of neck restored. Shape and fabric as last. Band around rim inside and outside; crossed bands down the handles ; ring around standing-base and another at base of neck. On the shoulder each side, two sets of concentric circles, each of eight circles, drawn with a pair of compasses; on one side there are two vertical zigzag lines between the sets of circles and one line to the right; on the other side, only one line between and two to the right. Around the body, two groups of bands, three in each. The concentric circles seem to point to Cypriote influence. Date, same as last. 46 CATALOGUE OF THE V. GEOMETRIC PERIOD (a) Non-Attic Ware (1100-900 B.C.) 51. Fig. 10. Amphora. H. 19% in. Reddish clay, white slip, dark brown paint. Repaired, fragment of foot wanting. Ovoid body, long cylindrical neck with moulded lip, spreading conical foot, two vertical loop-handles of two ribs on the shoulder. There are on both body and foot several dents received before baking. Paint on the handles, following the contour, with cross-strokes between. On the neck inside, three bands near the rim ; on top of the rim, groups of three strokes ; on its outer edge, vertical strokes with dots below; on the neck outside, two rings, a zone of vertical zigzags in groups, four rings, quirk-and-dot pattern (S-ornament), and finally four rings. On the shoulder, a narrow zone of zigzags, three rings, a zone of step pattern, four rings, a broad zone (interrupted by the handles) of vertical zigzags in groups with a chain of three lozenges between; under one handle, a swastika; to the right and left of each handle, three vertical strokes. On the body, two bands each of five rings with step pattern between, a broad zone of grouped zigzags, four- STODDARD COLLECTION 47 teen rings and finally a broad zone of solid color. On the foot, six rings, a zone of step pattern, two rings, groups of triple strokes and a ring. Probably Boeotian, see Sieveking-Hackl, "Vasensammlung zu Mun- chen," I, pp. 35 ff . 52. Fig. 11. CEnochoe. H. 141%6 in. Brown clay, lustrous dark brown paint, red in parts through overfiring. Repaired. Body nearly spherical with base-ring, cylindrical neck with trefoil mouth, flat handle slightly concave. Paint on the mouth; cross-strokes on the handle below and lattice pattern above. On the neck, a scheme of panels, framed with rings above and below and with vertical double lines; in the central panel, horizontal zigzag lines (the upper row with dots) , on either side of this, a lattice lozenge, the overshot ends of which form lateral tri angles resting on the frame of the panel, and lattice triangles above and below, then vertical zigzag strokes, and finally a panel of solid black below juncture of handle and lip. On the shoulder, a zigzag line between rings, a zone of concentric circles (applied mechanically by means of compasses), interrupted by the base of the handle and by three vertical strokes. Around the body, a zigzag line bounded above and below by three rings, a zone of concentric circles (six in each), interrupted below the handle by three strokes, then three rings, a zigzag line, six rings, two broad bands, the lower also covering the base-ring. Boeotian fabric. For a similar pitcher see Wide, " Jahrbuch des archaeolo- gischen Instituts," XIV (1899) p. 83, Fig. 39. (b) Attic Dipylon Ware (1000-700 B.C.) Literature : Walters, "History of Ancient Pottery," I, pp. 277 ff., with bibliog raphy.53. Fig. 11. Double vase in the form of two pitchers joined. H. 3% in. Light brown clay, lustrous black paint. Hand-made. Repaired. The left oenochoe is somewhat larger than the other ; between their necks is perched a male figure, most primitively modelled (left arm wanting). Flat base, high necks with pinched (trefoil) lips. On the base of each, an eight-pointed star (four straight lines intersecting in the center) with a dividing line between ; cross-lines on the handles ; dots around the lip ; the figurine is decorated with cross-lines. On the necks, except under the handles, between double rings, a chain of lozenges with dots. On the shoul der in front, lattice triangles with markings in the vacant spaces; behind, between the handles, a rectangular space filled with net- work. Around the 48 CATALOGUE OF THE 182 5.5 52 59 54 57 56 58 Fig. 11 60 53 46 body, between double bands, a chain of lozenges with dots, then a row of dots and three bands. Similar form: Collignon-Couve, "Catalogue des vases peints du Musee National d'Athenes," plate XVI, No. 372. 