THE UNIVERSITY MUSEUM CATALOGUE OF THE MEDITERRANEAN SECTION PHILADELPHIA 1921 THE UNIVERSITY MUSEUM CATALOGUE OF THE MEDITERRANEAN SECTION PHILADELPHIA 1921 Digitized by the Internet Archive in 2015 https://archive.org/details/catalogueofmeditOOuniv CONTENTS PAGE List of Abbreviations 3 Introduction 5 Contents of the East Room 11 Objects from Prehistoric Crete 13 Pottery of the Minoan Periods 16 Potsherds from Crete, of Various Periods 25 Stone Vases from Crete 27 Miscellaneous Objects from Crete 31 Objects of the Minoan Period not on Exhibition... 36 Antiquities from Cyprus 39 Cypriote Sculpture and Pottery 39 Cypriote Terracottas and Bronze Objects 43 Greek Vases 50 Geometric and Corinthian Vases 50 Proto-Corinthian and Corinthian Vases 52 Corinthian and Italo-Corinthian Vases 54 Greek Vases from Chalcis, Ionia, and Attica 59 Fragments of Greek and Roman Pottery 63 Attic Blackfigured Vases, VI Century B. C 66 Attic Blackfigured and Redfigured Vases, and Vases from Southern Italy 76 Blackfigured and Redfigured Kylikes 88 Blackfigured and Redfigured Panel Amphor.e 95 Greek Vases in West Room 99 Greek Vases not on Exhibition 99 Pre-Hellenic and Local Apulian Vases 102 Lamps of Various Periods, Principally Roman 104 Roman Lamps not on Exhibition 109 Miscellaneous Greek, Etruscan, and Roman Objects. ... 112 Italic Antiquities — Principally Etruscan 114 Etruscan Bucchero Ware 114 Primitive Italic Pottery, Mostly Pre-Etruscan 118 Primitive Italic Bronze Objects and Jewelry 122 3 CONTENTS PAGE Primitive Italic Bronze Armor and Utensils 125 Primitive Italic and Etruscan Bronze Objects and J ewelry 126 Italic and Early Etruscan Pottery, VII-VI Cen- turies B. C 128 Etruscan and Italic Vases from Various Sites 131 Etruscan and Italic Bronze Objects and Ornaments 135 Etruscan and Roman Bronze Vases and Statuettes 137 Etruscan and Italic Objects of Minor Art 140 Early Etruscan and Italic Pottery 143 Etruscan Bronze Mirrors, and Other Ornaments ... 147 Etruscan Sepulchral Furniture, and Other Bronze Objects 150 Bronze and Ivory Utensils from Etruria 151 Archaic Etruscan Vases and Vase Supports, Chiefly from Naice 153 An Etruscan Sarcophagus 154 Etruscan Architectural Terracotta Ornaments 155 Greek and Italic Terracotta Figurines 162 Contents of the West Room 167 Greek and Roman Sculpture 169 Roman Mosaics 182 Greek, Etruscan and Roman Sculpture, at Present not on Exhibition 185 Reproductions of Frescoes 194 Reproduction of Creton and Mycenean Metal Work. . . . 197 Reproductions of Swords and Daggers from Mycenae AND OTHER SlTES 197 Reproductions of Metal Work, Principally from Mycenae 199 Reproductions of Creton Antiquities 203 Objects of Terracotta and Bronze 206 Greek, Etruscan, and Roman Jewelry and Gems 208 Roman Necklaces from Palestine 212 Ancient Bronze Helmets 213 Etruscan Bronze Vases and Utensils 214 The John Thompson Morris Collection of Ancient Glass 217 4 LIST OF ABBREVIATIONS USED IN THIS CATALOGUE. A.J.A.: American Journal of Archaeology, 1886-96 (1st series), 1897- (2d series). C.I.L.: Corpus Inscriptionum Latinarum. Dussaud, Civilizations Prehell eniques: Rene Dussaud: Les Civili- zations Prehelleniques dans le Bassin de la Mer Egee. 2d edition. Paris, 1914. J.H.S.: Journal of Hellenic Studies. London, 1880-. Klein, Meistersignaturen ; W. Klein, Die griechischen Vasen mit Meistersignaturen. 2d edition. Vienna, 1887. Sitzungsberichte der Akademie zu Munchen; Sitzungsberichte der philosophisch-philologischen, und der historischen Klasse der K. B. Akademie der Wissenschaften zu Munchen. Munich, annually. INTRODUCTION This catalogue aims to give information to students not only in Philadelphia, but especially to those who are unable to see the col- lections, as to what objects of Classical Art are to be found in the University Museum. The arrangement of the Catalogue is to take the objects of each kind separately, and catalogue them. In this, their arrangement in the Section has been adhered to, so that a student may find in this catalogue a practical gallery handbook as well, in which he will find all the objects in any given case described together. For a brief account of the Section see the Museum Journal for June, 1920 (Vol. XI, No. 2). The collections of the Mediterranean Section are to be found on the second floor of the Museum, in the rooms directly to the left and right of the main staircase. These will be spoken of as the East and West Rooms respectively. In the East Room are to be found the collections from Crete, the results of four expeditions sent out by the Museum to explore and unearth the ancient Minoan civilization, the discovery of which is the principal event in Classical archaeology in the twentieth cen- tury. In the work done for the Museum at Gournia, Vasiliki, and other sites, the Museum has helped to enlarge this discovery and at the same time it has enriched its collections in Minoan archaeology. In this room will also be found the large and important Etrus- can collection. The objects in this collection were acquired as the result of excavations in Etruria, particularly at Narce and Vulci, conducted in behalf of the Museum. The tomb groups exhibited here are extremely instructive to the student of Etruscan antiquities. The exhibits in this room include also the collection of Greek vases, containing examples of nearly all the important techniques, and some unique specimens; a small collection of antiquities from Cyprus, which gives a good idea of the peculiar art and culture of that out of the way island ; a good collection of Roman lamps ; and some terracotta figurines. In the center of the room, three Attic grave stelae are displayed, of which the example facing the entrance is of especial excellence. 7 THE UNIVERSITY MUSEUM The West Room contains the rest of the collection of Greek and Roman sculpture. This includes several fine pieces, showing particularly the skill of the Romans in portraiture. Next in impor- tance is the large collection of Roman glass, most of which was found in the Holy Land. Here also are included a small collection of necklaces of glass beads, and beads of semiprecious stones. Further on is a small case full of Greek, Etruscan and Roman gold objects and jewelry. Other things to be seen here are the large collection of reproductions of fresco paintings, gold cups, swords, and vases of Minoan and Mycenaean times, and cases of terracotta figurines, bronze helmets, and miscellaneous bronze articles. The John Thompson Morris Collection of Coins and Medals, which is also in this room, will not be catalogued here, as it is of a size and importance meriting a separate publication. As is usual in all museums, numbers of objects have had to be withdrawn from exhibition, which by rights deserve description. In all cases the most important of these objects have been described under the headings in which they belong. The John Wanamaker collection of reproductions from Herculaneum and Pompeii, most of which has been retired from exhibition to make room for originals, will not be described here, but it is hoped that a catalogue of this collection will be made for the use of students. Most of the collections that were not acquired by expeditions in the field have been obtained either by purchase or by gift. The purchases have in each case been made through money subscribed by friends of the Museum; while the money to support the expedi- tions to Crete and Italy was raised in the same way. Especial mention should be made of the following persons, who, by their generosity, have enriched the collections: Mrs. Lucy Wharton Drexel, who, during her lifetime, presented the Museum with the bulk of its examples of Greek and Roman Sculpture; Miss Lydia T. Morris, who donated to the Museum the John Thompson Morris Collection of Coins and Medals, and of Roman Glass; Mr. John Wanamaker, through whose interest the Museum obtained the reproductions of objects from Pompeii and Herculaneum, and a large number of the Greek vases and Greek, Etruscan, and Roman jewelry; Mrs. Phoebe A. Hearst, who, with Mr. Wanamaker, financed the expedition that procured the Etruscan collections, and who gave the bulk of the collection of jewelry; Mrs. Dillwyn Parrish, who presented the collection of Roman mosaics, and a collection of 8 MEDITERRANEAN SECTION Greek and Roman pottery; and Mr. and Mrs. Samuel F. Houston, Mr. Calvin Wells, and Mr. Charles H. Cramp, who subscribed to the Cretan expeditions. The reproductions of Cretan and Mycenaean antiquities have for the most part been acquired through the Lucy Wharton Drexel Fund for Casts, though some of the copies of the cups and gold objects from Mycenae were given by Mr. C. Hartman Kuhn. Since these pages went to press the fine Cypriote head has been received frcm Mr. John Cadwalader. To Mrs. Charles Platt, Mrs. William Pepper, Dr. Charles C. Harrison, Mrs. E. W. Lehman, Mrs. John Harrison, and other generous patrons the Museum is indebted for everything included in this catalogue, and the thanks of the Museum are due to them all. The writer owes a personal debt to the following friends and colleagues, who have given him much advice and assistance in the preparation of this catalogue: to Dr. G. B. Cordon, the Director of the Museum, and to the other members of the staff; to his colleagues at the University of Pennsylvania, Professors J. C. Rolfe, Walton Brooks McDaniel, W. N. Bates, H. Lamar Crosby, and W. W. Hyde; and especially to Mr. Leicester Bodine Holland, formerly of the University of Pennsylvania, and now of the American School of Classical Studies at Athens, with whom he studied the Etruscan architectural terracottas. He cannot let this catalogue go out of his hands without testifying to his eternal debt to his teacher and dear friend, Professor George H. Chase of Harvard University, who has never refused him advice and counsel, when such help was most needed. Others to whom he wishes at this time to extend his most hearty thanks are Dr. Arthur Fairbanks and Dr. Lacey D. Caskey of the Museum of Fine Arts in Boston; Miss Gisela M. A. Richter of the Metropolitan Museum in New York; Professor David M. Robinson of the Johns Hopkins L T niversity in Baltimore; Dr. Joseph Clark Hoppin; Miss Mary Hamilton Swindler of Bryn Mawr College; Mr. and Mrs. A. W. Van Buren of the American Academy in Rome; and Dr. C. W. Blegen of the American School of Classical Studies at Athens, who discussed the Minoan pottery with him during his last visit to America. But the two to whom he owes the most are his predecessor, Mrs. Joseph M. Dohan (Miss Edith Hall), collaborator in the campaigns at Gournia, and the successful excavator of Viokastro in Crete, from whom he has never failed to get valuable help and counsel, and Miss Eleanor F. Rambo of the American School of Classical Studies at Athens, who, during THE UNIVERSITY MUSEUM the writer’s service in the United States Navy during the late war, took his place at the Museum and at that time accomplished much that has made it possible to produce this book. To these and to other friends, who have helped him, he sends thanks and greetings. Stephen Bleecker Luce. Assistant Curator, Mediterranean Section, University Museum, Philadelphia. July, I Q20 . 10 CONTENTS OF THE EAST ROOM. Objects From Prehistoric Crete .. Cases I-IV. Antiquities From Cyprus Cases V and VII. Greek Vases: Geometric Corinthian Chalcidian Ionian Italo-Ionian Attic blackfigured . . Attic redfigured. . . White ground vases South Italian Case X, and in West Room. Cases VI, X, and XI. Cases VIII and XIII. Case VIII. Case XIII. Cases VIII, IX, XII, XIII, XV, and XXXV. Cases VIII, IX, XIII, XV, and XXXV. Case XIII. Case XIII. Roman Lamps Case XIV. Etruscan Antiquities: Pottery Cases XVII, XVIII, XXII. XXIII, XXIX, and XXXVI. Bronze objects Cases XIX-XXI, XXIV- XXVI, XXXI-XXXIII. Architectural terracottas Cases XVI, XXX, and XXXIV. Greek and South Italian Terra- cotta Figurines Cases XXVII and XXVIII. Attic Grave Stel.e In center of room. OBJECTS FROM PREHISTORIC CRETE Cases I-IV. One of the most romantic events in the history of scientific achievement is the discovery by British, Italian, and American archaeologists of the civilization of the Minoan periods in Crete. Scholars were prepared to find in Crete objects similar to those found by Schliemann at Mycenae; they were not, however, prepared for the discovery that was forced upon them by the results of the exca- vations — that Crete possessed a civilization greatly superior to that of Mycenae, and from which Mycenae drew its inspiration. In the West Room are reproductions of frescoes and famous vases and objects of stone, terracotta, and faience from Minoan sites, and of gold objects from the mainland of Greece. But, after all, these are merely reproductions; the four cases now to be examined contain original objects found on Cretan sites. The University Museum has been one of the pioneers in the exploration of Crete, by its expeditions to Gournia, Vasiliki, and Vrokastro, sites on the eastern end of the island, and to the island of Pseira, off the east coast, and has drawn most of its collection from the excavation of these sites. The results of these campaigns have been published or sum- marized in the following places. Gournia, Vasiliki, and other Prehistoric Sites cn the Isthmus of Hierapetra, Crete. Excavations of the Wells-Houstcn-Cramp Expeditions, 1901, 1903, 1904. By Harriet Boyd Hawes, Blanche E. Williams, Richard B. Seager, Edith H. Hall, Phila- delphia, 1908. Excavations on the Island of Pseira, Crete. By Richard B. Seager. Philadelphia, University Museum, 1910. (University Museum, Anthropological Publications, Vol. Ill, No. 1.) Excavations in Eastern Crete: Sphoungaras. By Edith H. Hall. Philadelphia, University Museum, 1912. (University Museum Anthropological Publications, Vol. Ill, No. 2.) Excavations in Eastern Crete: Vrokastro. By Edith H. Hall. Philadelphia, University Museum, 1914. (University Museum Anthropological Publications, Vol. Ill, No. 3.) 