DOI Page / Citation link:
https://doi.org/10.11588/diglit.4762#0018
INTRODUCTION". 13
pair of jumping-wcights, or other objects suspended in the air, indicate the
locality of the gymnasion or palaestra. These figures, which were evidently
not intended to be much seen, are always drawn and painted with the greatest
carelessness, nor are any attempts made to improve the plain red-and-black
design by the addition of white or yellow accessories. Occasionally some
interest is added to the subject by introducing action, as on F 59, which re-
presents the well-known torch-race or lampadedromia, or when an athlete is being
crowned by Nike.* Returning to the obverses, banquet-scenes arc very popular,
and on the Lucanian and Campanian vases a departing warrior is sometimes
represented, but chariot and battle-scenes are comparatively rare. Among the
Apulian vases especially occurs a large class of subjects, formerly characterised
on insufficient grounds as " toilet-scenes " of Aphrodite or Helen ; many no doubt
represent women at their toilet, but the commonest type is that of a seated
female figure and a standing youth exchanging presents of fruit, sashes, toilet-
boxes, and other objects. The presence of Eros in most cases suggests scenes
of courtship, in which case these objects represent the offerings of lovers ; but
as a rule the subjects appear to be purely fanciful, like the designs on Dresden
china and other modern products of art.
Two classes of subjects to which we have not yet alluded, and which are
almost confined to the larger Apulian vases, have an important bearing on the
purpose for which these vases were manufactured ; namely, for use at funerals.
The first class represents scenes in the under-world, and includes some of the
most magnificent vases that we possess. The centre of the scene is usually
occupied by a building in which Pluto and Persephone are seated ; this central
group is surrounded by subjects such as Orpheus and Eurydike, Heracles with
Kerberos, Theseus and Peirithoos, the Danaides, Tantalos, Sisyphos, and Ixion,
or other figures, such as Erinnycs, connected with the nether world. The
carrying off and return of Persephone (F 277 and F 332) arc not uncommon
subjects on these vases, most of which have been discussed by Winkler, Be
inferorum in vas. Ital. infer, repraesent., and illustrated in the Wiener Vorlege-
blatter, Ser. E. Besides the two vases just referred to, we have in the Museum
two other representations of scenes from the under-world, F 210 and F 270, the
latter being perhaps connected with the Samothracian mysteries.
Our second class is confined to scenes representing offerings at the tombs
of the departed, which generally take the ordinary form of the stele at which
the relatives offer libations or meet to mourn, much as on the Athenian lekythi.
The type usually adopted is that of Orestes and Electra at the tomb of
Agamemnon, but in only one or two instances (as F 57) can this attribution be
strictly maintained. The Apulian vases are especially interesting in connection
with the worship of the dead, a question which is also raised by the numerous
class of sepulchral reliefs. On these vases, however, instead of the ordinary
" banquet" or " greeting " scene, we have in the centre of the picture an Ionic
* See Vol. 111., E 3S9.
pair of jumping-wcights, or other objects suspended in the air, indicate the
locality of the gymnasion or palaestra. These figures, which were evidently
not intended to be much seen, are always drawn and painted with the greatest
carelessness, nor are any attempts made to improve the plain red-and-black
design by the addition of white or yellow accessories. Occasionally some
interest is added to the subject by introducing action, as on F 59, which re-
presents the well-known torch-race or lampadedromia, or when an athlete is being
crowned by Nike.* Returning to the obverses, banquet-scenes arc very popular,
and on the Lucanian and Campanian vases a departing warrior is sometimes
represented, but chariot and battle-scenes are comparatively rare. Among the
Apulian vases especially occurs a large class of subjects, formerly characterised
on insufficient grounds as " toilet-scenes " of Aphrodite or Helen ; many no doubt
represent women at their toilet, but the commonest type is that of a seated
female figure and a standing youth exchanging presents of fruit, sashes, toilet-
boxes, and other objects. The presence of Eros in most cases suggests scenes
of courtship, in which case these objects represent the offerings of lovers ; but
as a rule the subjects appear to be purely fanciful, like the designs on Dresden
china and other modern products of art.
Two classes of subjects to which we have not yet alluded, and which are
almost confined to the larger Apulian vases, have an important bearing on the
purpose for which these vases were manufactured ; namely, for use at funerals.
The first class represents scenes in the under-world, and includes some of the
most magnificent vases that we possess. The centre of the scene is usually
occupied by a building in which Pluto and Persephone are seated ; this central
group is surrounded by subjects such as Orpheus and Eurydike, Heracles with
Kerberos, Theseus and Peirithoos, the Danaides, Tantalos, Sisyphos, and Ixion,
or other figures, such as Erinnycs, connected with the nether world. The
carrying off and return of Persephone (F 277 and F 332) arc not uncommon
subjects on these vases, most of which have been discussed by Winkler, Be
inferorum in vas. Ital. infer, repraesent., and illustrated in the Wiener Vorlege-
blatter, Ser. E. Besides the two vases just referred to, we have in the Museum
two other representations of scenes from the under-world, F 210 and F 270, the
latter being perhaps connected with the Samothracian mysteries.
Our second class is confined to scenes representing offerings at the tombs
of the departed, which generally take the ordinary form of the stele at which
the relatives offer libations or meet to mourn, much as on the Athenian lekythi.
The type usually adopted is that of Orestes and Electra at the tomb of
Agamemnon, but in only one or two instances (as F 57) can this attribution be
strictly maintained. The Apulian vases are especially interesting in connection
with the worship of the dead, a question which is also raised by the numerous
class of sepulchral reliefs. On these vases, however, instead of the ordinary
" banquet" or " greeting " scene, we have in the centre of the picture an Ionic
* See Vol. 111., E 3S9.