54. Fig. 11. CEnochoe. H. 5% in. (including handle). Reddish clay, lustrous black paint. Repaired, lip chipped. Body in form of section of a sphere, high tubular neck with trefoil lip, high flat handle sharply curved. Paint on lip and on back of neck and shoulder; on the handle, which has black edges, panels of oblique crossed lines separated by horizontal triple lines. On the neck, in front, four com partments separated by double lines; in the first and third, a chain of lozenges with dots, in the second, vertical zigzags, in the fourth, lattice pattern with a double row of triangular openings. On the shoulder, between four groups of chevrons, a group of three concentric lozenges (two in each), the inner lozenge divided into four parts by a cross. Around the body, ten rings and a narrow band at the base. The form also occurs in the somewhat later Proto-Corinthian fabric ; see STODDARD COLLECTION 49 Sieveking-Hackl, I.e., plate 6, Nos. 224, 225, and p. 11, Fig. 17; and in the unknown fabric, represented in our Collection, Nos. 61-62. 55. Fig. 11. Olpe. H. 7 in. (including handle). Reddish clay, lustrous dark brown paint. Spherical body, long cylindrical neck widening towards the plain rim, high looped flat handle with supporting bar connecting handle and neck. On the rim, a group of dots and three bands inside and outside; on the handle, cross-bars and a panel of crossed oblique lines ; on the supporting bar, three marks ; on the neck and shoulder behind, under the handle, heavy vertical lines and crossed oblique lines above the supporting bar. On the neck, a broad zone of three panels with a frame of triple lines separated by chevrons ; in the central panel, a ring of tangent circles and dots within a fringed circle; in each of the lateral panels, an aquatic bird (feathers indicated by lattice pattern) facing the central panel, with dotted rosettes, dotted lines and zigzags in the field; below, a chain of lozenges. On the body, a zone of tangent circles with central dots, then rings and a broad band at the base. Similar form and decoration: "Jahrbuch des archaeologischen Instituts," (1899) p. 209, Fig. 81 (from Athens) . The fringed circle ornament occurs also on a tripod of the Geometric period in the Louvre, Pottier, "Vases Antiques," album I, plate 19, A 491. 56. Fig. 11. Shallow bowl. H. x%g in. D. 4V4 in. Reddish clay, lustrous dark brown paint varying to red. Flat standing-base, flat rim, bow-shaped horizontal handles. Solid paint inside; stripes on the handles; on the rim, rectangles with diagonals sepa rated by groups of vertical lines. Outside on the base, a rosette of four petals surrounded by rings; around the body, two groups of triple rings separated by rings of dots ; on the rim between the handles, pointed ovals (petals) filled with oblique lines. The ornamentation was put upon the exterior so as to be visible when the bowl was suspended on a wall. It may, however, have served as a cover of an amphora. 57. Fig. 11. Deep bowl with open-work foot. H. 5 in. Yellowish-brown clay, lustrous black paint, faded in parts, and thinned out for hatching. Lower part of body, squat and rounded; upper part, nearly vertical straight sides with rim sloping inwards; spreading foot (repaired and restored in parts), perforated with four rectangular openings; flat bow- shaped handles, set almost horizontally on lower part of body (one of the handles slopes downwards, a common occurrence in this shape of vase). 