FASHIONING THE VASES
1. Black-figured hydria in Munich.
Furtwängler u. Reichhold, Griechische Vasenmalerei, I, Text, p. 159.
Jahn, Beschreibung der Vasensammlung in der Pinakothek zu München, No. 731.
Fig. 58. Athenian pottery establishment
Furtwängler u. Reichhold, Griechische Vasenmalerei, I, Text, p. 159
An Athenian pottery establishment. To the left a man sits on a stool and is holding with both hands an amphora on his lap; a boy (only the head and one hand are preserved) is standing before him, placing one hand on the body of the vase; the latter is painted black, that is, it has already been glazed. The man has the air of inspecting it, while the boy is apparently helping him hold it (since it is still in leather-hard condition, it requires careful handling). The next group represents a man throwing a tall vase on a wheel; a boy is sitting before him on a low stool, turning the wheel with both hands at whatever speed is required. The vase is so tall that the entire forearm of the potter is inserted; while his other hand (now missing) was doubtless placed on the outside of the vase, so that by the pressure of the two hands the pot might acquire the necessary form and thickness. The vase is painted white to show that it is as yet unglazed. A pair of calipers is hanging on the wall ready for use, to enable the potter to check the heights and widths of his products. To the right a youth is carefully carrying away a vase that has just been thrown, to dry. A similar vase is already standing on the other side of a column, drying in the open air or in a court. Both vases are painted white to indicate their unglazed condition. Next we see an old man walking leisurely with a stick. His dignified air is in strong contrast to the busy absorption of the workmen. He is evidently the overseer or proprietor of the pottery. To his right a tall youth is carrying a heavy weight on his back, apparently a sack of charcoal. He is bringing it to the kiln, which is being stoked by the fireman. The kiln has a satyr head at the top to avert the evil eye and protect the pottery from all danger during the firing.[56]
2. Fragment of a Corinthian pinax in the Berlin Museum.
Antike Denkmäler, I, 1886, pls. 8, 17.
Furtwängler, Beschreibung der Vasensammlung in Berlin, I, No. 869.
Fig. 59. Potter throwing
Antike Denkmäler, I, pl. 8, No. 17
A potter throwing a vase on a wheel, with both his hands placed on the outer surface; only the two hands of the potter and the upper part of the wheel with the vase are preserved.
3. Red-figured fragment from the Akropolis in Athens.
Athenische Mittheilungen, XIV, 1889, p. 157.
Fig. 60. Potter throwing
Athenische Mittheilungen, 1889, p. 157
A potter is sitting on a stool and throwing a vase on a wheel which is being propelled by a boy; another man sits behind him with a krater on his lap.
4. Interior of a black-figured kylix in the British Museum.
British Museum, Guide to Greek and Roman Life (2d edition), 1920, p. 182, fig. 218.
Walters, Catalogue of the Greek and Etruscan Vases, II, B.432.
Fig. 61. Potter attaching handles
British Museum, Guide to Greek and Roman Life (2d Edition), p. 182, fig. 218
A potter is sitting in front of his wheel on which a kylix is standing. He is apparently engaged in attaching the handles. On a shelf above are piled some more kylikes and a jug. The whole is very roughly painted.
5. Corinthian black-figured pinax in the Museum of the Louvre.
Gazette archéologique, VI, 1880, p. 106, 3a.
Fig. 62. Potter incising lines (?)
Gazette archéologique, 1880, p. 106 (3a)
A potter is sitting before his wheel propelling it with one hand. He is working on what appears to be a one-handled jug. He is not “throwing” or “turning” it, since it already has its handle attached. Perhaps he is incising horizontal lines on it, for which process he could easily propel his own wheel. On the wall hang two other jugs (with similar incised lines), and some plates (?) are stacked on the floor.
6. Corinthian pinax in the Berlin Museum.
Antike Denkmäler, I, 1886, pl. 8, 14b.
Furtwängler, Beschreibung der Vasensammlung in Berlin, I, No. 885.
Fig. 63. Potter joining sections (?)
Antike Denkmäler, I, pl. 8, No. 14b
A man is sitting in front of a tall globular vase on a high foot. He is not throwing it, for there is no indication of a wheel. Perhaps he is joining the sections of a tall vase, some of which are already in place, while one part lies on the floor waiting to be attached. But the whole scene is so roughly painted that it is impossible even to know definitely that a potter is represented.
7. Interior of a red-figured kylix, Berlin Museum No. 2542.
Rayet et Collignon, Histoire de la céramique grecque, p. XVII, fig. 7.
Fig. 64. Boy finishing vase
Rayet et Collignon, Histoire de la Céramique grecque p. XVII, fig. 7
A boy is sitting with a cup (kotyle) in one hand and an implement in the other, evidently engaged in a finishing process. Perhaps he is removing the surplus clay after the handles have been attached; for the vase is as yet unglazed and is left in the red color of the clay, in contrast to the black kotyle and oinochoë on the stand close by.
8. Terracotta statuette of a potter in the British Museum.
British Museum, Guide to Greek and Roman Life (2d edition), 1920, p. 181, fig. 216.
Fig. 65. Potter building a vase
British Museum, Guide to Greek and Roman Life (2d Edition), p. 181, fig. 216
A man is represented in a crouching attitude apparently engaged in building a pot.