DOI Page / Citation link:
https://doi.org/10.11588/diglit.785#0080
lxxx VASES.—THE ETRUSCAN STYLE. [introduction.
analogies to the works of foreign lands, it would be to the
earliest works of the Greek chisel—the reliefs in the metopes
of the temple of Jupiter Agorseus, at Selinus, now in the
Museum of Palermo, or to the Agamemnon, Talthybius, and
Epeus, from Samothrace, now in the Louvre.
The Second Class of vases is that commonly designated-
Etruscan, as though it were peraliar to this part of Italy; hut
it is found also in Campania, where it is called " Sicilian," from
its still greater abundance in that island. The more correct
appellation would be "Archaic Greek," for such is the character
of the design; and the subjects and inscriptions attached are
equally Hellenic.5 This style is found on vases of much more
beauty of form and workmanship, and of much greater variety
than the former class; but the most common descriptions are
the amphora, or wine-jar; the hydria, or water-jar, and the
celebe, or mixing-vase.
This style is recognisable by its black figures on the ground
of the clay, which is yellow, warming to red. The flesh of
females, the hair of old men, the devices on shields, and a few
other objects, are painted white; the armour, also, is sometimes
tinted purple, and red is occasionally introduced on the drapery.6
The design is stiff, hard, severe, and full of conventionality; the
attitudes are rigid and constrained, often impossible; the muscles
are amusingly exaggerated; the hands and feet preposterously
elongated. Yet there is frequently great spirit displayed,
especially in the better works of this style, which are more free
from the above defects, and show great truth and expression,
remarkable vigour of conception, with a conscientious carefulness
and neatness of execution quite surprising. As an instance of
the latter qualities, I may cite the beautiful vase in the Gre-
gorian Museum, representing Achilles and Ajax playing at
dice.7 Yet none of this class are wholly free from the severity
6 So Gerhard designates it in his the males are always round, those of the
Rapporto Volcente, Ann. Inst. 1831, p. females long and almond-shaped, just of
18. Bunsen calls it Attic, in distinction that form usually represented in Egyp-
to the Doric character of the preceding tian paintings,
style. 7 See Vol. II. p. 499. Vases with
6 In this class of vases, though the this same subject hare been found in
faces are invariably in profile, the eyes of Greece, and Magna Grsecia, as well as
analogies to the works of foreign lands, it would be to the
earliest works of the Greek chisel—the reliefs in the metopes
of the temple of Jupiter Agorseus, at Selinus, now in the
Museum of Palermo, or to the Agamemnon, Talthybius, and
Epeus, from Samothrace, now in the Louvre.
The Second Class of vases is that commonly designated-
Etruscan, as though it were peraliar to this part of Italy; hut
it is found also in Campania, where it is called " Sicilian," from
its still greater abundance in that island. The more correct
appellation would be "Archaic Greek," for such is the character
of the design; and the subjects and inscriptions attached are
equally Hellenic.5 This style is found on vases of much more
beauty of form and workmanship, and of much greater variety
than the former class; but the most common descriptions are
the amphora, or wine-jar; the hydria, or water-jar, and the
celebe, or mixing-vase.
This style is recognisable by its black figures on the ground
of the clay, which is yellow, warming to red. The flesh of
females, the hair of old men, the devices on shields, and a few
other objects, are painted white; the armour, also, is sometimes
tinted purple, and red is occasionally introduced on the drapery.6
The design is stiff, hard, severe, and full of conventionality; the
attitudes are rigid and constrained, often impossible; the muscles
are amusingly exaggerated; the hands and feet preposterously
elongated. Yet there is frequently great spirit displayed,
especially in the better works of this style, which are more free
from the above defects, and show great truth and expression,
remarkable vigour of conception, with a conscientious carefulness
and neatness of execution quite surprising. As an instance of
the latter qualities, I may cite the beautiful vase in the Gre-
gorian Museum, representing Achilles and Ajax playing at
dice.7 Yet none of this class are wholly free from the severity
6 So Gerhard designates it in his the males are always round, those of the
Rapporto Volcente, Ann. Inst. 1831, p. females long and almond-shaped, just of
18. Bunsen calls it Attic, in distinction that form usually represented in Egyp-
to the Doric character of the preceding tian paintings,
style. 7 See Vol. II. p. 499. Vases with
6 In this class of vases, though the this same subject hare been found in
faces are invariably in profile, the eyes of Greece, and Magna Grsecia, as well as