The second class is confined to scenes representing offerings at the tombs of the departed, which may take two forms. In the simpler, which is characteristic of Lucania and Campania, and especially of the hydria form, the tomb is a stele, like those of the Athenian lekythi, at which the relatives of the deceased meet to mourn or make offerings (Fig. [20]). The “type” is that of Orestes and Electra at the tomb of Agamemnon, but only in one or two cases is it possible to suggest this interpretation. On the Apulian vases, almost exclusively on the large kraters and amphorae, but sometimes also on the hydriae, a more elaborate treatment of the subject is employed. The centre of the scene is occupied by an Ionic distyle building representing a ἡρῷον or shrine devoted to the worship of an ancestor or family “hero.” In the entrance of this building (which is painted white to denote marble) stands or sits the figure of a young man or a woman holding some attribute—a cup or piece of armour—or standing by a horse. These figures are usually painted white throughout like the building, which seems to imply that a statue or relief is represented rather than an actual human figure.[[1466]] On either side of the shrine figures are represented bringing libations. Sometimes the actual tomb of the deceased is represented with a plant growing in it; or, again, a lady is represented at her toilet with her maid, as in the Athenian sepulchral reliefs (Fig. [106]). Each person is represented with his appropriate costume or attributes—the warrior with horse or armour, the hunter with dog, the lady with articles of toilet.
FIG. 106. APULIAN VASE WITH SEPULCHRAL SCENE (BRITISH MUSEUM).
In spite of the absence of “banquet” or “greeting” scenes, the parallelism with the Attic reliefs is very marked, and the sepulchral character of these vases is indubitable. It is, further, natural to suppose that there is some reference to the worship of a ἥρως or deceased ancestor, such as is known to have been a universal custom among the Greeks.[[1467]] Reliefs have been found at Tarentum with subjects which obviously have this reference. Apart from these two classes, however, the majority of the vases of Southern Italy seem to have been made originally for ornamental purposes, such as the decoration of a house, as is implied by the distinction in the artistic merit of the two sides.
Artists’ signatures in this period are exceedingly rare; only three, in fact, are known. Of these one may be briefly dismissed—Lasimos,[[1468]] who signed a fine Apulian vase in the Louvre, with sepulchral and other scenes; his style is hardly distinctive enough to admit of identifying any others as his work. But in the other two names, those of Assteas and Python, we find more interest. Five vases exist with the signature of Assteas, and one with that of Python, and it is interesting to note that they both use the form ἔγραψε (see Chapter [XVII.]). The list is as follows:
Assteas. (1) Krater from Paestum in Madrid. Reinach, i. 168 = Baumeister, i. p. 665, fig. 732 = Fig. [107]. Herakles destroying his children.
(2) Krater from Paestum in Naples (3412). Wiener Vorl. B. 2. Phrixos and Helle.
(3) Krater from S. Agata dei Goti in Naples (3226). Millingen, Anc. Uned. Mon. i. 27. Kadmos slaying the dragon.
(4) Krater from S. Agata dei Goti in Berlin (3044). Wiener Vorl. B. 3, 1. Scene from farce (parody of Prokrustes?).
(5) Lekythos from Paestum in Naples (2873). Millin-Reinach, i. pl. 3. The garden of the Hesperides.