13 THE UNIVERSITY MUSEUM The Cemetery of Pachyammos, Crete. By Richard B. Seager. Philadelphia, University Museum, 1916. (University Museum Anthropological Publications, Vol. VII, No. 1.) The following periodicals also contain important articles on these campaigns. In the Transactions of the Department of Archaeology, Uni- versity of Pennsylvania. (The University Museum.) Vol. I, Parts I and II, 1904. Gournia, by Harriet A. Boyd. Pp. 1-44. Vol. I, Part III, 1905. Gournia, by Harriet A. Boyd. Pp. 177-191. Early Painted Pottery from Gournia, by Edith H. Hall. Pp. 191-205. Excavations at Vasiliki, 1904, by Richard B. Seager. Pp. 207-220. Vol. II, Part I, 1906. The Decorative Art of Crete in the Bronze Age, by Edith H. Hall. Pp. 5-49. Vol. II, Part II, 1907. Excavations at Vasiliki, 1906, by Richard B. Seager. Pp. 111-132. In the Museum Journal Vol. I, 1910, pp. 7 and 39. Vol. Ill, 1912, pp. 39-44. (By E. H. Hall.) Vol. V, 1914, p. 47. Vol. VIII, 1917, p. 86. In the American Journal of Archaeology. Vol. V, 1901, pp. 14-15, 125-157, and Pis. I-V. (By Harriet A. Boyd.) Vol. VI, 1902, pp. 48, 71. Vol. VIII, 1904, p. 359. Vol. IX, 1905, pp. 77, 110, 352-353, 471. Vol. X, 1906, p. 344. Vol. XI, 1907, pp. 219, 349. Vol. XIII, 1909, p. 78. Vol. XV, 1911, pp. 73-74, 89, 91-92. Vol. XVI, 1912, p. 571. Vol. XVII, 1913, pp. 91-92, 550. Vol. XVIII, 1914, p. 525. Vol. XXI, 1917, pp. 458-459. 14 MEDITERRANEAN SECTION In Art and Archaeology. Vol. I, 1914, pp. 33-36. (By Edith H. Hall.) The following books should also be consulted, for information relative to these campaigns, and for expeditions, not under the auspices of the Museum, from which objects have found their way into its collections, either through purchase or exchange. Books on Crete, and its archaeology. C. H. & H. B. Hawes; Crete, the Forerunner of Greece. This is the best small book on Minoan archaeology. Chapter VI is devoted to Gournia, and Chapter VII describes Vasiliki, Pseira, and Vrokastro. 2d edition, 1911. James Baikie; The Sea Kings of Crete. Popular treatise, copiously illustrated. For Gournia, see especially pp. 129-132. 1910. Angelo Mosso; The Palaces of Crete and their Builders. Deals principally with the Italian excavations, but see pp. 252-253, and 265. 1907. Angelo Mosso; The Dawn of the Mediterranean Civilization. Deals principally with the Italian excavations, but see pp. 113, 141, 289, 292, 316. 1910. R. M. Burrows; The Discoveries in Crete, and their Bearing on the History of Ancient Civilization. See especially pp. 24, 26- 27, 49, 57, 106, 111, 113, 138, 152, 181. 2d edition, 1908. Rene Dussaud; Les Civilisations Prehelleniques dans le Bassin de la Mer Egee. 2d edition, 1914. See chapters I, VII and VIII, passim. Donald A. Mackenzie; Myths of Crete and Prehellenic Europe. Passim, especially pp. 254-267. 1917. H.R. Hall; ^Egean Archaeology. This is the leading book in English on this field. References to the expeditions of the Museum will be found all through the book. 1918. G. Maraghiannis; Antiquites Cretoises. Vol. I, Pis. XXXVI- XXXIX; Vol. II, Pis. XIV-XXXIII. 1907 and later. Text by L. Pernier and G. Karo. Books and articles on other expeditions, objects from which will be found in the collection. Richard B. Seager; Explorations in the Island of Mochlos. Pub- lished by the American School of Classical Studies at Athens, 1912. THE UNIVERSITY MUSEUM In the American Journal of Archaeology. Vol. XIII, 1909, pp. 273-303, Pis. VI-VIII. (On Mochlos, by Seager.) Vol. XVI, 1912, p. 278. POTTERY OF THE MI NO AN PERIODS. Case I. Three periods of Minoan culture are usually recognized by archaeologists — the Early, Middle, and Late. Each of these periods is again subdivided into three subperiods, the First, Second and Third. Thus we are really dealing with nine Minoan periods, beginning with the First Early Minoan (usually abbreviated to E. M. I.) and ending with the Third Late Minoan (called L. M. III). The dates of these periods are usually reckoned as follows. E. M. 1 2800-2600 B. C. E. M. II 2600-2400 B. C. E. M. Ill 2400-2200 B. C. M. M. 1 2200-2100 B. C. M. M. II 2100-1900 B. C. M. M. Ill 1900-1700 B. C. L. M. 1 1700-1500 B. C. L. M. II 1500-1450 B. C. L. M. Ill 1450-1200 B. C. The period of Mycenae begins at this time, and this culture lasts in the mainland of Greece until about 1000 B. C. The first and second Late Minoan periods (1700-1450 B. C.) form the great age of Crete. It is to this epoch that the finest pro- ducts of the ceramic art of the Minoans belong. Not only was the pottery at its most perfect stage, but in painting the acme of excel- lence was obtained at this time. Knossos is the great site of this period, with its magnificent frescoes, reproductions of which are on view in the West Room, and the large and beautiful palace style vases. Gournia and Pseira, however, are also especially noteworthy in this connection, as the ruins of the towns discovered on these sites are dated in the First Late Minoan Period. In this case are a few examples of the pottery found there. These specimens show the fertility of conception and design of the Late Minoan 16 MEDITERRANEAN SECTION vase painters; and many of these vases are of striking beauty. It is, then, at this period that the art of the Minoans reaches its highest stage of development. This great age, however, comes to a very sudden and abrupt termination at a date usually given as about 1450 B. C. At this time, apparently, the whole of Crete suffered some great catastrophe, probably invasion and conquest at the hands of people from the mainland of Greece. Knossos, Pseira, and Gournia were all destroyed. About a generation afterwards, Knossos and Gournia were reoccupied, and life was resumed; but the pottery produced was distinctly inferior in conception, form, and decoration. This is what is called the Third Late Minoan period, and lasts till about 1200 B. C. Examples of this pottery are in this case, and can be compared with the finer examples of the earlier period. About 1000 B. C., iron is introduced, and the Homeric age, which is the age in which, and not the age about which, the Homeric poems were written, begins. In Crete, this is marked by a still further deterioration of artistic feeling, and by the presence of geometric pottery. Vrokastro, in Eastern Crete, excavated by an expedition sent out by this Museum, is one of the principal sites of this period. Case I. Nos. 1-12 are vases of the Second Early Minoan Period (E. M' II). By far the commonest pottery of this period, characteristic of it, and which is at once thought of in connection with it, is the so called Vasiliki ware, named for the place where it was first found, and which has yielded the greatest number of specimens. This is a curious mottled red and black pottery, which, early as it is, is nevertheless wheelmade, showing that the Minoan potters were familiar with the wheel as early as 2500 B. C. No. 1. Group of three bowls of Vasiliki ware. No. 2. Two small pitchers, with beaked spouts, called ordinarily schnabelkannen, and a bowl of the same ware. No. 3. A very typical form in the Vasiliki technique; a low jug, on a foot, open at the top, and with an enormous beaked spout at one side. No. 4. Group of three egg cup shaped vases of Vasiliki ware. No. 5. Two bowls of the same period, of plain red ware. 17 THE UNIVERSITY MUSEUM No. 6. A medium sized schnabelkanne or beaked pitcher, of Vasiliki ware. No. 7. A group composed of a Vasiliki egg cup, and a small jug, of the same period, from a site called Priniatiko Pyrgo, in Eastern Crete. This jug has decorations in red on a buff ground. No. 8. Two bowls of Vasiliki ware. No. 9. A small jar of the same ware. No. 10. A small cup, with what is known as a bridge spout of the same ware. No. 11. A vase of stone, with incised decoration, from Gournia, of the Second Early Alinoan period. No. 12. A cup of grey ware of the same period, from Sphoungaras, a site in Eastern Crete, explored by the University Museum’s Cretan expedition. This shape, with its high handle, persists in Classical times, when it is called a kyathos. Nos. 13-25 are vases of the Third Early and First Middle Minoan periods (2400-2100 B. C.), with the exception of No. 14, which is of the Second Early Minoan period. It is now believed by specialists in Cretan archaeology that these two periods are not really distinct, but should be merged together. We have in the epoch vases with geometric designs in dark color on a light ground, and the reverse process; but in each case the designs show' the same tendency. No. 13. A group of four bowls with light patterns on a dark ground, from Vasiliki. No. 14. Plate of the Second Early Minoan period, of red pottery, approximating the Vasiliki ware. No. 16. A cup of the Third Early Minoan period, found on the Island of Pseira. The graceful decoration, of lines and dots, is one of the arguments for merging this period with the next, or First Middle Minoan. No. 1 7. A small cup from Vasiliki, of lustrous buff clay, with designs in dark wash. No. 18. A cup with a handle, also from Vasiliki, of the same period. The decoration is in white on a dark background. No. 19. A small cup of Vasiliki ware with a broad white stripe at the top. 18 MEDITERRANEAN SECTION No. 20. A jug of a characteristic First Middle Minoan type, with dark designs on a light ground, found at Pseira. No. 21. A pair of pitchers from Vasiliki. The decoration, which is identical on the two vases, is in red and white on a black ground. The principal design is of a frieze of fish, which runs around the middle of the vase. No. 22. A pair of lids of the same period from Pseira. The decora- tion is of dark lines laid directly on the clay, no slip being employed. No. 23. A pitcher, with much the same decoration as the above, from Gournia. No. 24. A lid from Pseira, of buff clay, with a dark wash, and a decoration of white lines. No. 25. A pitcher, with designs like those of No. 23, but in much better preservation, from Pseira. Nos. 33-46 are for the most part vases of the First Middle Minoan period, the exceptions being No. 35, which is of the Second Middle Minoan age; No. 39, which is of the Third Early Minoan period, and Nos. 41 and 43, which are of the Third Middle Minoan period. No. 33. A curious jug, with a side spout, of coarse red clay, found at Pseira. No. 34. Four small pitchers of buff clay, three from Sphoungaras, and one from Gournia. No. 35. These fragments, which have red and white designs on a black ground, mark the best work of the potters of the Second Middle Minoan period, and this ware is known to students, from the place where it was first found, as Kamares ware. No. 36. A small pot of undecorated grey ware, from Priniatiko Pyrgo. No. 37. A tumbler shaped cup from Priniatiko Pyrgo, with a striped decoration of black and buff. No. 38. A small jug, with a side spout, of polished grey ware, from Gournia. No. 39. A cup, of the Third Early Minoan period, from Pseira, with white designs on a dark ground, which has become red from overfiring. 