50 CATALOGUE OF THE On the handles, a central panel of four straight lines intersecting in the center (eight-pointed star?) framed by vertical strokes. On the rim, groups of vertical lines; around the rim inside, three rings and a broad black band; in the center, a very small clay-colored disc surrounded by black. On the exterior above, a zone of panels between rings and framed by six vertical lines with hatched center; in the panels, aquatic bird to right, with zigzags and swastika in the field (twice), hatched swastika (six times), horizontal zigzags (six times) , vertical chain of lozenges, filled with dots (twice) . On the exterior below, bands and rings; between the handles each side, three panels framed by vertical strokes; in the central panel, hatched key-fret; in the lateral panels, horizontal zigzags. On the foot, between the perfora tions, horizontal zigzags; above, rings; below, a narrow band of vertical lines. Similar form: Leroux, "Vases Grecs et Italo-Grecs du Musee Archeo- logique de Madrid," plate I, 3 (from Athens) ; similar decoration: Pfuhl, "Athenische Mitteilungen," XXVIII (1903) p. 114 (All9b) Beilage, XI 5. Center of manufacture not known. 58. Fig. 11. Deep bowl with open-work foot. H. 4:n/i6 in. Light brown clay, lustrous dark brown paint thinned out in parts. Repaired and slightly restored. Form similar to last, but the foot is nearly cylindrical and is perforated with ten rectangular openings. On the handles, a horizontal row of dots between lines. The interior is covered with thinned paint except at the rim, where there are rings. On the exterior above, each side, key-fret ornament ; above the handles, three panels framed as on No. 57 ; in the central panel each side, a kneeling ibex (?) facing to right, and in the field, a rosette consisting of four straight lines intersecting at the center and surrounded by a dotted circle; in the lateral panels, checker pattern. Between the handles each side, a row of aquatic birds to right with dots in the field and framed in as above; below, between a group of rings, tangent circles of solid paint. On the foot, between the openings, alternately a checker pat tern and a cross of oblique lines with four lattice triangles in the angles ; above, a band ; below, a ring of dots. On a tripod's support in the Louvre (Pottier, "Vases Antiques," album I, plate 19, A 491 ) are similar kneeling animals, probably wild goats. 59. Fig. 11. Deep bowl with very high perforated foot. H. 10 in. (with cover). Light brown clay, lustrous black paint thinned out to brown in parts. Foot repaired.Form of body similar to preceding; foot perforated in three tiers, the upper and lower tiers with five rectangular, the middle with five triangular STODDARD COLLECTION 51 openings pointing downwards and so arranged as to be half-way between the rectangular slits. Decoration of handles as on No. 57. The cover inside, unpainted ; outside, on the flat top of the knob, a cross with two concentric circles surrounded by a band of rays pointing outwards ; below, a narrow groove and rings ; on the cover, below the knob, bands and rings, then rays pointing downwards with swastikas in the vacant spaces, then between two groups of rings, reclining S-ornament (double spirals) and along the rim, running spirals. Along the rim of the bowl inside, grouped strokes, other wise the interior is covered with thinned paint, except around the base, where there is a ring in the color of the clay. Around the upper part of the body, checker pattern ; on the lower part, between the handles, a border of vertical lines for a panel which is divided into two compartments; in the upper, a row of H -ornament, in the lower, a row of arrow-heads pointing in various directions; below, rings and a band covering the juncture with the foot. On the foot above, rings ; between the upper and lower slits, hori zontal zigzags; between the triangular openings, reclining S-ornament; below, rings and rays pointing downwards. 60. Fig. 11. Pomegranate. H. 4 in. Light brown clay, lustrous black paint almost entirely thinned out to brown. A votive offering, probably to Persephone. A small hole, surrounded by a moulded ring, takes the place of the stem; moulded triangles (the points of all but one broken off) form the flower. At the base, between concentric circles, lattice triangles pointing downwards; then a band of checkers, a band of lattice triangles pointing upwards, a broad zone of hatched key- fret (double maeander), a band of lattice triangles pointing downwards, a chain of lozenges with a dot in each, and finally a band of lattice triangles pointing upwards. On the neck, a band of checkers ; on the moulded trian gles, lattice design. Groups of two or three rings separate the bands of ornament. VI. UNGLAZED STAMPED WARE (EIGHTH AND SEVENTH CENTURIES B.C.) UNKNOWN FABRIC References : Ure, "Journal of Hellenic Studies," XXX (1910) p. 344, note 46; Miss H. L. Lorimer, ibid., XXXII, p. 329, note 21. 