Since the black glaze was probably applied to the leather-hard clay, the ochre wash must also have been added in that state. The leather-hard vase might have been dipped in an ochre solution or the ochre applied with a brush or rubbed into the surface as a powder. In order to make it adhere properly to the clay actual experiments have shown that by far the best results are obtained by giving the surface a good polish after the application of the ochre. The ochre is thereby actually incorporated with the clay and forms a good firm surface. If not so polished, it is powdery after firing and comes off easily.
Experiments further showed that (1) red ochre applied in this manner on the red clay in leather-hard condition produced an effect identical with the red “wash” observable on the Athenian vases; (2) preliminary sketch lines engraved lightly with a blunt tool did not remove the ochre; (3) the ochre in no way interfered with the adhesion of the black glaze over it; (4) the ochre came off only a little at a time even when rubbed hard while wet. It is therefore only during the long processes of wear and time that the red ochre application has worn off. But even when it has entirely disappeared, it has stained the clay a deeper color—namely, the orangey hues which we see now; for the actual color of the clay is lighter and pinker, as any fracture will show.[52]
Originally, however, we learn from our investigation, the red-figured Athenian vases had an even deeper and richer tint than they have now—approaching more nearly the color of copper. The general effect, therefore, must have been considerably more vivid than it is today, and to some this thought may not at first appeal. But we should remember that we are discovering also in other fields that the Greeks loved bright, intense color, not the faded tints that so many of their works present today.
WERE ATHENIAN VASES MADE FOR EVERY-DAY USE?
The theory has often been advanced that the painted black-figured and red-figured vases were made for decoration and for votive and funeral purposes, but not for actual use. Percy Gardner in his Grammar of Greek Art (p. 160) holds this view and gives as his reason that the painted vases were too fragile to be easily handled and too porous to contain liquid. Reichhold in Furtwängler und Reichhold, Griechische Vasenmalerei, Text, I, p. 82, and Skizzenbuch griechischer Meister, p. 10, is of the same opinion, and bases his assumption on the fact that a number of the vases show ancient rivet marks and could not therefore have served any practical purpose in such a condition; also that no ancient vases show signs of wear, which would have been unavoidable if they had been in daily use. Does our investigation of the technique of Athenian vases help to settle this question? Let us look first at the case in its broader aspects.
Nobody can work long with Greek vases or other forms of Greek industrial art without being impressed with the wonderful combination of beauty and practical utility which these objects show. The Greek vases are not only finely proportioned, but each one is admirably adapted to its purpose. We need only try pouring from an oinochoë to see how easily the liquid flows without any danger of spilling; or from a lekythos to see how the oil trickles through the narrow neck, drop by drop, or in a very thin stream, just right for cooking or the making of salad dressing. We need only drink from a kylix to realize how, contrary to expectations, it is an easy and delightful process—the little curve of the rim preventing the liquid from spilling down one’s cheeks.[53] We need only closely observe the handles of Greek vases to see how their positions, their curves, and above all their extraordinary solidity render them eminently practical. Moreover, the study of a hundred little details, the forms of the knobs on pyxides, the projections for holding the lids in place, the outward or inward curves of the lips, the substantial feet, all combine to form overpowering evidence that these vases were designed for actual use. It is only in isolated instances, such as the loutrophoroi which have no bottoms or the white lekythoi which have no connection between the neck and body, that this rule does not hold good. Such vases, however, belong to clearly defined classes evidently made as votive offerings or as tomb furniture.
That the bulk of vases were made for votive purposes, there is no real evidence. Among the many sixth- and fifth-century inscriptions recording such offerings there are few relating to pottery vases. Nor is it conceivable that these vases were purely ornamental. We know that private houses in Athens were at that period excessively simple, consisting mostly of a courtyard and a few rooms opening on it, so that it is not likely that people surrounded themselves with a lot of useless ornaments; nor can we believe that in a period which, at least in the sixth century, was still one of strenuous endeavor, these vases were exported to all parts of the world merely as decorative bric-à-brac. Everything we know of Greek life at that time points against such an assumption. Moreover, if the Greeks had such decorations in their homes we should expect to see, depicted in the vase paintings, cabinets or shelves with vases displayed on them; instead, when vases are shown, they are invariably in actual use, or hanging on a nail on the wall, ready for immediate service.[54]
There is another consideration. Even if, from our modern point of view, we may hesitate to believe that a beautiful cup of Euphronios was used merely as a drinking vessel, where are we to draw the line? Any one who has worked in a museum or has excavated on fifth-century sites knows that besides the selected specimens exhibited in museum cases there are a large number of inferior examples, hastily decorated, which could hardly have been displayed as ornaments, but which are open to the same objections raised against the vases of better workmanship.
And now let us examine these objections. First, the vases are supposed to be too porous to contain liquid. The fineness of the clay, the polish which was imparted to it, and perhaps the application of the ochre tended to reduce this porosity somewhat. In the course of time the deposit left by wine and oil would still further close the pores. In any case, experiments show that Athenian vases do hold liquids without any difficulty. The unglazed portions become damp, and a damp mark is left on the table if the foot is not glazed; but in the days before highly polished furniture there was no strong objection to that, and there was on the other hand a very real advantage. For it allows a certain amount of evaporation which would tend to cool the liquid—a very desirable thing in a warm climate without a regulated ice supply. Any one who has tried the experiment of keeping water in an unglazed jar in a warm room has found that the evaporation keeps it delightfully cool. In southern Europe today liquids are kept in that manner during the summer. We must also remember that a large number of the early wares from the Bronze Age down, as well as the commoner wares at all times, are either wholly unglazed or have unglazed portions. And surely nobody wants to contend that these vases were not manufactured for use.