Page:Encyclopædia Britannica, Ninth Edition, v. 19.djvu/641

Rh SAMIAN.] POTTERY 617 The black moulded ware (class 2) seems to range from about the 8th to the 3d century B.C. The large jars with stamped bands (class 4) appear to be all very early in date, about the 8th century B.C. They are not found in those tombs which contain painted vases. The large vessels with rude native paintings (class 3) are probably of the 6th and 7th centuries. The vases with imitations of Greek paintings extend over a long period, from about the 6th to the 2d century B.C. The greatest quantities of Etruscan pottery have been discovered in the tombs of Tarquinii, Caere, Veii, Cervetri, Chiusi, and near Or- bitello, Volterra, Orvieto, and other places in central Italy, but above all at Vulci. The best collections are in the Louvre and the Vati can, at Florence, Naples, Turin, Bologna, Brescia, and many small towns in Italy in the neighbourhood of the various Etruscan ceme teries, such as Orvieto, Perugia, Grosseto, Volterra, Arezzo, and at Capua, where a very important ceramic museum is being formed. Literature. The best articles on the subject of Greek and Etruscan pottery are scattered through the numbers of various archaeological publications, espe cially the Annali, the Monumenti, and the Bulletino dell Instititto di Corri- spondenza Archeologica, Rome, 1829, and still in progress. See also the Bulletino Archeologico Napolitano, 1842-59 ; Stephani, Compte rendu de la Commission Archeologique,S,t Petersburg, 1859 (in progress); Bull, de Cor. Hellen., in pro gress; Archdologische Zeitung, Berlin ; Philologus: Zeitschrifl fiir das klassisclie Alterthum; Rheinisches Museum fiir Philologie; Archxologia, Soc. Ant. London ; Berichte der scichsischen Gesellschaft der Wissenschaften; Panofka, Antiques du Cabinet Pourtales, 1834; C. T. Newton, Catalogue of Greek Vases, British Museum, 1851-70; Gerhard, Antike Bildwerke (1828-44), Auserlesene griechische Vasenbilder (1840-58), and Griechische und etruskische Trinkschalen (1840); Benndorf, Griech ische und siciliensche Vasenbilder, 1877, in progress (with fine coloured plates, all full size); Helbig, Wandgemcilde Cam^xtniens, 1868; Inghirami, Pitture di Vasi fittili, 1832-39 ; Millingen, Unedited Monuments, London, 1822-26 : Lenor- niant and De Witte, Monuments Cerainographiques, 1844-61 ; Raoul-Rochette, Monuments d Antiquite Grecque, &amp;lt;fec., 1833; Lahn, Gemcilde aus Pompei, &amp;lt;Src., 1828-59; Brpndsted, Thirty-two Greek Vases, 1832; Fiorelli, Vasi dipinti, &c., 1856 ; Gargiulo, Vasi fittili Italo-Greci, 18Si ; Heydemann, Griechische Vasen bilder, 1870, and Die. Vasensammlungen des Museo zu Neapel, 1872 ; Jahn, Ueber Darstellungen griechischer Dichter auf Vasenbildern, 1861, and Vasensammlung zuMiinchen, 1854; Levezoff, Verzeichniss derantikenDenkmaler, 1834; Stephani, Die Vasensammlung der Ermitage, 1809 ; De Witte, Vases peints de I Etrurie, 1837, and Vases peints de la Collection CasMlani, 1805 ; Brunn, Probleme in der Geschichte der Vasenmalerei, 1871 ; Dumont, Peintures ceram. de la Grece, 1874, and Vases peints de la Grece, 1873 ; Dumont and Chaplain, Les Ceramiques de la Grece, Paris, 1883 (in progress, with excellent illustrations); Kekule, Griech. Vasengemdlde im Atus. zu Bonn, 1879 ; Roulez, Vases du Musee de Leide, Ghent, 1854 ; Collignon, Cat. des Vases du Mus. d Athenes, Paris, 1877 ; Froehner, Ana- tomie des Vases Grecs, Paris, 1880 ; Thiersch, Die hellen. bemalten Vasen, Munich, 1848. The following works deal specially with the vases found in Etruria : Inghirami, Museo Chiusino, Fiesole, 1833, and Mon. Etruschi, 1845 ; Conestabile, Mon. di Perugia, 1855-70 ; Noel Dosvergers, L Etrurie, Paris, 1862-64 ; Bull, degli Scavi d. Soc. columbaria, Florence, in progress ; Gozzadini, Necropoli a Marzabotto (1865-70), Sepolcri d. Necropoli Felsinea (1868), Necropoli di Villanova (1870), and Sepolcri nell Arsenale di Bologna (1875); Zannoni, Scavi d. Certosa di Bologna (1871), Scavi Arnoaldi (1877), and Scavi di via d. Pratello (1873) ; all these works by Gozzadini and Zannoni are printed at Bologna. See also Pindar, Nemcean Ode, x. 04-67, and Strabo, viii. p. 381. For inscriptions on vases, see Ephemeris Epigraphica, and Bockh, Corp. Iscr. Gr. SECTION VII. GK^CO-ROMAN AND ROMAN. Some specimens of very peculiar glazed pottery have been found at Gyrene, Cyme, Pergamtim, Smyrna, Tarsus, and other Roman colonies in Asia Minor. It is very deli cate and often graceful in shape (see fig. 39), with very thin handles, fashioned more like glass than pottery. It is remarkable for being covered with a thick vitreous glaze, usually coloured either green, orange, or purple-brown, with oxide of copper, an- timoniate of lead, or manganese, quite unlike the thin almost imperceptible glaze of Greek vases. This pottery is mostly small ; some