§ 2. Africa
The fabrics of the Ionian school are not confined to Asia Minor as regards their place of origin. In the Greek colonies which were founded in Africa in the seventh and sixth centuries we find evidences of great industrial activity, and in some cases extensive remains of painted pottery, which exhibit a close connection with the fabrics more closely associated with Asia Minor. There is, however, one group of vases which seems to stand by itself, and which, though it may be ranked with the Ionian fabrics from its use of the white slip and from the original naturalistic treatment of the subjects, yet shows a marked independence both in technique and in decoration.
The vases grouped under this head have been found chiefly in Etruria, but more recently several examples have come to light in the Ionian colony of Naukratis in the Egyptian Delta and in Samos.[[1125]] As long ago as 1881 it was proposed by Puchstein to connect them with the Theraean colony of Kyrene on the north coast of Africa, on the ground of the subject depicted on the finest and most remarkable of them—the Arkesilaos cup of the Cabinet des Médailles at Paris. When, however, the Naucratite specimens turned up, it was thought that they might after all be a local fabric of that colony, especially as that place was known to have had a close connection with Kyrene, whence about 570 B.C. came the queen of Amasis, who was a great benefactor to Naukratis. But to urge only one of the opposing arguments, there seems to have been little or no export of pottery from Naukratis, although imported specimens have been found there of almost every early fabric known. It was reserved for the ingenuity of Dr. Studniczka[[1126]] to identify a scene on a fragmentary cup found there with the figure of the nymph Kyrene, the patron goddess of that city, and thereby to establish definitely the origin of this class. Curiously enough, no remains of the early colony of Kyrene have ever been discovered; but when, if ever, they are brought to light, it may be confidently hoped that further evidence will be obtained.
The Cyrenaic vases, as they are now generally styled, are for the most part kylikes of a slender and graceful form, owing much apparently to metal originals, as indicated by the use of palmettes at the ends of the handles, and by their form and ornamentation in general. The designs are painted in black on a slip varying in tint from deep buff to a pale cream-colour, with firmly-drawn incised lines and a plentiful use of purple for details. The drawing is remarkably spirited, and the subjects mostly marked by naïveté and freshness. The popularity of mythological scenes is remarkable; we find representations of Zeus, Atlas and Prometheus, Kadmos, Pelops, and other heroic figures, besides the remarkable vases which deal with local legend and history.
From Baumeister.
FIG. 92. ARKESILAOS OF KYRENE SUPERINTENDING HIS COMMERCE
(FROM A KYLIX IN THE BIBL. NAT.).
The Arkesilaos vase[[1127]] (Fig. [92]) demands something more than a passing description. It represents the king of Kyrene superintending the weighing of the silphium-plant, which was a valuable source of his revenue. Although there were four sovereigns of that name, the choice is practically limited to one, the second of the name, who reigned about 580–550 B.C. The scene takes place on a ship ready to sail, of which the yard-arm and part of the sails are visible; from the yard hangs a large balance, inscribed with the word σταθμός, in each pan of which is a large mass of some substance, which has generally been interpreted as representing the silphium. But as a matter of fact it is open to doubt whether it is not really wool, or some similar article of merchandise. On the left of the scene, on a folding-chair, sits the king, with flowing locks and large hat, before whom a man named Sophortos stands, with a gesture implying that he is making a statement relating to the transaction. On the right are four men variously occupied, two carrying bags of the stuff tied at the neck; one of these is named Σλιφόμαχος,[[1128]] a word of uncertain meaning, but apparently having some reference to the silphium. A horizontal line is drawn below the scene, and in the lower part of the circle we see perhaps the storing of the merchandise in the hold, under the superintendence of an official named Φύλακος (guardian); two men are carrying bags to add to a heap of three already stored away. In the upper part of the design and behind Arkesilaos are depicted various birds, a monkey, a lizard, and a panther, perhaps to give local colouring to the scene.[[1129]] The whole is conceived with wonderful naïveté and freshness, so much so that early writers regarded it as a parody or burlesque of a serious subject; but this can hardly be the case.
Several other scenes on the Cyrenaic vases merit description, did space permit; but it must suffice to refer to the list of subjects already given. The majority of the specimens are in the Louvre, which possesses no less than ten cups, besides three larger vases, decorated with animals and ornaments only. There are also four in the Cabinet des Médailles, of which, besides the Arkesilaos cup, one representing Polyphemos devouring the companions of Odysseus and the subsequent blinding (all in one scene) is of conspicuous interest. The British Museum possesses two or three cups and several fragments from Naukratis, including the important one restored by Studniczka as representing the local nymph holding branches of silphium and pomegranate, and surrounded by flying daemons, male and female, or Boreads and Harpies (Fig. [93]).
FIG. 93. CYRENAIC CUP WITH FIGURE OF KYRENE (BRITISH MUSEUM).