DOI Page / Citation link:
https://doi.org/10.11588/diglit.4856#0112
io6
are hung from a reed-like plant at the tree's foot. Three men recline on cushions and mattresses
beneath the trees. One is passing a cup to his companion. The third holds out his cup to an
attendant, as if to be filled. The attendant, however, holds a wreath in his right hand, while his raised
left hand is empty. On the extreme left another attendant plays the double flute. On the right, a
figure has a kylix in his left hand. With his right hand he seems to be drawing wine from a
large amphora, which was probably supported by a stand. The whole subject is treated in a
naturalistic spirit, except for a large lotus bud, which rises from the ground in front of the flute-player.
The whole is painted in reddish brown on a buff ground, and there is a free use of incised lines.
There are also incised rosettes at the ends of the handles.
The geometric elements, the chequers, semicircles and lattice work, and again the lotus band at
the foot, the form and ware of the vase, and the conditions of its discovery, show that it is intimately
connected with the other examples in Figs. 151, 152.
In this banquet scene, however, the artist aims at something outside his own province. On an
Assyrian relief we see Assurbanipal and his queen feasting in an arbour of vines, among date-palms,1
but the artist need not have gone so far for his inspiration. On the great sarcophagus from Athienou,
now at New York,2 a work of 6th century Greek sculpture, one long side represents a banquet
scene, bounded by a tree ; the second long side represents hunting scenes among trees, naturally
executed. Among early Greek vases, the date-palm and the conventional lotus occur on the kylix
at Wurzburg, with the myth of Phineus,3 which is generally regarded as an Ionic work. The use
of the lotus to fill a space in the field occurs on the sarcophagus from Clazomenae, in the British
Museum.4 It may therefore be conjectured that the painter of this vase was imitating vases of
western Asia Minor, rather than the Assyrian relief, which approaches nearest to it in respect of
subject.
No. 3. Another vase found in the same tomb (ht. of fragt. 6| in.) is manifestly of the
same ware as the foregoing ; the patterns are painted in the same reddish brown on buff,' and
combined with incised lines, and there is the same system of ornament. In this case, however,
the central panel on each side of the vase was occupied with a human head to the front, with a
singular arrangement of the hair.
The nearest parallel to this system is a vase in the British Museum, which was said to have
been found at Phocaea, and which was compared at the time of its first publication with the colossal
sphinxes of Eyuk. It is, however, in fact, a copy of the Hathor heads of the Egyptian monuments,
and has been assigned by several critics to Cyprus—a judgment which is now confirmed.5
The same tomb contained fragments of two black-figured oinochoae, namely :—
Fig. [52, No. 4. Oinochoe, with wide belly and eyes at the spout. Black and purple on red
ground, incised lines. (Ht. 8 in.) Round the body is a frieze of indeterminate figures. In the centre
is a bearded and seated figure, with a staff in the left hand, and on each side of him a standing
female figure. One holds a wreath, and the head of a child is preserved near her knee. Otherwise
the three principal figures suggest the scheme of Zeus between the Eileithyiae. Further to the left
are three male (?) figures and a dog. Further to the right are two nude male figures, one holding
a wreath and the other a taenia, two closely-draped female figures and a dog. Under the handle
are a palmette and lotus buds. In the absence of any distinctive attributes, the subject cannot
be identified, but probably the scene is vaguely reminiscent of a gathering of deities at the birth
of Athene.
Fig. 152, No. 5, and Fig. 153. Oinochoe, with wide belly. The neck and spout are wanting, only
the handle being preserved. The subject is confined to a panel, and drawn in black, purple and white,
with strong incised lines, on a red ground. (Ht. with handle iof in.)
In the panel is what remains of a scene of combat. A chariot is drawn to the right by four
galloping horses, driven by a bearded charioteer, in long white robes, with a goad in his right hand,
and with a shield slung on his back. Upon the. shield two white circles. On the further side of
the charioteer, a figure dressed as an archer, in a peaked Scythian cap, and with his quiver by his
left thigh, is entering or leaving the chariot, with the left hand open and extended towards the front
1 Perrot and Chipiez, ii. Figs. 27, 28. 2 Cesnola, PI. x.
3 Mon. dell' Inst. x. PI. 8. 4 Terracotta Sarcophagi in the Brit. Mus. PI. 1.
5 Ramsay, Journ. of Hellenic Studies, ii. p. 304 ; C. Smith, ibid. vi. p. 182 ; Rayet et Collignon, Hist, de la Ceramique
Grecque, p. 45; Collignon, Revue des Etudes Grecques, 1893, p. 33> w^° compares a fragment from the Branteghem collection
(No. 236; Collignon, loc. cit. p. 36), evidently derived from a vase of this class. For the Hathor heads, see Amer. Journ. of
Archceology, 1885, p. 159. An example in relief was found at Curium, and is shown on p. 78.
are hung from a reed-like plant at the tree's foot. Three men recline on cushions and mattresses
beneath the trees. One is passing a cup to his companion. The third holds out his cup to an
attendant, as if to be filled. The attendant, however, holds a wreath in his right hand, while his raised
left hand is empty. On the extreme left another attendant plays the double flute. On the right, a
figure has a kylix in his left hand. With his right hand he seems to be drawing wine from a
large amphora, which was probably supported by a stand. The whole subject is treated in a
naturalistic spirit, except for a large lotus bud, which rises from the ground in front of the flute-player.