pieces are in the shapes of cenochose, two-handed cups, or asci, the latter covered with graceful patterns of vines or other plants moulded in slight relief. Statuettes and delicate reliefs, parti -coloured with different p IGj 39._Grteco-Ro- glazes or enamels, have been found at man cenochoe, highly several of the above places, and also glazed ware, from larger vessels, craters, and bottle-shaped ^ S1 ^ Mmor - (British vases, decorated with moulded clay em- blemata, wholly covered with a fine blue glaze. The Louvre and the British Museum have the best specimens of this rare ware, which probably dates from the 1st cen tury B.C. downwards. &quot;Samian&quot; ware, the characteristics of which are de scribed below, was made in Italy during the first period of Grseco-Roman art. In 1883 some moulds for cups and bowls were found at Arezzo, all of the most wonderful beauty and gem -like delicacy of execution. The figures on them are from about 3 to 4 inches high, but are large and sculpturesque in their breadth of treatment. Some of the exquisite reliefs represent dancing fauns and bacchanals, with flowing drapery, on a background enriched with vine plants in slight relief. Another has a love scene of extra ordinary grace and refined beauty. The modelling of the nude throughout is most masterly. The treatment of these reliefs recalls the school of Praxiteles, though they are probably not earlier than the 1st or 2d century B.C. Roman Pottery, 1st Century B.C. to 5th Century A.D. Throughout Italy, Spain, France, Germany, Britain, and other countries occupied by the Romans great quantities of pottery have been found, varying but little in design or manner of execution. The principal varieties of this large and widely-spread species of ware may be classified thus (1) Samian ware; (2) plain biscuit clay; (3) pottery decorated with slip in relief ; (4) black ware ; (5) glazed ware. 1. The first class is a fine glossy red ware called Samian &quot; Samian &quot; from its resemblance to the red pottery pro- ware - duced in the Greek island of Samos. The name is a con venient one, and as it is used by Pliny (//. N., xxxv. 46) and other early writers it is well not to discard it, though probably the real Greek Samian pottery bore little resem blance to that made by the Romans except in colour and glossy surface. It is of a fine red sealing-wax-like colour, of pleasant texture, and is generally decorated with moulded reliefs. Materials : the clay body usually consists of silica 50-64 parts, alumina 18-25, red oxide of iron 7-10, and lime 2-9 parts ; these proportions vary in different speci mens. The red vitreous glaze, or rather enamel, which gives the ware its fine glossy surface consists of silica 64 parts, soda 20, and red oxide of iron 1 1 (average analysis). Method of manufacture : the bowls, cups, and other vessels, richly decorated outside with reliefs, were made thus. In the case of a bowl, a mould was first prepared, of hard well-burned clay, covered inside with incuse designs ; these sunk patterns were made either by hand-modelling or, more usually, with the aid of stamps modelled in relief. Thus the inside of the bowl-mould corresponded to the outside of the future Samian bowl, which was first turned on the wheel quite plain, but of the right size to fit into the mould. Then, while it was still soft it was pressed into the mould, and afterwards both were put upon the wheel together. As the wheel revolved, the potter could at the same time press the clay into the sunk ornaments of the mould and finish neatly the inside of the vessel. In some cases he raised the walls of the bowl high above the mould by adding clay, and thus with the same mould could pro duce a variety of forms, though the lower or decorated portion always remained the same. A fine crater in the Louvre was made in this way. The vessel was then re moved from the mould and the reliefs touched up by hand (in the finer specimens) with bone or wooden modelling- tools. The reliefs thus produced are often very graceful in design, but are mostly wanting in sharpness, many being blunted by the touch of the potter s fingers in handling the pot after it was removed from the mould. 1 It was next covered with the materials for the red enamel, very finely ground and fired in the usual way. Fig. 40 shows a design of typical character. The outer reliefs consist generally of graceful flowing scroll-work of vines, ivy, or other orna ments, mixed occasionally with human figures and animals. The finest sorts of Samian ware were made at Arezzo (Aretium) in Italy 2 and Saguntum in Spain (the modern 1 In some rare cases the reliefs were moulded separately and then applied to the plain wheel-turned vessel while yet soft, but this was exceptional. - See Fabroni, Vasi fittili Aretini, 1841, and Inghirami, Mon. Etnis., 1845. XIX. 78