61. Fig. 6. CEnochoe. H. 3% in. Brownish-yellow clay, no slip. Hand-made. Form as No. 54, but the body is more conical and the handle does not rise above the lip, which is plain (not trefoil) . The lip is depressed towards the center. At the base of the neck, except under the handle, a band of five 52 CATALOGUE OF THE zones, the first, second and fifth of crescents, the others of faint vertical strokes. On the body, but not below the handle, a serpentine band begin ning and ending at the lower insertion of the handle and consisting of five zones similar to those on the neck. The design seems to have been stamped on by means of a cylinder or wheel rolled over the surface of the vase before firing. 62. Fig. 6. CEnochoe. H. 3 in. Brownish-yellow clay, no slip. Hand-made. Same as last, except that the lower insertion of the handle is half-way between the neck and the base. No design on the neck ; on the body, except under the handle, a serpentine band of four zones, the first and second of oblique incisions, the third of S-ornament and the fourth of double cres cents. At the ends of the band are waved incisions. The form seems to be more similar to the Proto- Corinthian than to the Geometric type of oenochoe, at least so far as the shape of the lip is con cerned. At Eleusis, however, examples of this style have been found in graves with Geometric vases (Skias, 'Er)fjLepls 'Apxa-t-oXoyiKT], (1898) pp. 106, 115) ; the example from grave 6, Rhitsona (Boeotia), was found with early Proto-Corinthian lecythi (Ure, I.e., p. 343, Fig. 6; p. 345, Fig. 8), dating from the second half of the seventh century B.C. This fabric is also represented in a grave at Old Phaleron ( Kourouniotes, 'Ap^aioXoyi/c^ 'Ecfn^ep'?, (1911) p. 249, Fig. 9). 63. Fig. 6. Jug. H. 3/4 in. Brownish-yellow clay, no slip. Hand-made. Globular body with flat base, neck shorter than the preceding examples, lip and handle of the same shape. Where the handle joins the lip, an incised + -shaped cross. From the base of the handle two bands curve around the sides of the shoulder and end half-way down the body in front ; they were incised before the handle was added. The pattern of the bands seems to be made of three zones, the upper and lower of S-ornament, with an un decorated zone between. VII. RHODIAN WARE VARIOUS PERIODS 1. TRANSITIONAL 64. Fig. 7. Lentoid flask ("Feldflasche"). H. 17% in. From Rhodes. Brown clay, dark brown paint varying to reddish-brown. Body less compressed than No. 15, but with a sharper edge; longer neck and only one flat handle connecting the middle of the neck with one of the faces of the body. Paint on and inside the rim; a band around the middle STODDARD COLLECTION 53 and base of the neck; another band down the middle of the handle. On the face to which the handle is attached, two inner, two intermediary and two outer concentric bands, the latter stopped by the base of the neck ; between the outer and intermediary bands, a waved band interrupted by the handle. On the other face the outer concentric bands are wanting, the inner and intermediary bands are farther apart and the waved band is nearer the edge. Similar form: Furtwangler-Loeschcke, Myken. Vasen, plate II, 13 (also from Rhodes). Date, about 1000 B.C. 2. GEOMETRIC (SEVENTH CENTURY B.C.) 65. Fig. 16. Deep bowl. H. 3/4 in. D. 6% in. Brown clay, lustrous black paint thinned out to red in parts ; in the interior, black, dark red and white paint. Repaired. Two horizontal handles slightly below the rim; small disc-shaped foot with hollow center. Many signs of carelessness on the part of potter and painter. Paint on handles and foot. The interior is painted black, except a disc in the center and a