DOI Page / Citation link:
https://doi.org/10.11588/diglit.7897#0011
INTRODUCTION.
►oe»<
In a former discourse on the usefulness of the study of Fictile Vases (i), I
exposed at some length the advantages to be derived from this interesting class
of ancient monuments.
During the interval of ten years which have since elapsed, the farther
experience acquired, by visiting various existing collections, and by the nu-
merous discoveries which have taken place in Italy and Greece, fully confirms
the opinion expressed; and enables me to add, that Fictile Vases are of all
the classes of ancient monuments, the most important to the advancement
of Archaeology.
Every production of genius must, to a great degree, bear the stamp and
character of the age and country to which it belongs. The pencil of the artist
traces the images of objects as they appear to the mind of the poet, or the
historian, his contemporaries. Hence, the advantage of vases which are original
productions of Greek art, whereas the far greater number of other monuments
which have reached us, belong to the imperial times of Rome; and though
the latter generally present the same mythological or heroic subjects as the
former, yet, owing to the alteration produced by time in manners and opi-
nions , they differ from one another in character, as much as the Achilles of
Statius differs from the Achilles of Homer.
The most splendid period in the annals of mankind, is that which Grecian
history affords from the Persian invasion till the fatal battle of Chaeronea.
Many of the designs of vases are of the same age, and, accordingly, present
to our view men and things, with the form, dress, and circumstances pecu-
liar to this memorable epoch. Though Homer flourished several centuries
before, as the state of things experienced little alteration in the interval, we
(i) Peintures Antiques Inedites de Vases
Grecs, par J. Millingen, Rome, 1813, Intro-
duction. See also, Millin, Introduction a la
connaissance des Vases Peiuts, torn. i.
►oe»<
In a former discourse on the usefulness of the study of Fictile Vases (i), I
exposed at some length the advantages to be derived from this interesting class
of ancient monuments.
During the interval of ten years which have since elapsed, the farther
experience acquired, by visiting various existing collections, and by the nu-
merous discoveries which have taken place in Italy and Greece, fully confirms
the opinion expressed; and enables me to add, that Fictile Vases are of all
the classes of ancient monuments, the most important to the advancement
of Archaeology.
Every production of genius must, to a great degree, bear the stamp and
character of the age and country to which it belongs. The pencil of the artist
traces the images of objects as they appear to the mind of the poet, or the
historian, his contemporaries. Hence, the advantage of vases which are original
productions of Greek art, whereas the far greater number of other monuments
which have reached us, belong to the imperial times of Rome; and though
the latter generally present the same mythological or heroic subjects as the
former, yet, owing to the alteration produced by time in manners and opi-
nions , they differ from one another in character, as much as the Achilles of
Statius differs from the Achilles of Homer.
The most splendid period in the annals of mankind, is that which Grecian
history affords from the Persian invasion till the fatal battle of Chaeronea.
Many of the designs of vases are of the same age, and, accordingly, present
to our view men and things, with the form, dress, and circumstances pecu-
liar to this memorable epoch. Though Homer flourished several centuries
before, as the state of things experienced little alteration in the interval, we
(i) Peintures Antiques Inedites de Vases
Grecs, par J. Millingen, Rome, 1813, Intro-
duction. See also, Millin, Introduction a la
connaissance des Vases Peiuts, torn. i.