DOI Page / Citation link:
https://doi.org/10.11588/diglit.999#0020
the vases were first discovered, but fading to neutral tints after a few days' exposure to the atmosphere. The main cause,
however, of the disappearance of the colour in the vases, both those in museums and in private collections, is the drastic
nature of the cleaning which they have undergone. In some instances the colour has been entirely wiped off, leaving the
outlines intact, they being in a vehicle which became a true glaze in the firing, have resisted the acids of the cleaner; the
design hence acquiring the character of a fine pen and ink drawing, and regarded from that point of view is often a work
of great beauty. Frequently, however, the sponge of the cleaner has not absolutely effaced the original coloration, but
has left faintly perceptible traces of the former tints, scarcely more than stains on the ivory whiteness of the ground ;
then we have the composition under an effect reminiscent of the delicate and refined washes, of some of the early
English water colour drawings. Occasionally, but very rarely, it has been possible to remove the earth and leave the
pigments in something approaching their original condition, but softened and subdued, so that it might even be said
that the work has acquired a charm it did not possess when it left the hands of its maker. Time has then, indeed, been
kind to it, as he has to many a Greek bronze, now covered with that marvellous patina, the slow growth of successive
centuries, which has imparted to them a splendour and lustre unknown to their first possessors. It must be stated
to the credit of the cleaners that in recent years they have treated the lekythi with more respect than formerly; this is
probably due to the strong feeling against restoration of works of art which has found utterance of late. The writer has
seen vases which have been offered by the dealers, untouched as they have been taken from the tombs. These have mostly
come from Eretria, in the island of Eubcea. We believe that nearly all the examples of the lekythi have either been
discovered there or in Attica. They are all clearly the fabrication of the Athenian ceramic artists, and do not appear to
have been employed in the funeral rites of the peoples of the other Greek states. But the fact of their being found at
Eretria suggests the possibility that no small number may yet exist in the cemeteries of the Athenian colonies, whether
on the mainland or in the islands.
In the selection of the compositions forming the present series of plates, their artistic quality has been considered
rather than their subjects. They have not been chosen from the standpoint either of the archasologist or the historian
of art, although it is hoped they may be useful to both. If circumstances had permitted the present writer to consult
only his inclination, he would have comprehended in the series not alone specimens of the treatment of the.various
subjects depicted on the lekythi by different artists of the same date, but likewise illustrations of the art from its earliest
to its latest period. Respecting only the question of cost, the method of production of these plates, besides being in
however, of the disappearance of the colour in the vases, both those in museums and in private collections, is the drastic
nature of the cleaning which they have undergone. In some instances the colour has been entirely wiped off, leaving the
outlines intact, they being in a vehicle which became a true glaze in the firing, have resisted the acids of the cleaner; the
design hence acquiring the character of a fine pen and ink drawing, and regarded from that point of view is often a work
of great beauty. Frequently, however, the sponge of the cleaner has not absolutely effaced the original coloration, but
has left faintly perceptible traces of the former tints, scarcely more than stains on the ivory whiteness of the ground ;
then we have the composition under an effect reminiscent of the delicate and refined washes, of some of the early
English water colour drawings. Occasionally, but very rarely, it has been possible to remove the earth and leave the
pigments in something approaching their original condition, but softened and subdued, so that it might even be said
that the work has acquired a charm it did not possess when it left the hands of its maker. Time has then, indeed, been
kind to it, as he has to many a Greek bronze, now covered with that marvellous patina, the slow growth of successive
centuries, which has imparted to them a splendour and lustre unknown to their first possessors. It must be stated
to the credit of the cleaners that in recent years they have treated the lekythi with more respect than formerly; this is
probably due to the strong feeling against restoration of works of art which has found utterance of late. The writer has
seen vases which have been offered by the dealers, untouched as they have been taken from the tombs. These have mostly
come from Eretria, in the island of Eubcea. We believe that nearly all the examples of the lekythi have either been
discovered there or in Attica. They are all clearly the fabrication of the Athenian ceramic artists, and do not appear to
have been employed in the funeral rites of the peoples of the other Greek states. But the fact of their being found at
Eretria suggests the possibility that no small number may yet exist in the cemeteries of the Athenian colonies, whether
on the mainland or in the islands.
In the selection of the compositions forming the present series of plates, their artistic quality has been considered
rather than their subjects. They have not been chosen from the standpoint either of the archasologist or the historian
of art, although it is hoped they may be useful to both. If circumstances had permitted the present writer to consult
only his inclination, he would have comprehended in the series not alone specimens of the treatment of the.various
subjects depicted on the lekythi by different artists of the same date, but likewise illustrations of the art from its earliest
to its latest period. Respecting only the question of cost, the method of production of these plates, besides being in