19 THE UNIVERSITY MUSEUM No. 40. No. 41. No. 42. No. 43. No. 44. No. 45. No. 46. No. 47. A pair of cups, one from Gournia, the other from the first settlement of Vrokastro, both of buff clay, with a dark band at the top. A cup of the Third Middle Minoan period, in the shape of a tumbler, found at Gournia, with a design of running spirals in white on a dark ground. A cup, with a handle, from Sphoungaras, of undecorated grey ware. A pair of bowls, of the Third Middle Minoan period, with a decoration of running spirals in white on a dark ground. One is from Gournia, the other from Priniatiko Pyrgo. A pair of cups like the pair, No. 40. Both were found at Sphoungaras. A cup with linear decoration in red on a buff ground, from Vasiliki. A cup of buff clay, covered with a dark wash, from Pseira. A group of eleven toy vases, of the First Late Minoan period (1700-1500 B. C.). A very remarkable and unusual collection. Nos. 48-60 and 170-211 are vases of the First and Third Late Minoan periods. This period marks the height of the history of the ceramic art in Crete. The designs painted on vases by the Minoan potters of this epoch represent a technical skill and artistic feeling not to be surpassed. No. 48. A pitcher of reddish clay, with a light slip, and decoration in black, from Pseira. No. 49. Two small jugs, found at Pseira, one with dots in red, and one with a scale pattern in black. No. 50. A flask from Pseira, with three small handles on the shoul- ders, and with decorations, in black. No. 51. A shallow dish, with a long beaked side spout, found at Gournia. This vase, though perhaps of the First, is more probably of the Third Late Minoan period. No. 52. A small jar, found at Pseira. It was made with a handle, which has been broken off. It is decorated with a design of foliage. No. 55. A large twohandled cooking pot, on three high legs. The pot is of coarse red clay, and the rim is pinched to form a 20 MEDITERRANEAN SECTION spout. It was found at Gournia, and belongs in the First Late Minoan period. No. 60. A large brazier, or fire box, of coarse red clay, with a flaring rim and a high handle. This also is dated in the First Late Minoan Period, and was found at Gournia. No. 170. A small onehandled cup of buff clay, with a design of running spirals in black, and black bands around the body. Mended and restored. First Late Minoan period. From Priniatiko Pyrgo. No. 171. A onehandled cup on a high foot, put together from many fragments and of which much is missing. It is of buff clay, and is decorated with brown bands and a row of double axes. The double axe had a very definite religious significance among the Minoans. First Late Minoan period. From Gournia. No. 172. A bowl, much restored, and decorated both outside and in the interior. On the outside is a series of vertical black lines, wide at the top, and narrowing at the bottom, called a ripple. Inside is a wave pattern. Same period. From Priniatiko Pyrgo. No. 173. A small jar, in perfect preservation, of buff clay, with three small handles at the neck. The decoration of octopuses is very naturalistic and beautiful; below is a series of bands. Same period. From Pseira. No. 174. A large pitcher, put together from fragments, some of which are missing. Buff clay with designs of bands, whorls, and crescents in black. Same period. From Pseira. No. 175. A cup without handles, with a ripple pattern like No. 172, of the same period, and from the same site as that specimen. No. 176. Two cups, decorated with white bands and running spirals on a dark ground. Both are put together from fragments and restored. Same period. One is from Gournia, the other from Pseira. No. 177. A large vase, of a shape peculiar to the Minoan civiliza- tion, often called a stirrup jar, or a falsenecked amphora, but more commonly by the German term bugelkanne. Put together from many fragments; much is missing. When complete, two handles joined the false neck, which was closed, while the true mouth of 21 THE UNIVERSITY MUSEUM the vase was on the shoulder at one side. This specimen is of buff clay, with a very naturalistic plant decoration on the shoulder, and bands and zigzags on the body. Same period. Found on the island of Mochlos, off Eastern Crete, but probably made at Gournia. No. 178. Sidespouted jar, in perfect preservation. It has two horizontal side handles, and a vertical rear handle. Buff clay, with decorations of bands. Same period. From Pseira. No. 179. A cup of buff clay, with a decoration of black bands and crescents. Put together from fragments, and part missing. Same period. From Pseira. No. 180. A pitcher, in almost complete preservation, of buff clay, with a decoration of bands and running spirals in black, to which white overcolor has been added. Same period. From Pseira. No. 181. A very small pot, put together from fragments, with a decoration of bands and a garland of leaves running around the body. Same period. From Gournia. No. 182. This is perhaps the finest original Cretan vase in the collection, and shows to what heights the Minoan ceramic art attained. It is a bottle shaped vase, with a narrow mouth and one handle, with a finely conceived design of dolphins swimming in front of a mass of seaweed. In the bottom is a hole, made by intention, showing that it was a form of strainer for wine. Same period. From Pseira. No. 183. A very small cup, much restored, decorated with a most naturalistic plant pattern. Same period. From Pseira. No. 184. A small jug of buff clay, with a beaked spout, decorated with bands and dots. Same period. From Pseira. No. 185. A large cup, or bowl, without handles, of the usual buff clay, decorated with bands and a leaf pattern. Same period. From Pseira. Much restored. No. 186. A cup of buff clay with one ordinary handle and one lug handle. The rim has been pinched to form a spout at one side. It is put together from fragments and the missing parts are restored. Around the rim is a heavy band of black, on which is a design of running spirals in white. 22 MEDITERRANEAN SECTION Below the ordinary handle are two bands of brown. Same period. From Pseira. No. 187. A cup of very thin clay, mended, about half missing, and restored. The decoration is of bands and a leaf pattern in brown. On the bands narrow white stripes have been added. Same period. From Pseira. No. 188. A side spouted jar, put together from fragments, with only one handle missing. The decoration is of bands and a leaf pattern. Same period. From Pseira. No. 189. This vase, with No. 182, ranks as one of the most beautiful examples of Cretan pottery in the collection. It is of interest not only for its designs but for its shape. It will be seen that it is one of those funnel shaped vases such as are depicted in the cup bearer fresco, and in the reproduction of the boxer vase. The decoration of spirals is particularly characteristic; but other typical patterns occur, such as bands, rows of dots, and a leaf pattern. Same period. From Gournia. No. 190. A group of two small cups, put together from fragments, of the usual buff clay, and with the usual decorations of dots, leaf pattern, and spirals. Same period. From Pseira. No. 191. A bowl of buff clay, with the rim pinched to form a spout, and two side handles. Put together from fragments, and the missing parts restored. The decoration consists of heavy black bands around the body. Same period. From Pseira. No. 194. A large, cylindrical jar without handles, of buff clay, and originally furnished with a lid. For decoration, it has conventional wave, checkerboard, and scale patterns in panels. This comes from Gournia, and was made at the time of the reoccupation of the city, in the Third Late Minoan Period. No. 195. Five characteristic pots of the Third Late Minoan period, coming for the most part from Gournia. These are of the shape called stirrup jars, or falsenecked amphorae, and vases of this form constitute the principal finds of this period, as far as pottery is concerned. For an example of this shape in the First Late Minoan period, see No. 177 in this case, and also the reproduction of the octopus 23 THE UNIVERSITY MUSEUM vase in the West room, Alcove C, Case IV, No. 13. We should observe that the naturalism to be found in such vases as the octopus vase, or in No. 182 in this case, has degenerated into very conventional patterns. No. 196. A fine, large, falsenecked amphora, in almost perfect preservation, the only lost part being a piece chipped off the rim of the mouth. It is tall, with a wide shoulder, tapering to a small foot, and is decorated with a series of broad red stripes. This is also of the Third Late Minoan period. From Gournia. No. 197. A pair of small pitchers from Gournia, of the same period, with conventional decoration. No. 204. A large water flask of the Post Minoan period, from Vrokastro. It is decorated with concentric circles and zigzags. Put together from fragments and the missing parts restored. The visitor’s attention should now be turned to three vases that are exhibited on top of Case I. No. 205. A fine large jar of the First Late Minoan period, with four handles at the shoulder, and beautiful designs of spirals, lobes and plant decoration, from Gournia. Put together from fragments, and the missing parts restored. No. 206. A large amphora of the Cretan geometric period, with side handles, and a decoration in panels in the center, of spirals, and other conventional ornaments. Found at a site in Crete called Kalo Khorio, and put together from fragments with the missing parts restored. No. 207. A small pithos, or jar, with three handles on the shoulder, and of coarse clay with a trickle ornament. Found at Gournia, and put together from fragments. Third Middle Minoan period (1900-1700 B. C.). Three other vases of equal importance will be found on top of Case III. No. 208. A large side spouted jar, with spirals, a band of leaves, and a ripple pattern. Put together from fragments, and the greater part restored. Found on the Island of Mochlos, off Eastern Crete. First Late Minoan period (1700- 1500 B. C.). 24 MEDITERRANEAN SECTION No. 209. A small pithos, put together from fragments, and nearly complete, decorated with lobes, bands and plant patterns. Same period and from the same site as No. 208. No. 210. A large krater, or bowl, of buff clay, with a debased octopus pattern. Third Late Minoan period (1450-1200 B. C.). From Gournia. Finally, in the first of the center alcoves to the left will be found— No. 211. A large jar, or pithos, of coarse clay. This is of the First Late Minoan period, and comes from Gournia. This pithos was used for the storage of grain, or oil, and is one of a large number of such objects that have been found in Cretan palaces. Hundreds of them were found at Knos- sos, arranged in galleries opening out into a longer gallery, and these galleries constituted the store rooms of the palace. And so at Gournia a large number were found similarly arranged. POTSHERDS FROM CRETE, OF VARIOUS PERIODS. Case II. Besides containing a representative collection of sherds that trace the history of the decorative art of Minoan times, this case also contains examples of loom weights, spindle whorls, beads, and the like, and a group of neolithic sherds from Thessaly, examples of the oldest civilization on the mainland of Greece. No. 67. A crude roller, of white limestone, and a saddle quern, or hand mill, of trachyte, used together to grind corn and other grain. This is a primitive method to find employed by a people in other respects so highly civilized. No. 68. Piece of a terracotta street drain from Gournia, at the height of the town’s prosperity in the First Late Minoan period (1700-1500 B. C.). No. 69. A stone corn rubber, or mortar, of the same period, or earlier, from Gournia. No. 70. A terracotta polisher, from Sphoungaras, and a whetstone from Gournia, of the same period. No. 71. A pair of loom weights, of red clay, and spherical, with a hole through the center. 25 THE UNIVERSITY MUSEUM No. 72. No. 73. No. 74. No. 75. No. 76. No. 77. No. 78. No. 79. No. 80. No. 81. No. 82. No. 83. No. 84. No. 85. No. 86. No. 87. No. 88. No. 89. No. 90. A pair of the same, but flat and circular. A pair of the same, but cubic. All these examples are from Gournia. A pair of stone weights from Gournia. Three sherds of Neolithic, pre-Minoan pottery of Crete, dating at about 3000 B. C., and found at Sphoungaras. A series of twelve potsherds of Vasiliki ware. A fragment of a large jar of the Third Early Minoan period, from Vasiliki, with white decorations on a red ground. A series of fifteen sherds of the same period, from Gournia. Fragment of a lid, like those under the number 22, from Gournia. First Middle Minoan period. A group of eight sherds of the same period (First Middle Minoan), from Gournia. Three sherds of the Third Middle Minoan period, also from Gournia. Part of the lid of a pithos, or large jar, of the First Late Minoan period, put together from three fragments. Found at Gournia. A collection of seventeen sherds, mostly from Gournia, of the First Late Minoan period, the acme of the Cretan ceramic art. A fragmentary bowl of the same period, also from Gournia. A sherd from Gournia, of the Third Late Minoan period (1450-1200 B. C.). Two fragments from iron saws, of the Cretan geometric period. The Minoan civilization was a purely Bronze Age culture, and was followed by an Early Iron Age with geometric pottery. These fragments were found at the Cretan geometric settlement of Vrokastro, and are prob- ably in the period centering at about 1000 B. C. Four clay spindle whorls, and one of shell, from Gournia, dating in the First Late Minoan period. A glass bead, with beautiful iridescence, probably an importation from Egypt, and found at Vrokastro. It is of later date than the Late Minoan culture. Four stone spindle whorls, and two other implements of stone, from Gournia. A collection of twelve potsherds from two prehistoric sites in Thessaly, now called Dimini and Sesklo. These sherds 26 MEDITERRANEAN SECTION belong to a Late Stone Age culture, perhaps contempora- neous with the First Early Minoan period in Crete. They show a great decorative sense on the part of these primi- tive peoples. STONE VASES FROM CRETE. Case III. The Minoans were not only expert potters, but also possessed great technical skill in the working of stone. In the West Room are reproductions of the three most famous stone vases that have been found— the socalled harvester, chieftain, and boxer vases, ornamented with designs in relief. The vases exhibited in this case are of humbler origin, but show the great sense of form possessed by these early craftsmen. It is a curious fact that as the Minoans became increasingly familiar with the manufacture of pottery, they lost the art, little by little, of carving vases in stone. The finest stone vases date in the Early Minoan period, and were found on an island called Mo- chlos, off the north coast of Eastern Crete, in excavations conducted by Mr. Richard B. Seager for the American School of Classical Studies at Athens. The Museum is fortunate in having one or two of these specimens in its collection, as well as examples from all the sites excavated by its own expeditions. The collection here shown represents examples of every period; and it will be noticed how much finer, as a rule, the earlier specimens are than those which succeed them. The material most commonly used is a kind of soapstone called steatite; but a soft veined marble is also employed, as well as alabaster. No. 29. This