FIG. 220. “ITALIAN MEGARIAN” BOWL BY L. APPIUS (BRITISH MUSEUM).
To sum up with Dragendorff,[[3408]] it is clear that a careful study of Hellenistic pottery is necessary for a correct estimate of the Italian and Roman. As in the case of other arts, it proves that the Romans were merely receptive, at best only developing what they received. This development began with the importation of Greek relief-wares with black varnish, especially from Asia Minor, and their imitation at Cales. Then, as in Greece, so in Italy, the search for new forms, colouring, and decoration began and brought about a degeneration of technique. What the Calene vases are to those of Asia Minor, so are the vases of Popilius to the “Megarian” bowls. Finally, the finds in Southern Russia show that even the technique of the red-glazed ware is not an Arretine invention, but was already known to the Greeks, although first brought to perfection in Italy.
We must now return to the Arretine vases and turn our attention to their subjects and decoration, and their place in artistic development. Dragendorff[[3409]] divides them into two classes, including with them the vases of Puteoli, which bear Arretine stamps, and probably only represent a mere off-shoot of the latter potteries, merely differing in the quality of the design and in the absence of many of the best types. These were mostly discovered in 1874, and it is possible that the krater from Capua (p. [488]) may also be reckoned as originating from this source.
His first class includes the vases of M. Perennius, which form such a large proportion of the signed Arretine wares. They are characterised by friezes of figures repeated, or of groups of figures all of the same size, sometimes divided by pillars or terminal figures. Ground-ornaments are rare, and the ground under the figures is not indicated as elsewhere. The subjects include Dionysiac scenes, such as dancing Maenads, sacrifices, drinking-scenes, the vintage, or Dionysos in a chariot; Cupids, Muses, and Seasons; Victory sacrificing a bull; Nereids with the weapons of Achilles; Hieroduli or priestesses dancing, with wicker head-dresses; banqueting, erotic, and hunting-scenes. Examples of the latter classes are given on Plate LXVI. The types of the figures, as in the case of the dancing Maenads, are largely derived from the New-Attic reliefs (see above).
In the second class, to which belong the vases of P. Cornelius and those found at Puteoli, a large use of ornament is the most conspicuous feature. The figures are little more than decorative, or form motives of a sculpturesque character, and are not, as in the first class, isocephalous. Naturalistic motives, such as wreaths, are very frequent. Among the types we have figures like those in the Nile-scenes on the terracotta mural reliefs (p. [371]) and Centaurs derived from Hellenic prototypes.
PLATE LXVI