ring near the middle, which are left in the color of the clay; there are also three groups of superimposed red circles between white circles. On the exterior, above the foot, a ring and five rays (merely outlined, not solid) pointing upwards; around the middle of the body, three rings which through carelessness grow thicker and merge on one side so as to form a broad band ; the points of the rays extend even above these rings. The handle-zone each side is divided by vertical lines into three panels ; in the central panel, an aquatic bird to right with lattice pattern to indicate the feathers ; in the field, strokes and crude semicircles around dots ; in the lateral panels, two concentric lozenges, the inner filled with lattice work. For this style see Pfuhl, "Athenische Mitteilungen," (1903) pp. 167 ff.; Dugas, "Bulletin de Correspondance Hellenique," XXXVI (1912) pp. 503 ff.; Kinch, "Fouilles de Vroulia," (Rhodes) cols. 133 ff. Date, 700- 650 B.C. 3. ARCHAIC (SIXTH CENTURY B.C.) 66. Fig. 12. Vase in form of helmeted head. H. 2% in. From Syme, a small island near Rhodes. Grey clay, black paint. Mouth of vase on crest of helmet, modern restoration.Of the warrior's face the cheeks and forehead are protected by the hel met. The features are splendidly modelled; the pupils of the eyes are painted red. 54 CATALOGUE OF THE This form of vase is usually called alabastrum or aryballus and was used for precious ointment. Date, end of sixth century B.C. under Oriental influence. Cf. "Monumenti antichi pubbl. per cura della R. accad. dei Lin ed," XIV. pp. 270 ff. For similar examples, but somewhat later, see "Jahr- buch des archaeologischen Instituts, Anzeiger," XXV (1910) p. 487, Fig. 12 (also from Rhodes, now in Munich) ; Furtwangler, "Beschreibung der Vasensammlung," Berlin, Nos. 1304 (Corneto), 1305, 1306 (Smyrna); Walters, "History of Ancient Pottery," I, plate XL VI, 1, pp. 492, 127. For the form of helmet see S. Reinach in Daremberg-Saglio-Pottier, "Dictionnaire des Antiquites," s. v. galea, p. 1432, VIII. 66 Fig. 12 4. LATER HELLENIC 67. Fig. 16. Deep bowl or stamnus. H. 7% in. (including handles). Brown clay, lustrous black paint. Middle of body almost straight-sided with sharp curve towards stem; flat shoulder with two upright handles; modelled stem with straight-sided base. Cover, wanting. Paint on the handles, the lip and the double chan nelled stem; two rings around the base of the stem. On the shoulder each side, a spray of laurel; between the branches of the handles, a debased palmette (three petals). Around the body, a broad zone with two rings above and a band between two rings below ; in the zone, a continuous frieze of two grotesque female heads to right, and three aquatic birds to right. The heads of the women and the bodies of the birds are merely outlined; the women wear caps, necklaces and earrings with pendent leaf. The caps and the bodies of the birds are decorated with lines and dots. STODDARD COLLECTION 55 Date, probably fourth century B.C. For the style see Furtwangler, "Jahrbuch des archaeologischen Instituts," (1886) pp. 152 ff.; Pottier, "Vases Antiques du Louvre," album I, plate 13, A 335; Sieveking- Hackl, Vasensamml., I, plate 16, No. 454. The form of vase is common in Boeotia. VIII. GR^ECO-EGYPTIAN FAIENCE WARE (ABOUT 625-575 B.C.) Literature: H. Prinz, "Funde aus Naukratis," (Klio, VII, Beiheft) pp. 99 ff. 68. Fig. 6. Alabastrum in form of hedgehog. H. 2/4 in. White clay, glaze almost entirely worn away. The animal stands on a flat base; on its back, a flat upright handle and a flat lip slightly depressed towards the center. The body of the hedgehog is decorated with incised lattice pattern; its eyes, ears and mouth are incised. Similar examples : Boehlau, "Aus Ionischen und Italischen Nekropolen," plate XIII, 2; van Branteghem Collection, Burlington Fine Arts Club, London, "Catalogue of objects of Greek ceramic Art," (1888) No. 82, p. 38 and plate. 69 Fig. 13 69. Fig. 13. Alabastrum in form of hedgehog. H. 2% in. White clay, blue glaze turned to green in parts (much better preserved than on last). Handle and part of mouth of alabastrum wanting. 