object, from Gournia, is known, for want of a better term, as a pair of horns of consecration. The purpose is unknown, but it seems to have had some religious significance. For a discussion, and a new interpretation of the meaning of these objects, see Holland, A. J. A., XXI, 1917, pp. 129-135, and 417-419. He considers them to be seats of honor for the gods. 27 THE UNIVERSITY MUSEUM No. 62. A clay lamp, on a very high, hollow foot, broken and mended. Buff clay, with traces of a red slip. Found at Gournia. First Late Minoan period. No. 91. A very small cup of veined marble, broken and mended. This little vase comes from Mochlos, and is of the Second Early Minoan period, ca. 2500 B. C. No. 92. A small steatite bowl, from Pseira. It is dated in the Middle Minoan period (ca. 2000 B. C.), because of other objects found with it. No. 93. A small steatite jar, with a cover. It has been mended, and comes from Pseira, and dates in the Middle Minoan period. It is decorated with incised lines. No. 94. A small basin shaped bowl, of veined marble, much restored. It was made in the Second Early Minoan period, about 2500 B. C. No. 95. A cup of alabaster, on a stem, shaped something like a claret glass, found at Pseira, and dated either in the end of the Middle Minoan, or the First Late Minoan periods (2000-1500 B. C.). No. 96. An alabaster jar of the First Minoan period, from Gournia. It is much restored, but the shape is correctly rendered. Near the rim are two horizontal handles. No. 97. This is one of the most pleasing specimens in the collection. The outer surface is chiseled to represent sheathing leaves, with strong midribs. It is called a blossom bowl, and is a peculiarly Cretan type of vase, of the First Late Minoan period. This example was found at Gournia and is of steatite. No. 98. An alabaster jug, of the Second Early Minoan period, restored. Notice the skill shown in working the alabaster, and the almost egg shell thinness of the walls of the vase. No. 99. A small steatite jug and cover from Gournia. Besides the back handle, there are two small lug handles at the sides. This vase, which is of the First Late Minoan period, should be compared with No. 98, showing how the art of making vases out of stone deteriorated, as the skill of the potter increased. No. 100. A small double vase of steatite, with incised decoration, from Vasiliki, belonging in the Second Early Minoan period, the era of the Vasiliki ware. 28 MEDITERRANEAN SECTION No. 101. No. 102. No. 103. No. 104. No. 105. No. 106. No. 107. No. 108. No. 109. No. 110. No. 111. No. 112. No. 113. No. 114. No. 115. No. 116. A tiny marble dish, of exquisite workmanship, with a side spout. This little vase comes from Mochlos, and is of the Second Early Minoan period. A tiny vase with a side handle, of green steatite, of the same period, from Sphoungaras. A very small steatite bowl from Gournia. First Late Minoan period. A marble bowl from Pseira, of the Third Late Minoan period (1450-1200 B. C.). This shape with very thick walls, and very small interior, is peculiar to this period. A basin like bowl, with two lug handles, found at Pseira, but of the Second Early Minoan period (ca. 2500 B. C.). A steatite bowl, from Gournia, with a horizontal ribbed decoration on the shoulder. First Late Minoan period. A blossom bowl like No. 97, and of the same period, but larger. Found at Pseira. A steatite cup, also from Pseira, of the Middle Minoan period (ca. 2000 B. C.). A wide bowl, or drinking cup. with two lug handles, of the same period, and from the same site as the preceding. A cylindrical steatite cup, of the same period, and from the same site. Two stone lids, for vases, each with a central knob handle, found at Gournia, and belonging in the First Late Minoan period. A fragment, perhaps from a drinking cup, of steatite, one handle of which is preserved, and which seems to be in the form of the horns of a bull. This specimen comes from Gournia, and belongs in the First Late Minoan period. A small steatite bowl, with four small handles, found at Pseira, and belonging in the Early Minoan period. A square steatite bowl, with a central circular depression, from Gournia, dating in the First Late Minoan period. Two bowls of the typical shape of the Third Late Minoan period, of veined marble, one from Gournia, the other from Vrokastro. A fragment of a steatite cup, with a handle, of the First Late Minoan period, from Pseira. 29 THE UNIVERSITY MUSEUM No. 117. A large bowl of steatite, with two lug handles, from Gour- nia. First Late Minoan period. No. 1 18. A bowl of the same kind, but smaller, of the same'period, and from the same site as the preceding. No. 1 19A. A steatite bowl from Sphoungaras, of the Early Minoan age. No. 1 19B. A steatite bowl of identical shape, but of the First Late Minoan period, showing the continuity of the forms employed. No. 120. Two small bowls of similar shape, of the First Late Minoan period, one from Gournia, the other from Pseira. No. 121. A small steatite bowl, with two lug handles, broken and mended, from Pseira, belonging in the Second Early Minoan period. No. 122. A bowl of somewhat larger size, from the same site, but of the First Late Minoan period. No. 123. A fine bowl of steatite, with two lug handles, from the same site, but of the Second Early Minoan period. No. 124. A small steatite lid for a vase, from the same site, and assigned to Middle Minoan times. The exact period is uncertain. No. 125A. Part of a slender cup of green steatite on a foot, from the same site, and belonging in the Second Early Minoan period. No. 125B. A vase of the same period, and of the same shape, but larger. It is of breccia, and was found at Mochlos. Only a fragment is preserved. No. 126. A large bowl of steatite, from Gournia, of the First Late Minoan period, broken and mended. No. 127. A small steatite bowl of the same period, from Pseira. No. 128. A marble cup of the same shape and period (Early Minoan II) as No. 91, but much larger. Found at Gournia. No. 129. A pair of small lug handled bowls from Pseira, of the end of the Middle Minoan, or beginning of the Late Minoan period. No. 130. Two fragments of a double libation bowl or offering stand of the Second Early Minoan period. Beside them has been placed a restoration in plaster, to show what such a bowl looked like in its original state. At the four corners, and between the two receptacles, are MEDITERRANEAN SECTION slight circular depressions. Furthermore, the bowl is everywhere ornamented with incised decorations. This bowl is of steatite, and comes from Gournia. No. 131. A bowl, with a rim, of steatite, from Pseira, and belonging in Middle Minoan times (ca. 2000 B. C.). The presence of the rim is unusual. No. 132. A bowl of the same shape and period as No. 106, but smaller, from Pseira. No. 133. Two bowls of veined marble, of the same shape as the two numbered 115, which is a shape common in the Third Late Minoan period. One is from Gournia, the other from Vrokastro. No. 134. Part of a steatite vase, possibly a filler like that carried by the man in the cup bearer fresco from Knossos, a reproduction of which is shown in the West Room, No. 3 in the collection of reproductions of frescoes. The so called boxer vase, a reproduction of which is also shown in the West Room, Alcove C, No. 15, is also an example of this shape. An original filler in pottery is exhibited in Case I, No. 189. This fragment comes from Pseira, and belongs in the First Late Minoan period. No. 136. A small cylindrical cup, of the same shape and period, and from the same site, as Nos. 108 and 1 10 in this case. MISCELLANEOUS OBJECTS FROM CRETE. Case IV. In this case are included such widely diversified things as lamps, stone objects, called for want of a better or more accurate term, tables of offerings, and miscellaneous bronze specimens, from the different expeditions to Crete sent out by the Museum. The Minoans were a Bronze Age people. Iron articles do not appear until after the true Minoan culture had passed, and the Geometric Age had set in. At that time we find many traces of a great familiarity with iron. In Case II, under the number 86, are two small fragments of iron saws from Vrokastro, one of the prin- cipal sites of this geometric period; in this case are other specimens of this culture under the numbers 168 and 169. The true Minoan civilization, then, was of the Bronze Age. 31 THE UNIVERSITY MUSEUM In the working of this metal it resembles very strongly, in certain respects, the work done in Cyprus, which will be found in Case VI I, Nos. 70-77, and 90-97. Tt is very likely that the Cypriotes knew of bronze before the Minoans, on account of the resources in copper that their island possessed; indeed, knives like the ones shown here were made in Cyprus in the Early Bronze Age (corresponding to the Early Minoan period), while these knives were made in the First Late Minoan period, or, in Cypriote chronology, early in the Late Bronze Age. It is probable, however, that the Minoans, once they started, made greater progress than the people of Cyprus, and that it was from them that the Cypriotes learned to fasten their soear heads to the shafts by sockets rather than by a tang. The objects in this case show the wide use of bronze in the daily life and occupation of the Minoans. Here are to be found knives, axes, chisels of different kinds, awls, saw blades, tweezers, needles, bodkins, weaving hooks, fish hooks, scale pans, and, last but not least, a drinking cup. All of this shows that the Minoans were no mean workers in bronze. Nos. 26-32 are lamps, of pottery or steatite. The greater part of these objects are of the First Late Minoan period (1700-1500 B. C.). No. 26. Two clay lamps, the tall one of Middle Minoan date, from Gournia, the other, of Early Minoan times, from Sphoungaras. No. 28. A pair of lamps of coarse red clay, of the first Late Minoan period, from Gournia. No. 30. A steatite lamp on a foot, from Gournia. First Late Minoan period. No. 31. Three small steatite lamps, of very much the same shape, and of the same period. Two are from Pseira, and one from Gournia. No. 32. A clay lamp from Gournia, of the same period. No. 61. A large thick disc, of heavy grayish clay, almost as heavy as stone. In the center of this disc is a circular depression, the purpose of which is obscure. Around the depression are incisions, possibly meant for ornamentation, though probably purely accidental. Half way from the center to the outer circumference, a groove runs around the disc. The purpose of this object is not absolutely certain; 32 MEDITERRANEAN SECTION by some, it, and objects like it, are thought of as tables of offerings; by others, it is considered as a rest for a distaff; but the most probable suggestion that has as yet been made is that it is a potter’s wheel. This object has been broken and mended. See M. L. Franchet, Rapport sur une Mission en Crete et en Egypte, in Nouvelles Archives des Missions Scien- tifiques, Vol. XXII, No. 1, especially pp. 46-50, and Pis. I, II. (Published in 1917.) No. 63. A low lamp of coarse dark clay, and of large size. It had a handle, now missing, and is as strong and heavy as stone. It was found at Gournia, and is of the First Late Minoan period. No. 137. Two stone celts for axe heads, from Vrokastro. The period is uncertain. No. 138. A collection of obsidian fragments from various Minoan sites. Obsidian was evidently much sought for, and the discovery of chips and larger pieces of it in Crete, where it does not occur in the natural state, points to commercial relations with other kingdoms, like that on the Island of Melos, where it was produced. From the large pieces, called cores, small fragments were chipped off, and an edge could be obtained in this way on a chip of obsidian, sharp enough to shave with. The use of this mineral seems to have gone on throughout the Minoan age, as it could take a keener edge than bronze. No. 139. A collection of three axe heads, of the First Late Minoan period, the one with the dark patina coming from Pseira, the other two from Gournia. It is to be noted that they are double axes. No. 140. A bronze blade of a leather knife with two rivets still in position, where it was fastened to its handle. This blade, of the First Late Minoan period, comes from Gournia. No. 141. A curved bronze blade, of the same period, with a tang for the handle, from Pseira. It suggests in shape the modern razor, but was not used for that purpose. No. 142. A bronze blade from the same site and of the same period, wide at the top, and tapering to a point at the bottom. Two rivet holes at the top, with one rivet still in place. 