The names given for dishes are δισκός, παροψίς, and τρύβλιον, the latter of which frequently occurs in Aristophanes, but παροψίς seems to be of late introduction, and more used by the Romans (see Chapter [XXI].).[[707]] For a plate the usual name was πίναξ (also πινακίον, πινακίσκος), a form which is interesting as often occurring among painted vases (Fig. [55]). It is found at all periods, from the fabrics of Rhodes and Naukratis down to the Apulian and Campanian “fish-plates,” which have a sinking in the centre, and are painted with fish, shell-fish, etc. They were no doubt used for eating fish, the sinking being for the sauce.[[708]] A famous early instance of the pinax is the “Euphorbos-plate” in the British Museum (see p. [335]). The name is also given to the square plaques or tablets, such as those found at Corinth, on the Athenian Acropolis, and elsewhere, which were generally of a votive character. They are often depicted on the vases themselves, indicating the locality of a shrine.[[709]]
Vessels for holding vinegar or sauces were known by the names of ὀξύβαφον, ὀξίς, or ἐμβάφιον.[[710]] The shapes are not exactly known, but they were apparently small cups or dishes; the incorrect identification of the first-named with the κρατήρ we have already discussed (p. [171]). The words ἐρεύς and κυψελίς are given by Pollux[[711]] as vases for holding sweets, and the κυμινοδόκον or κυμινοθήκη was, as the name implies, a box or receptacle for spices.[[712]] The last-named has been identified with the κέρνος, described by Athenaeus as “a round vessel, having attached several little kotylae (κοτυλίσκους).”[[713]] Two existing forms correspond in some degree to this description: one found in Cyprus and at Corinth, and consisting of a hollow ring, to which small cups or jars are attached at intervals; the other found chiefly in Melos, and consisting of a central stand, round which are grouped a varying number of alabastron-like vases, evidently designed for holding small quantities of unguents or perfumes, or perhaps flowers, eggs, or other objects. They are all of very early date, and decorated in primitive fashion.[[714]] A better form of the word seems to be κέρχνος. Many have been found at Eleusis,[[715]] and it is supposed that they were used in the Mysteries for carrying the first-fruits.[[716]]
FIG. 56. LEKYTHOS.
Several kinds of vases were used for holding oil, the characteristic of all these shapes being the narrow neck and small mouth, which were better adapted for pouring the liquid drop by drop. The ordinary Greek word for an oil-flask is λύκυθος, frequently found in Aristophanes and elsewhere. We have already referred (pp. [132], [143]) to the passages in the Ecclesiazusae where the practice of placing lekythi on tombs, and generally of using them for funeral purposes, finds allusion. From these passages it has been possible to identify the class of white-ground Athenian vases on which funeral subjects are painted, with absolute certainty as Lekythi. But the shape is not confined to this one class. In the early B.F. period (especially in Corinthian wares) it assumes a less elegant form, with cup-shaped mouth, short thick neck, and quasi-cylindrical body tapering slightly upwards (cf. the alabastron below). The later form, which prevails from the middle of the B.F. period down to the end of the fourth century at Athens, with very little variation of form, is one of the most beautiful types of Greek vases (Fig. [56]). It has a long neck, to which the handle is attached, flat or almost concave shoulder, and cylindrical body, semi-oval at the base. The B.F. examples are seldom found in Italy, and almost all come from Athens and other Hellenic sites, or from Sicily, a country in which the form seems to have been exceptionally popular. The same may be said of the ordinary R.F. examples, which have no sepulchral reference, and are found in large numbers at Gela (Terranuova) in Sicily, but seldom elsewhere. The white lekythi have been found in Eretria, and at Gela, and Locri in Southern Italy, besides Athens. The lekythos seldom attains to any great size, except in the marble examples used as tombstones. They were probably used at the bath and in the gymnasium, and may also have served other purposes, e.g. for pigments. In illustration of this reference may be made to the well-known passage in Aristophanes’ Frogs (1200 ff.), where the jeer of Aeschylos at Euripides’ stereotyped beginnings of his plays, ληκύθιον ἀπώλεσεν, seems to imply “he is hard up for something new to say,” i.e. “he has lost his paint-pot; his lines need embellishment.”
FIG. 57. LEKYTHOS (LATER FORM).
Towards the end of the fifth century the lekythos takes a new departure (Fig. [57]), and appears with a squat, almost spherical body, without foot (except for the base-ring). This form is sometimes known as aryballos (see below), but is perhaps more accurately described as a “wide-bodied” (Germ. bauchige) lekythos. It is very popular at Athens in the late fine or polychrome vases,[[717]] and was adopted exclusively in Southern Italy, where it is the only form of lekythos found. This type of vase is often found in the period of the Decadence with a subject moulded in relief attached to the front, sometimes of a comic nature.
FIG. 58. ALABASTRON.