Museum of Antiquity: A Description of Ancient Life

by L. W. Yaggy; T. L. Haines

One of the earliest makers was Taleides. Nearly fifty names of potters have been found, but they only occur on choice specimens of art. On many vases the name of the artist appears along with that of the potter, which much enhances the value of the vase. On the celebrated Francois vase appear the name of the artist Clitias, and the name of the potter Ergotimos. Some potters, such as Amasis and Euphronius, painted as well as made vases. Other inscriptions are sometimes found on vases which enhance their value greatly. They are generally the names of gods, heroes, and other mythological personages, which are represented in the paintings.

These inscriptions are of great interest for two reasons: in the first place, from the form of the letters and the order according to which they are traced, the greater or lesser antiquity of the vase can be recognized, these inscriptions necessarily following all the changes of the Greek alphabet; care must be taken to examine whether the inscription goes from right to left, whether the long vowels, the double letters are replaced by the silent vowels, or single letters; these are in general signs of relative antiquity which prove that of the vase itself; secondly, because the names invariably explain the subject of the painting, and even indicate by a name hitherto unknown, either some personage who sometimes bore another name, or a person whose real name was unknown, in fine, some mythic being of whom ancient writers give us no information.

The information derived from vases is of great importance for the study of Greek mythology viewed in its different epochs, and for the interpretation and understanding of ancient tragic or lyric poets. Moral or historical inscriptions, in prose and in verse, have also been found on vases. The letters of these inscriptions are capital or cursive; they are very delicately traced, and often require a great deal of attention to perceive. They are traced in black or white with a brush, sometimes they are incised with a very sharp point.

On some which had been gifts to some "beautiful youths," we find the inscription, "the handsome boy," and also the form, "the handsome Onetorides," "the handsome Stroibos." One youth is called "the most handsome Hippocritus." The names of females, whether brides, beauties, or hetairæ, are found accompanied with the expression, "the lovely Œnanthe," "the fair Rodon." On others, salutatory expressions are sometimes found, such as "Hail to thee;" "Happy as possible."

The subjects represented on painted vases, although of infinite variety, may be reduced to three classes, which include them all: 1. Mythological subjects; 2. Heroic subjects; 3. Historical subjects. The Mythological subjects relate to the history of all the gods, and their adventures in human form are reproduced on them in a thousand shapes. It requires a deep and intimate knowledge of Greek mythology, in order to explain the different subjects. One of the oldest and most popular subjects in Greece was the Gigantomachia, which is found represented as a whole upon many vases, while others contain individual incidents from it.

Among the Olympic deities represented, Zeus takes a prominent part. The father of the gods, the great thunderer, seldom appears alone, but is chiefly seen in scenes from the Heracleid and the Trojan war. On the black vases, and on those of the finest style with red figures, his amorous adventures are also frequently depicted. The goddess Hera rarely appears.

Athene, the great female deity of the Ionic race, plays an important part in many scenes. As Pallas Athene she frequently appears; generally on foot, but sometimes in her quadriga. Poseidon, the sea god, appears as a subordinate in many scenes, and as a protagonist in others. Apollo, Artemis, Hephæstos, Ares, Aphrodite, and Hermes, frequently appear in various scenes in the vases. The greater part of the paintings of the vases are relative to Dionysus, his festivals and mysteries. On them we see depicted his birth, childhood, education, all his exploits, his banquets, and his games; his habitual companions, his religious ceremonies, the lampadephori brandishing the long torches, the dendrophori raising branches of trees, adorned with garlands and tablets; the initiated preparing for the mysteries; lastly, the ceremonies peculiar to those great institutions, and the circumstances relative to their dogmas and their aim. The inferior deities also appear on the vases.

The Historical subjects begin with the war of Troy. Painters, as well as poets, found in this event a vast field to exercise their talents and their imagination. The principal actors in this memorable drama appear on the vases. The principal scenes of the Trojan war are depicted; but we must remark, that the historical subjects do not extend to a later period than that of the Heracleidæ.

Among the incidents represented are the opening scenes of the Iliad, the quarrel of Agamemnon and Achilles, Briseis led away by the heralds, Paris and Helen, the death of Patroclus, the grief of Achilles, the arming of Achilles, the death of Hector, Priam entreating for the corpse of Hector, the terrible scene of the last night of Troy. Many subjects from the Odyssey also occur. Incidents from the Greek drama are of common occurrence, such as the death of Agamemnon, Orestes and Pylades meeting Electra, the death of Clytemnestra, the Furies pursuing Orestes.