56 CATALOGUE OF THE As last vase, but in addition, in front of the mouth, are the head and arms of a bearded man (in Egyptian style) wearing a wig. His beard and the pupils of his eyes are indicated in brown glaze; similar glaze on the eyes and ears of the hedgehog, otherwise the animal has the same incisions as before. Similar examples from Olbia: "Archaeologischer Anzeiger" of the "Jahrbuch," XXV (1910) p. 234, Fig. 33. Date, early sixth century B.C.; center of manufacture, Naucratis, according to Prinz, I.e. IX. LACONIAN ("Cyrenaic") WARE Literature: Dugas-Laurent, "Revue archeologique," (1907) part 1, pp. 377 ff., part 2, pp. 36 ff. ; Droop, "Annual of British School," XIV, pp. 30 ff., and XV, pp. 23 ff.; "Journal of Hellenic Studies," XXX (1910) pp. Iff.; Sieveking- Hackl, "Vasensammlung zu Munchen," I, pp. 32 ff. 70. Fig. 16. Cylix. H. 2% in. (without stem). D. 4% in. Brown clay, cream- colored slip (partial disuse of slip), lustrous black and dull purple paint. Re paired and restored, stem wanting. Absence of slip occurs on inside of rim, at level of handles outside and on base around the stem. On the handles and inside the offset rim, black glaze except a reserved ring near the edge ; on and outside the edge, black glaze. On either side of the handles, an incised palmette with purple center, otherwise the handle-zone is in the color of the clay and is surrounded by rings of thinned glaze, the lower on white slip ; below, a purple band sur rounded by fine rings in thinned paint; then a zone of rays on white slip. Around the base, above the reserved band, a purple band between fine rings of thinned paint. On the interior, a zone of tongue pattern between fine rings, then a band of purple, and a broad zone of lotus buds (alter nately closed and slightly opened) with dots around the closed buds and in the cusped stems; around the center, a purple band between rings of thinned glaze. Of the center, which is very fragmentary, only the tip of a lotus bud and part of a spiral are preserved. Fourth period, according to Droop's division, between 550 and 500 B.C. Similar examples have been found as far afield as Sardis; see Butler, "American Journal of Archaeology," XVIII (1914) p. 433. X. PROTO-CORINTHIAN WARE (ABOUT 725-650 B.C.) Literature: Miss Lorimer, "Journal of Hellenic Studies," XXXII (1912) pp. 326 ff. ; Sieveking-Hackl, "Vasensammlung zu Munchen," I, pp. 7 ff. ; Buschor, STODDARD COLLECTION 57 "Griechische Vasenmalerei," pp. 46 ff. ; Walters, "History of Ancient Pottery," I, pp. 306 ff. ; Washburn, " Jahrbuch des archaeologischen Instituts," XXI (1906) pp. 116 ff. The earlier examples of this fabric continue the traditions of the Geo metric period, the later gradually develop into the Corinthian fabric of the late seventh century, but the center or perhaps centers of production are not yet ascertained. 82 93 87 98 100 84 83 89 99 85 97 79 101 81 103 80 95 94 96 91 228 90 72 73 75 74 76 77 227 36 Fig. 14 71. Fig. 14. Scyphus. H. 2% in. D. 3/4 in. Light yellow clay, buff slip, lustrous brown-red paint. Deep bowl with almost straight sides and sharp curve at the shoulder, from which two horizontal handles project; offset rim sloping outwards; low foot. Solid paint on interior and on exterior except on rim, shoulder and handles. The edge of the rim has no paint on the slip ; on the outside of the rim, however, are four rings; on the handles, a horizontal line. On the shoulder each side, two groups of vertical strokes and a central panel with a row of short angular strokes (arrow-head pattern). On the foot, incised concentric circles. 58 CATALOGUE OF THE This form of scyphus has its prototype in late Geometric ware. Similar form: Sieveking-Hackl, I.e., plate 6, No. 192. The following lecythi, alabastra and aryballi, all flat-lipped forms, served as receptacles for precious unguents. It is probable that the Corin thians had a monopoly on the manufacture of unguents and perfumery, and that they exported their product to all parts of the Greek world, but especially to Italy and Sicily. For further information on this subject see Eerrot, "Histoire de l'Art," IX, pp. 589 ff. 72. Fig. 14. Lecythus. H. l13A