The whole is painted in reddish brown on a buff ground, and there is a free use of incised lines.
There are also incised rosettes at the ends of the handles.
The geometric elements, the chequers, semicircles and lattice work, and again the lotus band at
the foot, the form and ware of the vase, and the conditions of its discovery, show that it is intimately
connected with the other examples in Figs. 151, 152.
In this banquet scene, however, the artist aims at something outside his own province. On an
Assyrian relief we see Assurbanipal and his queen feasting in an arbour of vines, among date-palms,1
but the artist need not have gone so far for his inspiration. On the great sarcophagus from Athienou,
now at New York,2 a work of 6th century Greek sculpture, one long side represents a banquet
scene, bounded by a tree ; the second long side represents hunting scenes among trees, naturally
executed. Among early Greek vases, the date-palm and the conventional lotus occur on the kylix
at Wurzburg, with the myth of Phineus,3 which is generally regarded as an Ionic work. The use
of the lotus to fill a space in the field occurs on the sarcophagus from Clazomenae, in the British
Museum.4 It may therefore be conjectured that the painter of this vase was imitating vases of
western Asia Minor, rather than the Assyrian relief, which approaches nearest to it in respect of
subject.
No. 3. Another vase found in the same tomb (ht. of fragt. 6| in.) is manifestly of the
same ware as the foregoing ; the patterns are painted in the same reddish brown on buff,' and
combined with incised lines, and there is the same system of ornament. In this case, however,
the central panel on each side of the vase was occupied with a human head to the front, with a
singular arrangement of the hair.
The nearest parallel to this system is a vase in the British Museum, which was said to have
been found at Phocaea, and which was compared at the time of its first publication with the colossal
sphinxes of Eyuk. It is, however, in fact, a copy of the Hathor heads of the Egyptian monuments,
and has been assigned by several critics to Cyprus—a judgment which is now confirmed.5
The same tomb contained fragments of two black-figured oinochoae, namely :—
Fig. [52, No. 4. Oinochoe, with wide belly and eyes at the spout. Black and purple on red
ground, incised lines. (Ht. 8 in.) Round the body is a frieze of indeterminate figures. In the centre
is a bearded and seated figure, with a staff in the left hand, and on each side of him a standing
female figure. One holds a wreath, and the head of a child is preserved near her knee. Otherwise
the three principal figures suggest the scheme of Zeus between the Eileithyiae. Further to the left
are three male (?) figures and a dog. Further to the right are two nude male figures, one holding
a wreath and the other a taenia, two closely-draped female figures and a dog. Under the handle
are a palmette and lotus buds. In the absence of any distinctive attributes, the subject cannot
be identified, but probably the scene is vaguely reminiscent of a gathering of deities at the birth
of Athene.
Fig. 152, No. 5, and Fig. 153. Oinochoe, with wide belly. The neck and spout are wanting, only
the handle being preserved. The subject is confined to a panel, and drawn in black, purple and white,
with strong incised lines, on a red ground. (Ht. with handle iof in.)
In the panel is what remains of a scene of combat. A chariot is drawn to the right by four
galloping horses, driven by a bearded charioteer, in long white robes, with a goad in his right hand,
and with a shield slung on his back. Upon the. shield two white circles. On the further side of
the charioteer, a figure dressed as an archer, in a peaked Scythian cap, and with his quiver by his
left thigh, is entering or leaving the chariot, with the left hand open and extended towards the front
1 Perrot and Chipiez, ii. Figs. 27, 28. 2 Cesnola, PI. x.
3 Mon. dell' Inst. x. PI. 8. 4 Terracotta Sarcophagi in the Brit. Mus. PI. 1.
5 Ramsay, Journ. of Hellenic Studies, ii. p. 304 ; C. Smith, ibid. vi. p. 182 ; Rayet et Collignon, Hist, de la Ceramique
Grecque, p. 45; Collignon, Revue des Etudes Grecques, 1893, p. 33> w^° compares a fragment from the Branteghem collection
(No. 236; Collignon, loc. cit. p. 36), evidently derived from a vase of this class. For the Hathor heads, see Amer. Journ. of
Archceology, 1885, p. 159. An example in relief was found at Curium, and is shown on p. 78.