33 THE UNIVERSITY MUSEUM No. 143. No. 144. No. 145. No. 146. No. 147. No. 148. No. 149. No. 150. No. 151. No. 152. No. 153. No. 154. No. 155. A long, narrow knife blade, of the Third Late Minoan period, from a site called Kavousi. Two rivet holes, one rivet in place. A bronze knife blade, of the First Late Minoan period, from Gournia. This blade is curved and flat. It was fastened to the handle by two rivets, the holes for which appear. Five knife blades, the one with the dark patina from Pseira, the rest from Gournia, and all of the First Late Minoan period. In all of these examples the blades are short and broad. A bronze knife blade, which is datable by the objects found with it, in the Second Early Minoan period. This shows that as far as these knife blades are concerned, there was little progress in the Minoan civilization, after the use of bronze became general. A small bronze chisel, from Gournia, of the First Late Minoan period. Four chisels, one of them narrow, one of them heavy, thick and narrow, the other two broad and flat. All come from Gournia, and belong in the First Late Minoan period. A bronze awl, from the same site, and of the same period. A collection of six bronze needles, of various sizes, from Gournia, and of the First Late Minoan period. A needle, or bodkin, of bone, found in the famous Dic- taean Cave in Crete. It is impossible accurately to date this object, but it is probable that it is of the Third Late Minoan period. Two small bronze objects, a ring and a small handle, from the same site. The same difficulty as to the date of these objects exists in this case, as in the case of No. 151. A thin knife blade, about three inches long, of bronze, also from the Dictaean Cave. It is impossible to assign a date to this object. Two fragments from bronze saws, of the First Late Minoan period, one from Gournia, the other from a site known as Priniatiko Pyrgo. A group of tweezers, two complete pairs, and fragments of one other, all from Gournia, and all of the First Late 34 MEDITERRANEAN SECTION Minoan period. It is usually believed that these tweezers were used to pluck out superflous hairs. No. 156. A fragmentary knife blade, of the same period, from Priniatiko Pyrgo. No. 157. A collection of four weaving hooks from Gournia, of the same period. No. 158. A bronze cup. with a handle, very thin, and badly corroded, so that it is broken in many pieces. It has been partly put together, and restored on a frame. It was found at Gournia, and belongs in the First Late Minoan period. No. 159. A collection of twenty-four seal stones, of the Middle and Late Minoan Ages. The intaglios are probably Cretan pictographs; but at present this Cretan script is unknown to us. These seals come from various sites, and were mostly acquired by purchase, and not found in the exca- vations conducted for the Museum. No. 160. A bronze piercer, for punching holes in leather, of the First Late Minoan period, found at Gournia. No. 161. A bar of lead, from Gournia. No. 162. A bronze nail, from the same site, of the Late Minoan age. No. 163. Six nails of a later period, possibly even Roman, found at Vrokastro. No. 164. Two fish hooks, of bronze, of the Late Minoan epoch, one from Gournia, and one from Vrokastro. No. 165. A pair of scale pans, of the same period, from Gournia. Each has a slight rim, and is perforated with four holes, for the chains or cords that attached them to the beam. No. 166. A piece of sheet bronze from Gournia. No. 167. A small ring and a small bracelet, both of bronze, and both spiral in form, from Gournia. First Late Minoan period. No. 168. A group of bronze pins of the Cretan geometric age, from Vrokastro, one of the principal sites of this period. They probably date around the year 1000 B. C. No. 169. A collection of four fragmentary fibulae, or brooches, from Vrokastro. These are of bronze, and belong in the Cretan geometric period. No. 192. Part of a brick, of the kind from which the Minoans built their houses, in the First Late Minoan period. From Gournia. 35 THE UNIVERSITY MUSEUM No. 193. An object, generally called a table of offerings of steatite. It has been much restored, only a very small part of it being original, but the restoration is correct. It has a circular top, and stood originally on three legs. First Late Minoan period. From Gournia. OBJECTS OF THE MINOAN PERIOD NOT ON EXHIBITION. No. 14B. A plate, of the Second Early Minoan period, of red pottery, approximating the Vasiliki ware. Found at Sphoungaras. No. 15. A fine schnabelkanne, or beaked pitcher, of Vasiliki ware, from Vasiliki. No. 20B. A small jug of characteristic First Middle Minoan make, with dark designs on a light ground, found at Sphoungaras. No. 27. A pair of steatite lamps, one on a high foot from Gournia, the other, on a lower foot, from Pseira. First Late Minoan period. Nos. 53-66. These objects are domestic utensils, principally for the preparation of food- some of them are of stone, but most are of coarse red pottery. Unless expressly so stated, all of these objects were found at Gournia, and are properly assigned to the First Late Minoan period. No. 53. A onehandled cup, of coarse red clay, from Sphoungaras, made in the Second Early Minoan period. No. 54. A small jug on three feet, called a tripod jug, and used for cooking. No. 56. A twohandled cup of coarse clay, from Vasiliki, made in the Second Early Minoan period. No. 57. A small cup on three low feet, probably used as a measure. No. 58. A group of three cooking pots, each of which is on three high legs. No. 59. Two small braziers, or fire boxes. No. 64. A double vase of fine, undecorated, red clay, badly broken. No. 65. A cylindrical vase, or support, of coarse, whitish clay, mended. No. 66. A low three legged basin of trachyte, very shallow, and sometimes called by archaeologists a libation table, for want of a better term. 36 MEDITERRANEAN SECTION No. 135. A standard, of limestone, graded in steps, dating in the First Late Minoan period, found at Gournia. No. 178B. A side spouted jar of buff clay, with a decoration of bands, and a leaf design. It has been put together from fragments, and much is missing. It has two horizontal side handles, and a vertical rear handle. It was found at Pseira, and belongs in the First Late Minoan period. No. 193B and 193C. Two objects, generally called tables of offerings of steatite. They have been much restored, only a part of each being original; but the restoration is correct. They had a circular top, and stood originally on three legs. They come from Gournia, and belong in the First Late Minoan period. No. 198. A wide mouthed jar of buff clay, with two vertical handles on the rim. The decoration consists of a debased octopus pattern in red. This vase was found at Vasiliki, and belongs in the Third Late Minoan period. No. 199. A small skyphos, or bowl, of the geometric period (1000- 800 B. C.), from Vrokastro, the finds from which site are nearly all of this post-Minoan period. It is of buff clay, covered below the handles with a thin red wash, and above this, between the handles, panels, decorated with a design of quirks. The vase has been put together from fragments, and much is missing. No. 200. A skyphos of the same period, also from Vrokastro. In panels between the two handles is a decoration of vertical and diagonal lines. The vase has been put together from fragments, and the missing parts are very cleverly restored. No. 201. A pair of small undecorated cups, on small feet, and with two side handles, a type very commonly found on sites of the geometric period. These vases also come from Vrokastro. No. 202. A larger cup of the same shape, from the same site, and of the same period. It is of buff clay, with linear designs in red. Put together from fragments, and much missing. No. 203. A large krater, or bowl, also from Vrokastro, and of the early geometric period, sometimes called the quasi-geo- metric period, when Late Minoan designs still are found contending with the geometric for the mastery. This specimen is put together from fragments, and very little 37 THE UNIVERSITY MUSEUM is missing. The clay is buff in color, and the decoration consists of horizontal and vertical lines. The outer vertical lines are decorated with a kind of fringe pattern. No. 212. A sarcophagus, of the type called by Minoan archaeologists a larnax, from Gournia, and probably belonging in the First Late Minoan period. It is of coarse red clay and is undecorated. The body of the sarcophagus is covered with a heavy whitish wash, while the lid is cov- ered with a creamy white slip. The larnax rests on four short, heavy feet, and is fitted with six small loop handles, two on each side and one at each end. Of these all but one of the side handles are preserved. The lid is high, and tapers away from the sides towards the top, like a roof. It also is fitted with small loop handles, two to each side; but only one of these has been preserved. The specimen was broken and has been mended very skilfully. 38 ANTIQUITIES FROM CYPRUS. CYPRIOTE SCULPTURE AND POTTERY. No. 56. A stone head. 6th Century B. C. Case V. This and Case VII are devoted to antiquities from Cyprus. It will be seen that this island developed an artistic culture peculiar to itself, distinct both from that of Crete and the subsequent art o the mainland of Greece, and inferior to both. At the time that the Minoans in Crete were at the height of their skill in the making and decorating of their beautiful wheelmade vases, the Cypriotes were still making their pottery by hand. It is Cretan colonists or refugees, who, in the end of the Late Minoan period, bring the knowledge of the potter’s wheel to Cyprus. The chronology of the art of this island is divided into an Early, Middle, and Late Bronze Age, corresponding very closely with the Early, Middle, and Late Minoan periods in Crete. In the last of these epochs (the Late Bronze Age), Cretan and Mycenaean influence comes in, and pottery of the Mycenaean type prevails. Then follows an Early Iron Age, divided into three periods; the transitional, or early period, lasting from 1200 to 1000 B. C. ; the geometric, or middle, from 1000 to 750 B. C.; and the Graeco- Phoenician, or late, from 750 to 500 B. C. After these periods comes the Hellenic age, lasting to the reign of Alexander the Great; which is followed, as is to be expected, by the regular Hellenistic and Roman periods. No. 1. Early Bronze Age pottery (3000-2000 B. C.). Five speci- mens, all but one of which are ladles of red ware, with high handles. The other is a jug of the same ware. No. 2. Early Bronze Age pottery. Six specimens, principally ladles, but including a large bowl, and a cup with incised orna- ments on the mouth. No. 3. Four Early Bronze Age flasks of red ware, decorated with lines scratched on the surface, showing that the early inhabitants of Cyprus were familiar with gourds, and made vases in imitation of them. 39 THE UNIVERSITY MUSEUM No. 4. A large pot, with a cover, of the same ware. This is a piece of unusual shape, and is a fine specimen of this incised red ware. No. 5. Tw r o cups of the same ware. No. 6. A small flat bottle of white painted ware, the commonest ware of the Middle Bronze Age (2000-1500 B. C.). The clay is cream colored, on which the design is painted in umber paint, of black or brown, which in this case, and in the cases of other specimens in this collection, has become brick red through over firing. The vases of this class are nearly all of small size. No. 7. An amphora of the Middle Bronze Age, of characteristic shape and technique. It is made of a light clay which is completely covered with a black slip. No. 8. A small ladle of white painted ware. No. 9. A small jug of the same ware. No. 10. Fragment of a four bodied flask, of the same ware; the four bodies were originally joined to one neck at the top. No. 1 1. A small flask of the same ware, of a shape characteristic of this style of pottery, with a long, thin neck and spout. No. 12. A bowl of white painted ware. No. 13. Part of a very small alabastron of white painted ware, the design in this case being in brown. No. 14. A small flask of the same ware. No. 15. A bottle of the same ware with designs in black. No. 16. A small pitcher of black slip ware, made in the Middle Bronze Age about the same period as the white painted pottery. No. 17. A bowl of red clay, with a buff slip, decorated with linear and wavy designs in black, which has in places turned red from overfiring. It is hand made, and dates in the Middle Bronze Age. No. 18. A jug, of the incised red slip ware of the Middle Bronze Age, which was the logical development of such vases as 3, 4, and 5. No. 19. A small bowl of white painted ware, of the Middle Bronze Age. Nos. 20-23. Vases of white slip ware. This is the commonest pottery of the Late Bronze period in Cyprus (1500-1200 B. C.). It was popular not only in Cyprus itself, but was 40 MEDITERRANEAN SECTION exported to many other places, where examples of it have been found. It is hand made, the use of the wheel being still unknown. The vases are of grey or slatecolored clay, entirely covered with a thick, dead white slip. In shape and decoration they are intended to resemble ves- sels of leather, the black vertical design being in imitation of the seams sewn to stitch two skins together. This ware is supposed to be late in the Late Bronze Age, about con- temporaneous with the Third Late Minoan period in Crete. No. 20. A round bowl of this ware, with a side handle. No. 21. A jug with a wide neck. The neck, besides being wide, is rather long, and of slightly concave form. No. 22. A krater, or mixing bowl, in excellent preservation, with a fine side handle preserved. No. 23. A round bowl, with side handle. No. 24. Vase of a technique known as base ring ware, made in the Late Bronze Age. This pottery, like the white slip ware with which it is approximately contemporaneous, was exported from Cyprus to other places, notably Egypt. In Case 18 in the Egyptian Section of this Museum will be found examples of vases of this technique found in Egypt. No. 25. Amphora of the transitional period between the Mycenaean age, and the geometric age (about 1200 to 1000 B. C.). The wavy lines on the body from handle to handle are typical of this epoch, when the Mycenaean and geometric ornamentations were fighting for the supremacy. No. 26. A krater, or mixing bowl, with fully developed geometric decoration. The use of red adds to the effectiveness of the ornamentation of the vase. This is an example of the best pottery of the geometric period, 1000-750 B. C. No. 27. A pitcher of the fully developed geometric style, con- temporaneous with the krater above described, and decorated with lines and concentric circles. No. 28. A small amphora of Cypriote geometric ware. No. 29. A most interesting specimen of Cypriote geometric ware, a socalled barrel jug, a shape peculiar to that island. It is not only peculiar to this locality, but extremely common, and may be said to be the characteristic shape of Cypriote pottery. 