Vases.
Painted vases may be considered as the most curious, the most graceful, and the most instructive remains that have come down to us from ancient times. The beauty of the forms, the fineness of the material, the perfection of the varnish, the variety of the subjects, and their interest in an historical point of view give painted vases a very important place among the productions of the arts of the ancients. Painted vases have been collected with great eagerness ever since they have been known, and the most remarkable have been engraved by celebrated artists, and explained by profound archæologists. Modern art and archæology have obtained from them beautiful models and important information. They were known for the first time in the seventeenth century.
Painted vases were, to a considerable extent, objects of traffic and of export from one country to another. They may be generally traced to Athens as the original place of exportation. Corinth also exported vases, for the products of Corinthian potters have been found in Sicily and Italy, and there can be no doubt that Corinth had established an active trade in works of art with the Greek colonies all over the Mediterranean. Athenian vases were carried by the Phœnicians, the commercial traders of the ancient world, as objects of traffic to the remotest parts of the then known world. In the Periplus of Scylax, the Phœnicians are mentioned as exchanging the pottery of Athens for the ivory of Africa. They were, in fact, the ornamental china of the ancient world.
ETRUSCAN VASE.[ToList]
Etruscan.—The potter's art was introduced into Etruria by Demaratus of Corinth, who, flying from that city, took up his abode at Tarquinii, the modern Corneto, where vases in the most archaic style, resembling those of Corinth, or those called Doric, have been found. Vases, the Etruscan origin of which can not be disputed, have been found at Volterra, Tarquinii (Corneto), Perugia, Orvieto, Viterbo, Aquapendente, and other towns of ancient Etruria. The clay of which they are made is of a pale or reddish yellow, the varnish is dull, the workmanship rather rude, the ornaments are devoid of taste and elegance, and the style of the figures possesses all those characteristics already assigned to that of the Etruscans. The figures are drawn in black on the natural color of the clay; sometimes a little red is introduced on the black ground of the drapery. It is by the subject chiefly that the Etruscan vases are distinguished from the Greek vases. On the former, the figures are in the costume peculiar to ancient Italy; the men and the heroes are represented with their beards and hair very thick; the gods and genii have large wings; monstrous combinations not capable of explanation by Hellenic myths; we may also observe divinities, religious customs, attributes, manners, arms, and symbols, different from those of Greece. Etruscan deities, such as Charun with his mace, denote their Etruscan origin; the subjects of the vases are, however, generally derived from Greek mythology, treated in a manner consonant to the Etruscan taste, and to their local religion, while their drawing is of the coarsest kind. If an inscription in Etruscan characters, traced invariably from right to left, accompanies the painting, certainty with regard to their origin may be considered as complete. It is true that the greater number of the letters of the ancient Greek alphabet are of the same form as those of the Etruscan alphabet; but there are in the latter some particular characters which will prevent any confusion. The names of the personages on the vases are spelt differently from those on the Greek, as Ainas for Ajax, Atreste for Adrastus, Akle for Achilles, Alesti for Alcestis, etc. We must also observe, that Etruscan painted vases are very rare, and are but few in number, compared with those for which we are indebted to the arts of Greece.
ROMAN VASES[ToList]