Among the favourite shapes are the bell-shaped krater and the amphora, also the hydria and column-handled krater. The hydria is generally employed, as in Campania, for sepulchral subjects. The vases are mostly of large size, whence a corresponding largeness of the figures; whereas Campanian vases are generally small, and make up for the absence of imposing figures by their colouring. An entirely new shape, peculiar to this style, is the four-handled krater, to which the name of nestoris has been somewhat absurdly given[[1474]]; it is undoubtedly a local form, being found in the indigenous pottery of the district.[[1475]] There are two varieties, one with a high neck, the other with sloping shoulder and no neck. The handles are usually ornamented with discs painted with rosettes, and the designs are in panels surrounded by ornament, sometimes on the second variety with a lower frieze of figures. Generally speaking, secondary ornamentation is largely employed on these vases, especially on the last-named shape. The palmette patterns under the handles are usually very luxuriant.
FIG. 108. DEPARTURE OF WARRIOR, FROM A LUCANIAN KRATER (BRITISH MUSEUM).
The vases of Campania present in many ways a striking contrast to those of Lucania. Their chief characteristic is, as has been noted, love of picturesque effect and variety of colour, even to the extent of introducing attempts at shading (see above, p. [471]). The vases are mostly small, and none of the large kraters or amphorae belong to this class. The favourite shapes are the hydria, lekythos with bulbous body, and amphora; the latter is clearly an imitation of the Attic “Nolan” amphorae, which were so largely imported into the district, but the body is usually more symmetrical. The clay is usually of a buff or dull yellow ochre tone, and red and yellow washes are frequently used, as well as large masses of white; these tints are laid on very carelessly, and the white is of a kind that is apt to flake off and disappear. Yellow, purple, and white are largely used as accessories, and the drawing has a tendency to become very careless. The lines of the ground are indicated by occasional strokes of white, or by rocks strewn with flowers. Ornamental patterns are not so popular as in Lucania; the favourite is the wave, and the palmettes under the handles are thick and ugly, with angular leaves. Some decorative motives seem to be derived directly from nature.
The subjects are often interesting and uncommon, introducing recondite or unusual myths; many of the vases with comic scenes appear to belong to this class, and one in the British Museum has an Oscan inscription. Local peculiarities of costume and armour, which Signor Patroni calls Osco-Samnite, are often found; for instance, warriors wear a very short chiton with broad girdle, a helmet with waving crest and tall side-plumes of Italian type,[[1476]] and a remarkable breast-plate formed of three circular plates of metal arranged in a triangle.[[1477]] These same peculiarities are found on the wall-paintings at Paestum, and there are indications that Virgil was familiar with them.[[1478]]
Signor Patroni, by dint of an exhaustive study of the Naples collection, has made a tentative classification of Campanian vases according to fabric; he distinguishes those of Cumae, Saticula (Santa Agata dei Goti), and Abella; but those of Capua, Nola, and Neapolis appear to have no distinctive style. The Cumae fabric, for studying which the Raccolta Cumana in Naples gives exceptional facilities, is represented by the long, straight-bodied amphorae, the hydriae with female heads under the handles, and kraters on which the design is framed by stylised floral patterns or heavy palmettes. Among the characteristic patterns are the wave, large flowers in profile, and ground-ornaments generally, such as ivy-leaves, branches, and small windows. The strong tendency to polychromy seems to be the result of using the late Attic polychrome vases as models. In the colouring a new feature is the use of a carmine red, which, according to Patroni, is only found in the Cumae fabrics.[[1479]] Mythological subjects are rare,[[1480]] sepulchral common, and shrines are found on these alone; but the majority have scenes from daily life,[[1481]] banquets, return of warriors, etc. It is on these that the local costumes are usually found.
The Saticula fabrics are very uniform,[[1482]] practically all bell-shaped kraters with red clay; colours are sparingly used, and then only white; a maeander takes the place of the wave-pattern as a border; ground-lines are usually indicated. Of subjects Dionysiac have the preference. The vases of Abella are of late date, chiefly hydriae of very pale clay with accessory colours; among the typical patterns are arabesques ending in white daisies. They sometimes show reminiscences of the Paestum style.[[1483]]
PLATE XLIV