41 THE UNIVERSITY MUSEUM No. 30. A pitcher, with a type of decoration known as vertical circle ornament, and belonging in the Graeco-Phoenician period, 750-500 B. C. No. 31. A head of a man in stone. This represents the very begin- ning of sculpture in Cyprus, and belongs in the ninth or eighth centuries B. C. No. 32. Another male head of a somewhat later date, belonging possibly in seventh century B. C. No. 33. Head of a youth, belonging in the sixth century B. C., and therefore the latest of the three. No. 34. A pair of pitchers, in imitation of bucchero ware. The archaeologist ordinarily thinks of bucchero in connection with the Etruscans, who brought the pottery of this type to its highest stage of perfection. But the Cypriotes also were familiar with this kind of pottery, and manu- factured a red bucchero ware as well as a black. They were made in the transitional period, 1200-1000 B. C. No. 35. A bowl, of similar ware, of the same period. No. 36. A small wheelmade cup of unpainted white ware. As we have no knowledge of the other objects found with this vase, it is impossible to fix its date. No. 37. Small kylix of Cypriote geometric ware (1000-750 B. C.), decorated with concentric circles. No. 38. Pitcher of the Graeco-Phoenician period (750-500 B. C.). Its decoration is of the plain bodied type common in that epoch of Cypriote culture. No. 39. A group of vases, thirteen in number, mostly of the same period. Of these, ten are of the red painted ware so characteristic of the Graeco-Phoenician period, while the other three are small flasks and barrel jugs of white painted ware of the preceding period. No. 40. Terracotta group of animals (a squirrel and her young), hand made, without the use of a mould, in the so called snow man technique, which will be described in studying the rest of the terracottas in Case VII. Figures of this sort are typical of the transitional and geometric periods of the Early Iron Age, 1200-750 B. C. No. 41. A bowl of the Early or Middle Bronze Age, of a very light clay, made in imitation of basketwork. 42 MEDITERRANEAN SECTION No. 42. A vase of red pottery, possibly a small brazier, for warming a room. This was probably made in the transitional, or geometric period of the Early Iron Age. No. 43. A pitcher of the Hellenic period (500-350 B. C.), showing the entrance of Greek influence, and the degeneration of the native ceramic art. CYPRIOTE TERRACOTTAS AND BRONZE OBJECTS. Case VII. In this case is exhibited a small collection of minor objects of the art of Cyprus, and of implements of daily use in the various periods of culture in that island. These objects embrace terracotta figurines, spindle whorls, and ornaments; bronze knife blades, needles, and other implements; and a few fragments of silver ornaments. The numbers between 44 and 69, both inclusive, are terracotta figurines. This collection illustrates very well the archaic periods, from prehistoric times to about 750 B. C. There are also a few of later date, which bring the latest date to about 550 B. C.; but there are none which can lay claim to be later than that. The collection is especially rich in the very earliest style, which belongs in the Early Bronze Age, contemporaneously with the vases Nos. 3, 4, and 5, in Case VI. No. 44. Fragment of a statuette of a human figure, of red polished ware, roughly modeled as a flat slab of clay. It is deco- rated with incisions to represent drapery, and holes punched into the clay, which is of a light color, and covered with the polished red slip. No. 45. A similar figurine of a woman. The former one in all probability is also of a woman, but there is nothing to indicate the sex. Here the breast is represented as bare, but above and below are incisions similar to those in No. 44, but cruder, probably to represent drapery. Some attempt is also made to portray the head. No. 46. Crude figurine of a woman, of the same period. She is represented as nude. Part of the head is lost, but there remain the rough portrayal of the mouth, one ear, and part of the nose. Her hands rest on her body below the breasts, 43 THE UNIVERSITY MUSEUM and the navel is indicated by an indentation, just below which the figurine ends. No. 47. Fragment of a figurine of red polished ware, of the same period (3000-2000 B. C.) with incised decoration. The fragment is made of two pieces, which fit together. There is no indication of the sex, but it was probably female. No. 48. Another figurine of the same red polished ware, moulded in the form of a slab. One arm is represented as extended. No. 49. Fragment of a figurine of the same type. Dussaud, Civilizations Prehelleniques, p. 367, Fig. 272, No. 1. No. 50. Fragment of a similar figurine. The head is preserved, with the eyes indicated by two holes. The nose, nostrils, and mouth are also shown. At the sides are crude repre- sentations of ears. Around the neck is a necklace. The hands, as is usual with these figurines, rest on the body, below the breasts, and there are some incised designs above to indicate drapery. Dussaud, Civilizations Prehelleniques, p. 367, Fig. 272, No. 2. No. 51. Small fragment of a figurine, of the same period, with the hands on the body. No. 52. Fragmentary statuette of a woman, of the snow man technique, so called on account of the crude method of execution. It is to be noticed, however, how much better modeled the head is than in the specimens already described. This statuette belongs early in the period between 1200 and 750 B. C., and is possibly of Aphrodite. It is said to have been found in the Sacred Grove of that goddess, at Salamis in Cyprus. No. 53. Figure of a camel, in solid red clay. This interesting speci- men seems to belong in the Early Iron Age, and may be thought of as having been made under the influence of the snow man technique. No. 54. Head, shoulders, and back of a ram, in soft stone. This interesting little piece of sculpture was probably made in the period between the eighth and sixth centuries B. C. The head and horns are rendered with great naturalism. No. 55. This little shrine in pottery is one of the most remarkable, if not the most remarkable, object in the collection of 44 MEDITERRANEAN SECTION antiquities from Cyprus. It is said to have been found in a tomb of the geometric or Graeco-Phoenician period, at Amathus in Cyprus. It is of note from the resemblance which it bears to shrines found in deposits of the Sumerian period in Babylonia. A very famous example, found at Nippur, and now in the Babylonian Section of this Museum, bears very striking resemblances to this specimen. It is quite certain that this little shrine is not native to Cyprus, but is rather an importation from Phoenicia. The image within the shrine would, therefore, probably be that of the goddess of fertility, Astarte, who was often represented as a snake goddess, as in this case. No. 56. Miniature figurine of a goddess, of the same period as No. 48, and closely resembling that object, but very much smaller. No. 57. Head of a divinity, of base ring ware, the characteristic Late Bronze Age style of terracottas (1500-1200 B. C.). No. 58. A pottery spoon, of the Middle Bronze Age (2000-1500 B. C.). No. 59. Figurine of a bird, of the snow man technique, 1200-750 B. C. A very fine specimen, with outstretched wings. No. 60. The lower part of a figurine of white painted ware, of the Middle Bronze Age (2000-1500 B. C.), showing merely the legs and feet. No. 61. Figurine of a chariot of the snow man technique, of coarse pinkish clay, with red and black polychrome decoration. The wheels are missing, and in front is a hole for the insertion of a pole. This fragment is typical of Cypriote geometric work in terracotta. No. 62. A statuette of a bird, in the snow man technique, hand modeled without the use of a mould. It appears to be a dove. The wings, which are closed, are indicated by black lines. No. 63. Fragmentary solid figurine of a bird, of incised red clay, of the Middle Bronze Age (2000-1500 B. C.). No. 64. Head of an animal, of base ring ware. Late Bronze Age (1500-1200 B. C.). No. 65. Statuette of a cow, in a style akin to the snow man technique, with designs in black. Cypriote geometric period (1000—750 B. C.). 45 THE UNIVERSITY MUSEUM No. 66. Head of a small stone statuette of a woman, of the late sixth century B. C., found at a site called Bumo in Cyprus. No. 67. Torso in relief of a woman, nude, with a disclike object in her right hand, which rests across her body, under the bosom. Around her neck is a necklace. From the quality of the modeling, it seems to belong in the fifth century B. C. It was found at Salamis, in Cyprus. No. 68. Head of Hathor, of pottery, of which traces of the original green glaze still exist. This object was an importation from Egypt, and is probably of the seventh century B. C. No. 69. Fragment of a human foot, from the base of a statue of about two thirds life size. On the toes are rings. The excellent workmanship points to this being made in the fifth century B. C. The numbers 70-77, both inclusive, are devoted to a small collection of bronze and iron objects of various periods in Cypriote culture. As is well known, Cyprus is by nature very rich in copper and iron ore. The actual working of iron, however, does not begin until about 1000 B. C., while the art of working copper came in with the knowledge of pottery. There seems to be no pure Stone Age period in Cyprus, although stone implements occur. The first metal objects are nearly all of pure copper, and it is interesting to note the gradual addition of tin to form bronze, and give hardness to the blades, in the case of daggers, and to prevent bending in the case of needles, tweezers, and other such objects. No. 70. Fragment of a scraper, used by women to scrape paste, of the Early Bronze Age. No. 71. Three fragments of bronze tweezers, of the same period. It seems probable that in this period men used these to remove superfluous hair, as Cyprus had no fine flint, as did Egypt, nor obsidian, to use for shaving. No. 72. A scraper, of iron, of the Early Iron Age. No. 73. A collection of blades of the earliest period. These are flat, or with a very slight midrib, and were fastened, either to a cleft stick, or to a hilt, by means of two or three rivets. The use of a tang comes later. Some of these blades are of pure copper; and, in nearly all, the alloy of tin is very slight, and merely in the experimental stage. 46 MEDITERRANEAN SECTION No. 74. Bronze dagger of a later period. The two pieces join together. Notice the pronounced midrib, and the curved tang which was inserted in the hilt. This is a fine specimen of the bronze work of the Middle Bronze Age. No. 75. A fragment of a similar blade, of the same period. No. 76. Spearheads of the Late Bronze Age. With the Mycenaean colonizaton of Cyprus, which comes in this period, came the introduction of the art of making perfect bronze with the full proportion of tin. In consequence, the art of making spearheads with a socket, as in the case of these specimens, is introduced. No. 77. A flat celt, for an axe, of the Middle Bronze Age. The numbers 78-84, both inclusive, are given to a collection of beads and spindle whorls, principally of the earlier periods of Cypriote culture. Of these, those in clay antedate the ones of stone or other materials. No. 78. A group of twenty five clay spindle whorls, of the Bronze Age, many of them with incised patterns. In general, it can be safely said that the red ones are the earlier, the black ones the later in this group. No. 79. Five stone whorls of the Late Bronze Age. At this time pottery whorls disappear from use. No. 80. A collection of seven beads or small spindle whorls of pottery, belonging in the Early or Middle Bronze Age periods. No. 81. A group of similar large beads, or small spindle whorls, of soapstone or steatite, belonging in the Late Bronze Age. No. 82. Two flat whorls of highly polished stone, belonging in the transitional period. No. 83. A large glass bead, probably an importation from Egypt, of Graeco-Roman times. No. 84. A green glaze bead, either an Egyptian importation, or a Cypriote imitation of Egyptian work. In any case, it belongs in what is known as the Cypro-Mycenaean period in the Late Bronze Age — that time when the colonists (or possibly refugees) from Crete began to arrive in Cyprus. No. 85. Small cylindrical bead of the same form of pottery, with the surface worn off. 47 THE UNIVERSITY MUSEUM No. 86. Two pendant ornaments, one of pottery, one of polished stone, belonging to the Late Bronze Age. No. 87. A very small whetstone, a curious specimen. No. 88. Large whetstone of Bronze Age times, of a soft white stone, perforated at one end, to be hung by a string or thong. No. 89. Stone celt for an axe head, of the Early Bronze Age. In Nos. 90-97, both inclusive, is to be found another series of bronze objects, of all periods. Most of these implements are of the later epochs of the culture of Cyprus; but there is a series of awls that seems to go into the Early Bronze Age times. No. 90. A distaff, of bronze, dating in the Late Bronze Age. This is a very rare and unusual specimen, from an archaeological point of view. No. 91. The upper half of a bronze nail of the transitional period. The fine patina should be noticed, otherwise the specimen is common, as quantities of these nails are found in excava- tions in Cyprus. No. 92. A spatula of bronze, of the Hellenistic period. No. 93. Another spatula, of somewhat different shape, of the same period, or a little later. No. 94. A chisel, of the Early Bronze Age. No. 95. Two needles, of the same period. No. 96. Three awls, of the Early or Middle Bronze Ages. No. 97. An iron nail, of the Early Iron Age. No. 98. This is a very rare specimen. It is a seal, of clay, very few of which have been found in Cyprus. From the crudity of the design, it dates very early indeed, probably in the Early Bronze Age. No. 99. A small bronze mirror, of the Hellenistic period in Cyprus. It is a small, heavy disc of cast and turned bronze, with no tang or handle. It is undecorated. No. 100. Two fragments of a silver fibula, or brooch, of the Early Iron Age. No. 101. A highly polished stone hammer head, of the Early Bronze Age. No. 102. Six bronze rings, or small bracelets. No. 103. A large group of small bronze and silver ornaments of different kinds. No. 104. A collection of thirty one Roman weights, of various sizes. 