DOI Page / Citation link:
https://doi.org/10.11588/diglit.49928#0228
PLATE LXXIV.
Fig. 1-4, 6-8.—Artisans.
Figures on a Gilt Ground on a Glass Bowl, found in
the Catacombs at Rome. In the Vatican Collection.
Christian, of the Imperial Period.
Perret, Catacombes, iv. 22, 14.
Jahn, Berichte (1861), Pl. 11, 1.
BlCmner, Technologic, ii., p. 344, fig. 58.
Daremberg et Saglio, Diet., figs. 734, 990.
Baumeister, Denkmdler, fig. 1912.
The six figures of the workmen are arranged in vertical rows
of three on each side of the master of the shop (fig. 8). He
is a stately person wearing a sleeved tunica, a fringed cloak
and sleeves. He carries in his right hand a staff like a drum-
major’s and in his left a scroll, containing plans. Stuck in
his girdle is a carpenter’s square. The other figures are, 1,
thinning a board with an adze (ascia); 2, shaving with a plane
on a bench; 3, mortising with mallet and chisel, the goddess
Athena standing by; 4, roughing out an ornament (cf. fig.
10); 6, sawing with a frame saw; 7, drilling a board with a
drill-bow.
All the workers are clad in the ordinary artisan’s blouse
(tunicai). It is noteworthy that Athena appears on this
Christian vessel, which also bears the inscriptions, Pie Zeses
(= irie, ζήσΎ]ς) and Daedali ispes tua-; but such pagan
references are characteristic of the period.
Fig. 5.—Carpenters carrying a “ ferculum.”
Wall-painting from the Entrance to the “ Bottegan
del Profumiere,” Pompeii. In the Museum, Naples. 2 ft.
6 IN. W. BY 2 FT. 1^ IN. Η. GRAECO-ROMAN, OF THE FIRST
Century a.d.
Helbig, Wandgemdlde, No. 1480.
Jahn, Abhandlungen, xii.. p. 312, Pl. 4, 5.
Four young men in artisans’ blouses (tunicati) are carrying
a platform with poles (ferculum, cf. PL 17, fig. 10) on which
an open booth has been erected. The framework of the booth
is hung all round with small jugs. Inside are several figures,
either boys or statues. That in front represents Daedalus clad
in an exomis, gazing at a figure which lies at his feet, its head
pierced by a nail. This figure is then either Perdix, his nephew,
whom he slew from jealousy, or the monster Talos, though in
the case of neither are we told how death was inflicted.
Behind Daedalus two boys are sawfing a beam with a frame-
saw (cf. Pl. 73, figs. 10, 12), another is planing on a bench,
while to the extreme left is a temple from which the shield of
Minerva peeps out. As Goethe remarked (Werke, xliv., p.
213) this picture must represent a festival procession, and
what can be more natural than that the carpenters should
carry in procession the statues of their patroness Minerva, and
their prototype Daedalus, along with the models (or boys)
engaged in sawing and planing?
Fig. 9.—Carpenter.
Relief from a Romano-Gallic Tomb.
Daremberg et Saglio, Diet., fig. 562.
The carpenter is shown holding an ascia, an adze with a short
handle and a pick behind, in his right hand. In his left hand
is a foot-rule.
Fig. 10.—Carpenters at Work.
Part of a Sepulchral Relief in the Galleria Lapi-
DARIA OF THE VATICAN. ROMAN, OF THE IMPERIAL PERIOD.
Jahn, Berichte, 1861, Pl. 10, 1.
Blumner, Technologie, ii., p. 343, fig. 57.
Daremberg et Saglio, Diet., fig. 561.
I This relief is below a portrait bust of the deceased in a
I circular frame (clipeus).
Two carpenters are working at a bench. The one to the
right is seated on a camp-stool roughing out with an adze
(ascia) a large table leg, while his assistant is whetting a tool.
Both are clad in the exomis.
Underneath the bench is a bucket.
Fig. i-i.—Embroidered Pall.
From a Grave in the Crimea. Now in the Hermitage,
St. Petersburg. Attic (?) Fourth Century b.c.
Compte rendu de la Commission archeol., (St. Petersburg)
1878, Pl. 4.
This piece of embroidery was laid across the sarcophagus
of a warrior. The cloth is of wool and of loose texture. The
design runs in long frieze-like bands, with mythological scenes.
As in vase-paintings the names of the different characters are
inscribed near them. ‘ Ιπ-ττομεδων, Εύλιμ,έη?, Φαίδρα and parts
of other names can be deciphered.
Figs. 12, 14.—Pieces of Woollen Cloth.
From the Crimea. Third (?) Century b.c.
Fig. 12 is twilled, somewhat like modern repp. Fig. 14 is
woven with coloured threads which give the pattern.
Fig. 13.—Roman Silk Brocade.
From Sitten in Switzerland.
Semper, Der Stil (2nd ed.) p. 180.
Blumner, Kunstgewerbe, i., Pl. 11.
