DOI Page / Citation link:
https://doi.org/10.11588/diglit.6604#0009
PinST VASE EOOM.
7
Many of the shapes of these vases are peculiar to the style,
and do not recur in the later periods of Fictile Art.
The large lebes, No. 4, in Case 4, seems to be a specimen
of a more advanced period of Ceramography, when animal
forms became the principal object in a design, instead of being
a mere accessory. On this lebes two lions stand face to face,
each with a fore-paw held out over a flower. All round them
are rude geometrical patterns, which seem to be a primitive
attempt to represent a field studded with flowers as a back-
ground to the lions. This vase was discovered at Athens,
in a tomb, by the late Mr. T. Burgon.
The amphora, No. 5, in Case 5, seems to present a still further
development of this style. Instead of belts of geometrical
patterns, the entire vase, from the neck nearly to the foot, is
encircled by a series of friezes, in two of which the human
figure is introduced. The drawing is still of the rudest kind.
Purple and white colours are combined with the primitive brown,
and in several of the animals the eyes and other features
are expressed by lines rudely incised in the clay while moist.
On the neck we see a curious attempt to introduce a new
technical process: two figures, instead of being painted in
brown on the pale ground supplied by the natural colour of
the clay itself, are painted in white on a crimson ground.
No. C, Table Case A, is interesting as a model of an
ancient chariot. This was probably a toy deposited in the
tomb of a child.
The vases from Kameiros, contained in Cases 0-10 and
Table Case B, are of several classes:
I. Vases similar in style to those from Athens already
described. Nos. 7-10 are good examples of this class. It may
be observed that the bands of ornament, both on these and
the Athenian vases, are frequently divided into equal spaces
by parallel vertical lines, alternating with square or oblong
compartments, which serve as frames, within each of which
a geometrical ornament, flower, or animal, is painted. This
alternate arrangement of vertical lines and pictures in com-
partments is very analogous to the metopes and triglyphs of
a Doric temple, from which the idea may have been bor-
rowed.
In the lower part of Table Case P is a Jcrater of this
class, No. 11, remarkable for its great size.
II. Vases in which crimson and white are combined with
the brown in the painting. In this style animal and human
7
Many of the shapes of these vases are peculiar to the style,
and do not recur in the later periods of Fictile Art.
The large lebes, No. 4, in Case 4, seems to be a specimen
of a more advanced period of Ceramography, when animal
forms became the principal object in a design, instead of being
a mere accessory. On this lebes two lions stand face to face,
each with a fore-paw held out over a flower. All round them
are rude geometrical patterns, which seem to be a primitive
attempt to represent a field studded with flowers as a back-
ground to the lions. This vase was discovered at Athens,
in a tomb, by the late Mr. T. Burgon.
The amphora, No. 5, in Case 5, seems to present a still further
development of this style. Instead of belts of geometrical
patterns, the entire vase, from the neck nearly to the foot, is
encircled by a series of friezes, in two of which the human
figure is introduced. The drawing is still of the rudest kind.
Purple and white colours are combined with the primitive brown,
and in several of the animals the eyes and other features
are expressed by lines rudely incised in the clay while moist.
On the neck we see a curious attempt to introduce a new
technical process: two figures, instead of being painted in
brown on the pale ground supplied by the natural colour of
the clay itself, are painted in white on a crimson ground.
No. C, Table Case A, is interesting as a model of an
ancient chariot. This was probably a toy deposited in the
tomb of a child.
The vases from Kameiros, contained in Cases 0-10 and
Table Case B, are of several classes:
I. Vases similar in style to those from Athens already
described. Nos. 7-10 are good examples of this class. It may
be observed that the bands of ornament, both on these and
the Athenian vases, are frequently divided into equal spaces
by parallel vertical lines, alternating with square or oblong
compartments, which serve as frames, within each of which
a geometrical ornament, flower, or animal, is painted. This
alternate arrangement of vertical lines and pictures in com-
partments is very analogous to the metopes and triglyphs of
a Doric temple, from which the idea may have been bor-
rowed.
In the lower part of Table Case P is a Jcrater of this
class, No. 11, remarkable for its great size.
II. Vases in which crimson and white are combined with
the brown in the painting. In this style animal and human