48 MEDITERRANEAN SECTION These weights are made with much care, and are care- fully graded. Although we know them to be Roman, the exact date of their manufacture is uncertain. Some of them have inscriptions giving the weight represented, and on one is a Roman name. They form an interesting subject for study. 49 GREEK VASES Cases VI, VII, IX-XIII, XV, XXXV. These cases give a very complete and representative collection of Greek pottery. The earliest examples are of the geometric type, with decorations of a geometric nature on a buff ground. Of these the most interesting are the Attic dipylon vases, of which the Museum possesses one important example — No. 126, at present in the West Room, Case XXVI. Other geometric vases will be found in Case X. These vases were made in the eighth century B. C. Next in our series come the Corinthian vases, the manufacture of which began a century later, and which may be found in Cases X, XI, and VI. These are divided into two styles — the proto- Corinthian and Corinthian. A few proto-Corinthian vases will be found in Case XI, while the most important Corinthian specimens are in Case VI. The difference between the proto-Corinthian and the Corinthian techniques is that the former are usually very small vases of egg shell clay, decorated either with painted linear designs, or with very delicate incised decoration; while in the latter class, the clay is coarser and heavier, the size of the vases is larger as a rule, and the decoration is usually composed of bands of animals, with a profusion of rosettes and other oriental ornaments, the details of which are brought out by a copious use of incised lines. GEOMETRIC AND CORINTHIAN VASES. Case X. No. 1A. A small pitcher, or oenochoe, with geometric decorations in red on a buff ground. Found at Vulci in Etruria. Accession No. MS701. Height, 6.1 cm. No. IB. A similar pitcher, from Attica, acquired by exchange with the National Museum in Athens. The designs are in black. Accession No. MS5286. Height, 9.4 cm. No. 2. A bow'l, with vertical looped handles. Geometric designs in red on a buff ground. Acquired by exchange with the National Museum in Athens. Accession No. MS5290. Height, 14.3 cm.; diam- eter, 15.7 cm. 50 MEDITERRANEAN SECTION No. 3. A toilet box, or pyxis, of geometric ware, found in Attica, but resembling the Boeotian style of geometric vases. Acquired by exchange with the National Museum in Athens. Accession No. MS5288. Height, 7.5 cm.; diameter, 8.5 cm. No. 133. A Corinthian pyxis, or toilet box, with a cover, decorated with a frieze of panthers, birds, and a siren, ranged on each side of a complicated ornament composed of lotus buds and palmettes. The provenance is unknown. Acquired 1918. Accession No. MS5482. Height, 11.9 cm.; diam- eter, 16.3 cm. E. F. R(ambo), Museum Journal, X, 1919, p. 14, Fig. 5. No. 4. A pyxis of Attic geometric ware, of the dipylon style. Provenance unknown. The pyxis has a cover with a large knob, or handle. Accession No. MS411. Height, 14.3 cm.; diameter, 16.4 cm. No. 5. A small round aryballos, or oil jug, from Vulci, of Corinthian ware. Accession No. MS700. Height, 6.7 cm., diameter, 5.6 cm. No. 6. A pyxis of proto-Corinthian ware, on three high feet, deco- rated with wavy lines, and checkerboard pattern in brown on a buff ground. The provenance is unknown. Accession No. MS2732. Height, 17.5 cm.; diameter, 15.4 cm. Furtwangler, Sitzungsberichte der Akademie zu Miinchen, 1905, p. 255, No. 8. No. 7. A small bowl of Corinthian ware, found at Vulci. Accession No. MS707. Height, 3.6 cm.; diameter, 7.7 cm. No. 8. A group of three proto-Corinthian lekythoi in the form of animals; one, a rabbit (Accession No. MS702; from Vulci), one, a ram (Accession No. MS3494; from Rhodes), and the third, a kneeling deer (Accession No. MS558; from Vulci) . No. 9. A group of three proto-Corinthian ringshaped vases, for oil or perfume, all from Vulci. Accession Nos. MS559, MS560, and MS699. Diam- eters, 7, 10, and 6 cm. respectively. 51 THE UNIVERSITY MUSEUM PROTO-CORINTHIAN AND CORINTHIAN VASES. Seventh and Sixth Centuries B. C. Case XI. No. 10. A group of three small proto-Corinthian lekythoi, which were used for holding oil. A. A small lekythos with a decoration of brown lines on a creamcolored slip, said to have come from Athens. Accession No. MS393. Height, 7.1 cm. B. A specimen of somewhat larger size, with heavy purple bands around the body, and linear designs. Found at Vulci in Etruria. Accession No. MS703. Height, 10 cm. C. Similar in shape and design to B, but slightly smaller, also from Vulci. Accession No. MS704. Height, 9.7 cm. No. 1 1. Two small flasks, or alabastra, of the same ware. A. A very small specimen, with reddish bands on a cream- colored slip, and a central frieze of running animals. Found at Narce in Etruria. Accession No. MS741. Height, 9.4 cm. B. A larger example, with a decoration of dots and horizontal stripes of brown and purple. Provenance not known. Accession No. MS5279. Height, 12.1 cm. No. 12. A cup of Corinthian ware, on a high stem, decorated with bands of animals. Found at Orvieto, and put together from fragments. Accession No. MS4837. Height, 14.8 cm.; diam- eter, 15.2 cm. No. 1 2B. A small dish on three feet, of Corinthian ware, of unknown provenance, with decorations in red on a buff slip. Accession No. MS266. Height, 4.8 cm. ; diameter, 10.1 cm. No. 13. A Corinthian bowl, with a decoration of a band of swans around the shoulder. Provenance unknown. Accession No. MS2759. Height, 6.3 cm.; diameter, 10.6 cm. No. 14. A covered jar, found at Vulci in Etruria, of Italo-Corinthian ware, or ware made in Italy in imitation of the Corinthian 52 MEDITERRANEAN SECTION ware, in the sixth century B. C. Decorated with bands of brown on the buff clay. Accession No. MS646. Height, 14.7 cm.; diameter, 15.8 cm. No. 15. An alabastron, or oil flask, of Corinthian or Italo-Corin- thian ware, with horizontal stripes of brown and purple, and a central frieze of running animals, similar to that on No. 11A. Provenance unknown. Accession No. MS4803. Height, 17.3 cm.; diam- eter, 6.9 cm. No. 16. Another covered jar, like No. 14, of Italo-Corinthian ware, decorated with brown horizontal stripes on a cream colored slip. Found at Vulci in Etruria. Accession No. MS645. Height, 15.4 cm.; diameter, 15.7 cm. No. 17A. A proto-Corinthian skyphos, or small drinking cup, found at Narce in Etruria, and decorated with linear and animal designs in red on a buff ground. Accession No. MS1314. Height, 8.6 cm.; diameter, 10.4 cm. No. 17B. A Corinthian skyphos, showing the difference between that technique and the proto-Corinthian. Found at Vulci, and decorated with a frieze of birds. Accession No. MS620. Height, 6 cm.; diameter, 12.1 cm. No. 18. A large globular jug, of the type called an aryballos, of Corinthian ware, with a solid brown band on the body. Found at Vulci. Accession No. MS709. Height, 13.6 cm.; diameter, 12.3 cm. No. 19. A Corinthian skyphos, said to have been found in Cyprus, decorated with a band of animals. Accession No. MS295A. Height, 10.1 cm.; diam- eter, 16.1 cm. 53 THE UNIVERSITY' MUSEUM CORINTHIAN AND ITALO-CORINTHIAN VASES. Seventh and Sixth Centuries B. C. Case VI. Corinthian vases can be distinguished from their Italic imita- tions by the color of the clay, by the superiority in design, by the greater use of incised line drawing for details of the figures, and by the greater crowding of ornamentation, which is typical of the Corinthian pottery of the seventh century B. C. This is thought to show the influence in Corinth of her trade relations with Asia Minor, and this pottery, with animal decoration, rosettes, and all manner of filling ornaments, is often called orientalizing ware. No. 21 . A pair of Italo-Corinthian jugs, or olpae, with identical deco- ration of brown and purple bands, a tongue pattern on the shoulder, and a crude incised decoration called a scale pattern. Found at Vulci in Etruria. Accession Nos. MS647 and MS648. Heights, 21.6 and 20.3 cm. respectively. No. 22. A pair of Italo-Corinthian alabastra, or flasks, from Vulci in Etruria, with identical decorations of two friezes, one of animals, and one of birds. This decoration, in imita- tion of the Corinthian vases, shows less oriental influence, and a noticeable lack of incised line drawing. Accession Nos. MS710 and MS711. Heights, 24.7 and 24.5 cm. respectively. No. 23. A pitcher, or oenochce, of Corinthian ware, from Vulci. On the shoulder is a carefully incised scale pattern, and below the neck is an equally careful tongue pattern. Around the body an orientalizing band of animals was drawn, but this is much worn away. Accession No. MS642. Height, 25.5 cm. No. 24. A pair of Italo-Corinthian skyphoi, or cups, decorated with bands of swans, very carelessly drawn. Accession Nos. MS639 and MS640. Heights, 8.6 and 8.2 cm. respectively; diameters, 15.3 and 14.2 cm. respectively. No. 25. An olpe of characteristic Corinthian ware. Notice the oriental influence shown in the sphinxes and other animals that are drawn in a band around the body. The 54 MEDITERRANEAN SECTION oriental influence is also shown in the wealth of decoration in the form of rosettes of various sizes, crowded into every available space, with a typical horror vacui. The presence of incised lines for accentuating details is also characteristic, and, last of all, the clay is of the color usual in the true Corinthian vases. Accession No. MS2523. Height, 31 cm. Formerly in the Coleman collection; said to come from one of the Greek Islands. No. 26 A pair of Italo-Corinthian olpae, of identical shape and decoration, undoubtedly made by the same hand, on the same day. The glaze and designs, which should have been in black, have turned red from overfiring. The decoration takes the form of bands of palmettes and lotuses, incised. Found at Vulci in Etruria. Accession Nos. MS643 and MS644. Heights, 30 and 28.2 cm. respectively. No. 27. A pair of Italo-Corinthian skyphoi, similar in shape and design to No. 24. Very poor execution. Found at Vulci. Accession Nos. MS556 and MS557. Heights, 8.7 and 8.9 cm. respectively; diameters, 14.6 and 14.5 cm. No. 28. An Italo-Corinthian olpe. This vase is made in direct imitation of the Corinthian style, as shown on such vases as 25, or 29, 30 or 31, described below. The imitation can be distinguished from the true Corinthian ware by the color of the clay, which is somewhat darker, and which, moreover, is dull, not lustrous, as with the Greek vases, and by the lack of incised line drawing, in which the true Corinthian technique is rich. This decoration is in four friezes of animals, lions, swans and deer being on all of the friezes. Found at Vulci. Accession No. MS551. Height, 39.8 cm. No. 29. A pair of alabastra of true Corinthian ware, from Vulci, mended from fragments. They are decorated with three friezes of human figures, facing the right, with the entire ground filled with rosettes and other ornaments. They have been exhibited next to No. 28 to accentuate the difference between the true Corinthian and the contem- 55 THE UNIVERSITY MUSEUM porary Italic imitation. The design is the same on both vases. Accession Nos. MS554 and MS555. Heights, 28.4 and 27.8 cm. respectively. No. 30. A Corinthian amphora, found at Vulci, decorated with a design of rosettes in white on the neck, which is covered with a brown wash. On the shoulder are panels, the same on either side, showing five figures, two seated and three standing, with the usual rosettes and filling ornaments in the background. On the body are two continuous friezes; the upper is of human figures, all marching to left, while the lower is the usual band of orientalizing animals. At the bottom are rays. The amphora has, unfortunately, been somewhat overfired; but it is, in spite of that defect, the most important vase in the case. Accession No. MS552. Height, 40.5 cm.; diameter. 