Fig. 43.—Vase for Libations.
We give some particulars of the Greek vases, mostly from the collections of the Louvre at Paris.
Some of the Amphoræ were designed for particular uses; as, for example, for prizes to the victors of the public games ([Fig. 36]). The fashion which prevails with us of giving cups for prizes at our races, etc. (usually pieces of silver), is a fashion which began with the Greeks, and has continued till to-day.
Sometimes these vases were filled with oil made from the olive blessed by Minerva. We may well believe such amphoræ so won were highly valued; and this will explain the curious history of the one now in the Museum of the Louvre.
In 1827 this good find came to light: “They recently found at Capoue the vase given to the victor at the athletic games at Athens in the year 332 before Christ. Beside the vase lay the skeleton of the victor, the Athenian himself, as was supposed. The vase is of clay covered with paintings, showing upon one side the goddess Pallas Athene ([Fig. 36]) launching a javelin; on the other side is a group of wrestlers, a young man who is a looker-on, a judge, and an old man holding a wand. At the top is found the name of the ruler of Athens in the year 332 B. C., and the words ‘Prize given at Athens.’ ” The victor is vanquished, his name and fame are forgot, but the vase is perfect after the lapse of twenty-two centuries.
The vase next presented ([Fig. 37]) is an amphora decorated with equestrian figures, marked by that archaic stiffness which some value. Its height is put by Figuier at thirty-seven centimetres—about fifteen inches. The color is yellowish; it is shaped with much care; the black varnish is brilliant, and is laid upon the yellow body; the outlines are incised to limit the figures; and the parts in relief are of a rusty red and unpolished.
The great amphora ([Fig. 38]) is in the Louvre Museum, and is one of the most perfect known. We see this form, as well as many others of the Greek amphora, in all modern work. The clay is yellowish, and is covered with a deep black. The figures are reserved on the yellow and are well brought out by the black. The simplicity and dignity of this vase can hardly be excelled, and they are in striking contrast with the over-decorated things, so many of which have been made at Sèvres and Meissen. The great virtue of reticence was known and observed among the Greek artists.
The next ([Fig. 39]) is of a more uncommon form than the others, in its swelling out at the base. The handles, too, are rare, and the twisting together at the top quite peculiar.
The great vase Krater ([Fig. 40]), called “Campanienne,” is some fifteen inches in height, and is perfect in form and decoration. The figures are painted in black upon its surface. They have been found in great numbers in various parts of Italy.