Woven completely of silk, with a pattern of Nereids riding
on sea lions, in the midst of conventionalised waves.
142
Fig. 1-4, 6-8.—Artisans.
Figures on a Gilt Ground on a Glass Bowl, found in
the Catacombs at Rome. In the Vatican Collection.
Christian, of the Imperial Period.
Perret, Catacombes, iv. 22, 14.
Jahn, Berichte (1861), Pl. 11, 1.
BlCmner, Technologic, ii., p. 344, fig. 58.
Daremberg et Saglio, Diet., figs. 734, 990.
Baumeister, Denkmdler, fig. 1912.
The six figures of the workmen are arranged in vertical rows
of three on each side of the master of the shop (fig. 8). He
is a stately person wearing a sleeved tunica, a fringed cloak
and sleeves. He carries in his right hand a staff like a drum-
major’s and in his left a scroll, containing plans. Stuck in
his girdle is a carpenter’s square. The other figures are, 1,
thinning a board with an adze (ascia); 2, shaving with a plane
on a bench; 3, mortising with mallet and chisel, the goddess
Athena standing by; 4, roughing out an ornament (cf. fig.
10); 6, sawing with a frame saw; 7, drilling a board with a
drill-bow.
All the workers are clad in the ordinary artisan’s blouse
(tunicai). It is noteworthy that Athena appears on this
Christian vessel, which also bears the inscriptions, Pie Zeses
(= irie, ζήσΎ]ς) and Daedali ispes tua-; but such pagan
references are characteristic of the period.
Fig. 5.—Carpenters carrying a “ ferculum.”
Wall-painting from the Entrance to the “ Bottegan
del Profumiere,” Pompeii. In the Museum, Naples. 2 ft.
6 IN. W. BY 2 FT. 1^ IN. Η. GRAECO-ROMAN, OF THE FIRST
Century a.d.
Helbig, Wandgemdlde, No. 1480.
Jahn, Abhandlungen, xii.. p. 312, Pl. 4, 5.
Four young men in artisans’ blouses (tunicati) are carrying
a platform with poles (ferculum, cf. PL 17, fig. 10) on which
an open booth has been erected. The framework of the booth
is hung all round with small jugs. Inside are several figures,
either boys or statues. That in front represents Daedalus clad
in an exomis, gazing at a figure which lies at his feet, its head
pierced by a nail. This figure is then either Perdix, his nephew,
whom he slew from jealousy, or the monster Talos, though in
the case of neither are we told how death was inflicted.
Behind Daedalus two boys are sawfing a beam with a frame-
saw (cf. Pl. 73, figs. 10, 12), another is planing on a bench,
while to the extreme left is a temple from which the shield of
Minerva peeps out. As Goethe remarked (Werke, xliv., p.
213) this picture must represent a festival procession, and
what can be more natural than that the carpenters should
carry in procession the statues of their patroness Minerva, and
their prototype Daedalus, along with the models (or boys)
engaged in sawing and planing?
Fig. 9.—Carpenter.
Relief from a Romano-Gallic Tomb.
Daremberg et Saglio, Diet., fig. 562.
The carpenter is shown holding an ascia, an adze with a short
handle and a pick behind, in his right hand. In his left hand
is a foot-rule.
Fig. 10.—Carpenters at Work.
Part of a Sepulchral Relief in the Galleria Lapi-
DARIA OF THE VATICAN. ROMAN, OF THE IMPERIAL PERIOD.
Jahn, Berichte, 1861, Pl. 10, 1.
Blumner, Technologie, ii., p. 343, fig. 57.
Daremberg et Saglio, Diet., fig. 561.
I This relief is below a portrait bust of the deceased in a
I circular frame (clipeus).
Two carpenters are working at a bench. The one to the
right is seated on a camp-stool roughing out with an adze
(ascia) a large table leg, while his assistant is whetting a tool.
Both are clad in the exomis.
Underneath the bench is a bucket.
Fig. i-i.—Embroidered Pall.
From a Grave in the Crimea. Now in the Hermitage,
St. Petersburg. Attic (?) Fourth Century b.c.
Compte rendu de la Commission archeol., (St. Petersburg)
1878, Pl. 4.
This piece of embroidery was laid across the sarcophagus
of a warrior. The cloth is of wool and of loose texture. The
design runs in long frieze-like bands, with mythological scenes.
As in vase-paintings the names of the different characters are
inscribed near them. ‘ Ιπ-ττομεδων, Εύλιμ,έη?, Φαίδρα and parts
of other names can be deciphered.
Figs. 12, 14.—Pieces of Woollen Cloth.
From the Crimea. Third (?) Century b.c.
Fig. 12 is twilled, somewhat like modern repp. Fig. 14 is
woven with coloured threads which give the pattern.
Fig. 13.—Roman Silk Brocade.
From Sitten in Switzerland.
Semper, Der Stil (2nd ed.) p. 180.
Blumner, Kunstgewerbe, i., Pl. 11.
Woven completely of silk, with a pattern of Nereids riding
on sea lions, in the midst of conventionalised waves.
142