DOI Page / Citation link:
https://doi.org/10.11588/diglit.786#0132
116 FIRENZE. [appendix to
The third and principal band represents the Marriage of Peleus and
Thetis. The goddess is sitting in a Doric temple. Before the portico,
at an altar, designated Ba>fi.., on which rests a cantharus, stands her
mortal spouse, his hand held by the Centaur Chiron, -who is followed by
Iris, with her caduceus ; the Nymphs Hestia and Chariklo, and another
of indistinct name ; Dionisos bearing an amphora on his shoulders;
and the three Horai. Next comes a long procession of deities in
quadrigae—Zeus and Hera in the first, attended by Orania and
Kaliope. Who follow in the next two chariots, is not clear—the
name of Anphitrite is alone legible; but both are attended by the
other Muses. Ares and Aphrodite occupy the fourth car; Hermes
and his mother Maia, the sixth ; and the name of Ocheanos is alone
left to mark the occupants of the seventh. Hephaistos mounted on his
donkey terminates the procession.
On the fourth band, Achilles is displaying his proverbial swiftness of
foot, by pursuing a youth who is galloping with a pair of horses towards
the gates of Troy. The same subject has been found on other
vases ; but this is the first to make known the youth as Troilos. The
son of Peleus is followed by his mother Thetis, by Athena, Hermes,
and Khodia—all near a fountain, with its Greek designation—Kpijw?—
where Troilus seems to have been surprised. Under his steeds' feet lies a
water-jar, called ISpia, which has been cast away in terror by a female who
is near him. The walls of Troy, to which he hastens, are painted white,
and are of regular Greek masonry. The gate is not arched, but has a
flat lintel. From it issue Hektor and Polites, armed for the rescue of
their brother. Outside the gate, on a seat or throne marked Q&kos,
sits the venerable Priamos, talking with his son Antenor. At the foun-
tain are two of the Trojans (Troon)—one is filling a jar, the water
flowing from spouts like panthers' heads.
On the other side of the fountain, is the Return of Hephaistos to
Heaven. Zeus and Hera occupy a throne at one end of the scene, and
behind them stand Athena, Ares, and Artemis ; while before them
stand Dionisos and Aphrodite, as if to plead for the offending son of
Jove. He follows on an ass, attended by Silenoi and the Nymphs
(Niphai).
The fifth band contains the common subject of beasts of various
descriptions engaged in combat, or devouring their prey—griffons,
sphinxes, lions, panthers, boars, bulls, &c.
The sixth band is on the foot of the vase, and represents the Pigmies,
mounted on goats for chargers, encountering their foes, the Cranes.
Neither of these last two bands has inscriptions. The potters and
The third and principal band represents the Marriage of Peleus and
Thetis. The goddess is sitting in a Doric temple. Before the portico,
at an altar, designated Ba>fi.., on which rests a cantharus, stands her
mortal spouse, his hand held by the Centaur Chiron, -who is followed by
Iris, with her caduceus ; the Nymphs Hestia and Chariklo, and another
of indistinct name ; Dionisos bearing an amphora on his shoulders;
and the three Horai. Next comes a long procession of deities in
quadrigae—Zeus and Hera in the first, attended by Orania and
Kaliope. Who follow in the next two chariots, is not clear—the
name of Anphitrite is alone legible; but both are attended by the
other Muses. Ares and Aphrodite occupy the fourth car; Hermes
and his mother Maia, the sixth ; and the name of Ocheanos is alone
left to mark the occupants of the seventh. Hephaistos mounted on his
donkey terminates the procession.
On the fourth band, Achilles is displaying his proverbial swiftness of
foot, by pursuing a youth who is galloping with a pair of horses towards
the gates of Troy. The same subject has been found on other
vases ; but this is the first to make known the youth as Troilos. The
son of Peleus is followed by his mother Thetis, by Athena, Hermes,
and Khodia—all near a fountain, with its Greek designation—Kpijw?—
where Troilus seems to have been surprised. Under his steeds' feet lies a
water-jar, called ISpia, which has been cast away in terror by a female who
is near him. The walls of Troy, to which he hastens, are painted white,
and are of regular Greek masonry. The gate is not arched, but has a
flat lintel. From it issue Hektor and Polites, armed for the rescue of
their brother. Outside the gate, on a seat or throne marked Q&kos,
sits the venerable Priamos, talking with his son Antenor. At the foun-
tain are two of the Trojans (Troon)—one is filling a jar, the water
flowing from spouts like panthers' heads.
On the other side of the fountain, is the Return of Hephaistos to
Heaven. Zeus and Hera occupy a throne at one end of the scene, and
behind them stand Athena, Ares, and Artemis ; while before them
stand Dionisos and Aphrodite, as if to plead for the offending son of
Jove. He follows on an ass, attended by Silenoi and the Nymphs
(Niphai).
The fifth band contains the common subject of beasts of various
descriptions engaged in combat, or devouring their prey—griffons,
sphinxes, lions, panthers, boars, bulls, &c.
The sixth band is on the foot of the vase, and represents the Pigmies,
mounted on goats for chargers, encountering their foes, the Cranes.
Neither of these last two bands has inscriptions. The potters and