The manner in which the antefixae were treated by the Greeks and Etruscans for purposes of decoration is well illustrated in the British Museum collection. In Cases 64–71 of the Terracotta Room may be seen a series from Capua of archaic style, the front part being semi-elliptical in form, having within an ornamental border a female bust, Gorgon’s head, or other design in relief, all being richly coloured (Plate [II].). The back projects in a semi-cylindrical termination, forming the covering-tile, with an arched support to the upright piece. Similar antefixae were found by Lord Savile at Civita Lavinia (see below), and some have elaborate subjects, such as Artemis with two lions, or a Satyr and Maenad with a panther (Plate [II].).[[341]] Many have also been found at Cervetri, from which site came some interesting friezes of terracotta now in the British Museum (B 626) and at Berlin. These works of art, with which we must rank for their style the reliefs on the archaic terracotta sarcophagus in the British Museum (see Chapter [XVIII].), show throughout a strong influence of Ionic art; though all of local manufacture, their style is purely Greek, as is the case with many of the contemporary works in bronze found in Italy.[[342]]
FIG. 10. TERRACOTTA ANTEFIX FROM MARATHON (BRITISH MUSEUM).
Antefixes from Hellenic sites are not so common, nor do they present the same variety of subject or richness of colour. In many cases, as in the fourth-century British Museum specimens from Asia Minor,[[343]] the decoration is confined to scrolls and floral patterns in low relief, the palmette being regarded as the most appropriate decorative motive for this form of tile. An example of this type in the British Museum (C 902 = Fig. [10].), found on the field of Marathon, is inscribed with the name Athenaios. Many later antefixes with remains of colouring have been found at Tarentum, the subjects being chiefly heads of women or mythological personages.
Roof-tiles proper have been discovered in large numbers both in Greece and Italy. Olympia has proved the richest site in this respect, and there are many specimens in the Museums of Athens and Palermo.[[344]] Many of them have coloured decoration, and these terracotta remains are almost the only evidence we now have of the extensive system of colouring applied by the Greeks to their temples.[[345]]
At Olympia all the buildings have terracotta roofs except the temple of Zeus and two others, the dates varying from the seventh century B.C. down to Roman times. We know from Pausanias[[346]] that the temple of Zeus was roofed with marble tiles in imitation of terracotta, an invention traditionally attributed to Byzes of Naxos. The covering-tiles of the Heraion roof (see Fig. [9].) end in semicircular discs painted with ornamental patterns; the flat roof-tiles are of the concave type described above. The normal sixth-century type of roof is seen in the Treasury of the Megarians, which has smooth flat tiles and covering-tiles ending in antefixes with palmette-and-lotos ornament, and a kymation cornice with lion’s head spouts.
A greater variety of tiles is to be seen in the Treasury of Gela. Here for the first time we note the introduction of a new system, which consists in nailing slabs of terracotta over the surface of the stonework, or, to use the convenient German term, “Bekleidungstechnik.”[[347]] It is obvious at the first glance that the origin of this practice dates from the time when buildings were largely or wholly of wood, which required protection from the weather. When the wood was replaced by stone, the fashion held its ground for a time; but with the more extensive use of marble, which could not well be covered in this manner, it disappeared altogether in Greece.
PLATE III