32 cm. Furtwangler, Sitzungsberichte der Akademie zu Miinchen, 1905, p. 255, No. 9. No. 31. A pair of huge Corinthian pitchers, or cenochoae. These, also, are of the true Corinthian ware, and are identical in design. One of them has been much worn. Each has a decoration of three friezes of animals; sphinxes, panthers, lions, swans, and grazing deer being the ones found in the different friezes. They were found at Vulci. Accession Nos. MS547 and 548. Heights, 43 and 39 cm. respectively. No. 31C. A similar pitcher, of uncertain provenance, with a similar design of friezes of animals and rosettes, lent to the Museum by Mrs. John Kearsley Mitchell. Accession No. Loan Gl. Height, 42.7 cm. S. B. L(uce), Museum Journal, VIII, 1917, pp. 188-89, Fig. 72. A. J. A., XXII, 1918, p. 83. No. 32. An Italo-Corinthian alabastron, with a design of two lions facing each other, covering the whole body of the vase. This is crudely treated, in comparison with the Greek design that it seeks to imitate. Accession No. MS2990. Height, 18.3 cm. Prove- nance uncertain. No. 33. An Italo-Corinthian alabastron from Vulci, of elongated shape, decorated with three of the usual bands of animals. 56 MEDITERRANEAN SECTION The color of the clay approaches that of the true Corin- thian vases, and the imitation is very successful. Accession No. MS712. Height, 36.2 cm. No. 34. An Etrusco-Corinthian olpe, made by an Etruscan potter in imitation of the Corinthian ware. It is decorated with a frieze of warriors around the body, painted in the Etruscan manner, and an incised tongue pattern below the neck. Another indication of the Etruscan origin of this vase is given in the color of the clay, which has a slight reddish tinge, not seen in either Corinthian or Italo-Corinthian pottery. Found at Vulci in Etruria. Accession No. MS714. Height, 25.2 cm. Furtwang- ler, Sitzungsberichte der Akademie zu Miinchen, 1905, p. 256, No. 10. No. 35. A group of three olpas of Italo-Corinthian manufacture, imitating merely the shape of the Corinthian vases, and not the orientalizing style of decoration. A. In this vase the design is of rosettes and a tongue pattern in white overcolor on a brown wash, with three stripes left in the color of the clay around the body. The handle ends in medallions decorated with a cross. At the bottom of the vase, rays in brown on the uncolored clay. No incision is used. From Vulci. Accession No. MS713. Height, 28.4 cm. B. This vase, also from Vulci, is completely covered with a black wash except for the bottom, which is left in the color of the clay and is decorated with rays. On the shoulder is a carefully incised tongue pattern in red and black. The medallions at the end of the handle are decorated with rosettes, and there is a rosette on the inside of the lip where the handle joins. Around the body are three red and buff stripes. Accession No. MS715. Height, 27.7 cm. C. This vase, of uncertain provenance, is covered with a thin wash, which, from overfiring, has taken on a brown color. On the shoulder is a crudely incised scale pattern, the rows being alternately in red, and in the color of the vase. On the neck, and on the medallions at the ends of the handle, are rosettes. Around the body runs a series of narrow red stripes. 57 THE UNIVERSITY MUSEUM On the foot are rays in brown, on a background of the color of the clay. Accession No. MS5316. Height, 26.3 cm. No. 36. Two Italo-Corinthian olpae, of identical design, decorated with the usual bands of animals. One of these specimens is much worn. They closely resemble No. 28, and are probably by the same hand. The color of the clay, and the lack of incised line drawing are the chief differences between these vases and the true Corinthian ware. Found at Vulci. Accession Nos. MS549 and MS550. Heights, 37.9 and 40 cm. respectively. No. 37. A pair of pitchers, decorated with scale patterns, grouped together to show the difference between the careful work of an earlier period, and the later decadent careless work. A. In this vase the scale pattern on the shoulder is carefully incised and the scales colored alternately red and black. Above them, on the shoulder, is a tongue pattern equally carefully rendered. Below the scales are heavy bands of red and black, and rays. This vase, though probably of Italo-Corinthian manufac- ture, is almost good enough to be of the true Corin- thian ware. Its provenance is uncertain. Sixth century B. C. Accession No. MS3427. Height, 24.6 cm. B. This vase has been grouped with the one preceding to show the decadence of a later period. Here the scales are much larger, and very crudely incised. The other decoration took the form of heavy red stripes around the body, but this has for the most part worn off. Found at Vulci. Late sixth century B. C. Accession No. MS641. Height, 25.9 cm. No. 38. A large Corinthian alabastron, of the true Corinthian ware, dating in the seventh century or early sixth century B. C., and decorated with three friezes. The upper frieze has in the centre a gorgoneion, with a sphinx facing it on either side; at the back, between them, is a lion. The middle frieze has in the centre of the front two horsemen facing each other, with a small tripod between them; behind them, and following them, are a pair of panthers; 58 MEDITERRANEAN SECTION while at the back is a dancing man, bearded, facing left. The bottom frieze consists of an eagle, two lions and a grazing deer. This vase was found at Vulci in Etruria, and is one of the finest Corinthian vases in the collection. Accession No. MS553. Height, 35.5 cm. GREEK VASES FROM CHALCIS, IONIA, AND ATTICA. Sixth and Fifth Centuries B. C. Case VIII. The vases in this case are of different techniques and periods; the description of the Attic development will be given more fully in connection with Cases XII, XIII, and XV. No. 39. A Chalcidian amphora. In the early sixth century B. C., Chalcis, the principal city on the island of Euboea, was the leading rival of Athens in the field of pottery, and was, therefore, one of the ceramic centres of Greece. The vases from this place show a considerable amount of oriental and Corinthian influence in the choice of subjects, and form a link between the Corinthian and Attic vases. This vase has on the obverse, on the shoulder, two grazing rams and a swan, while the reverse has two grazing goats and an owl. On the body of the vase, the obverse has a design of two lions attacking a deer, while the reverse has two sphinxes facing a palmette-lotus decora- tion. This vase is said to have been found on one of the Greek Islands. Accession No. MS398. Height, 29 cm. Furtwang- ler, Sitzungsberichte der Akademie zu Miinchen, 1905, p. 256, No. 11. E.H.H(all), Museum Journal, V, 1914, pp. 226-229, Figs. 114, 115. No. 45. An Attic blackfigured panel amphora. The vase is com- pletely covered with a lustrous black glaze, with the exception of a panel left in the color of the clay on either side, on which the design is drawn in black silhouetted figures. On the neck is a design of palmettes. On the obverse are two boxers, nude, with their trainer at the left and a third, nude athlete at the right; on the reverse is a discus thrower, and a man with two javelins, 59 THE UNIVERSITY MUSEUM with their trainer. In each painting the trainer wears a long mantle, or himation, and carries a staff. This vase is also said to come from one of the Greek Islands. Accession No. MS403. Height, 29.2 cm. S.B.L(uce), Museum Journal, VI, 1915, pp. 169-172, Figs. 89, 90. Luce, A. J. A., XX, 1916, p. 440, Fig. 4, and p. 457, No. 13, and 487. No. 41. A socalled Tyrrhenian amphora, said to have been found in one of the Greek Islands. It is not known where vases of this class were made. They are sometimes called Attico-Corinthian and sometimes Attic Ionic, but neither of these names is absolutely satisfactory. Many people have studied them, but no one has as yet shown conclusively whence they originally came. It is gen- erally believed nowadays by students of Greek vases that they are probably of Ionian manufacture, but this cannot be conclusively proven. The subjects represented in the principal decoration of this vase are, on the obverse, Achilles lying in ambush for Troilos, and, on the reverse, two discus throwers. In the obverse design, Achilles, completely armed, stands at the left, facing the right, behind the fountain, which is represented by a column and a basin. Polyxena is draw- ing water at the fountain; she holds a large hydria in her hands. Behind her, and facing the fountain, are Troilos, mounted on horseback, and two warriors on foot, equipped with helmets, round shields, and greaves. On the reverse, the two discus throwers are in fantastic attitudes; at left and right are humanheaded birds. Underneath these principal designs are two friezes of animals, with sphinxes and sirens in the upper frieze. Accession No. MS2522. Height, 38.7 cm. Furt- wangler, Sitzungsberichte der Akademie zu Munchen, 1905, p. 256, No. 14. Bates, A. J. A., XI, 1907, p. 57, and pp. 429-440. Robinson, A. J. A., XII, 1908, pp. 433-435. No. 127. An Attic blackfigured amphora. Here the whole body is left in the color of the clay, not merely a panel on each side. The obverse shows Herakles fighting two Amazons. He attacks them with his sword in his right hand, and grasps one of them by the crest of her helmet with his left, 60 MEDITERRANEAN SECTION forcing her to the ground; on the right, the second Amazon comes to her comrade’s rescue. On the reverse, two Greeks attack and subdue an Amazon, whom they are on the point of slaying. This amphora is of the early blackfigured style, and was probably made in the neigh- borhood of .530 B. C. Its provenance is not known. Accession No. MS5467. Height, 40 cm. Formerly in the Borelli Bey Collection; sale catalogue, No. 221. S. B. L(uce), Museum Journal, VIII, 1917, pp. 145-147, and Figs. 52, 53. A. J. A., XXII, 1918, p. 210, No. 1. No. 129. An Attic redfigured amphora, with twisted handles. This beautiful vase is said to have been found at Capua, and was made about 450 B. C., at the beginning of the free or fine style of the redfigured technique. Here the reverse process is employed from that on Nos. 45 and 127, the whole vase being covered with the black glaze, and only the figures left in the color of the clay. On one side are Apollo and Artemis, on either side of an altar; on the other Dionysos and a maenad. On the neck, and under the handles, are beautiful palmette decorations. Accession No. MS5466. Height, 47.7 cm. Le Musee, Vol. Ill, p. 432, and PI. 63, 1. S. B. L(uce), Museum Journal, VIII, 1917, pp. 25-27, Figs. 5 and 6. A. J. A., XXI, 1917, p. 353, No. 5. Beazley, Attic Red Figured Vases in America, p. 145, No. 20 (attributes to his Altamura painter). Hoppin, Handbook of Red Figured Vases, Vol. I, p. 25, No. 26. No. 119. A blackfigured amphora, similar to No. 127, found at Corneto-Tarquinia. The lid is preserved and rests on the vase. The obverse side shows Herakles in battle with two Amazons, whose sex is distinguished, as always, by the use of white overcolor for the nude parts of the body. Herakles has conquered one, whom he grasps by the crest of her helmet, and whom he is on the point of slaying with his sword; while from the right, the second Amazon, dressed in Phrygian style, with pointed cap and crescent- shaped shield, advances, thrusting at the hero with her spear. On the reverse are two Amazons on horseback, moving to the right. The leader is in Phrygian costume, 61 THE UNIVERSITY MUSEUM the other in Greek armor. With them are two dogs. This is one of the best vases in the collection, and dates at about 52.5 B. C. Accession No. MSI 752. Height, 46 cm. Furtwang- ler, Sitzungsberichte der Akademie zu Munchen, 1905, p. 256, No. 15. S. B. L(uce), Museum Journal, VIII, 1917, pp. 147-150, Figs. 54, 55. A. J. A., XXII, 1918, p. 210, No. 2. No. 130. An Attic redfigured Nolan amphora, so called because most of the amphorae of this shape have been found at Nola in Campania It is of about the same period as the vase numbered 129. On the front side is Apollo, with his lyre in one hand, and a shallow bowl, or patera, in the other, standing in front of an altar. On the reverse is a woman (a priestess?) with an oenochce or pitcher. Accession No. MS5465. Height, 34.2 cm. S. B. L(uce), Museum Journal, VIII, 1917, pp. 27-28, Fig. 7. A. J. A., XXI, 1917, p. 353, No. 6. No. 43. An amphora of a type practically unique among vases. It is closely allied to the class called Caeretan hydriae or water jars, so called because all the vases of this class, so far as their provenance is known, were found at the site of the ancient city of Caere (the modern Cervetri) in Etruria. All of them are water jars with two side handles, and one connecting the mouth with the body. For examples of the hydria shape, see Nos. 106 and 117 in Case XII. This vase that we are discussing, however, is an amphora, or jar for holding wine. In spite of their Etruscan provenance, the Caeretan hydrias are not Etruscan vases, but are either importations from Ionia, or, if made in Etruria, are the work of Ionian potters. That this is true is proven by the existence of a class of Etruscan vases made in imitation of them. This amphora, which seems to be of the Caeretan technique, is said to have been found in one of the Greek Islands, either Chios or Samos; and, if this be the case, it may be said to prove the Ionian origin of the Caeretan hydrice. This vase has a shoulder decoration of alternate black and white rays while on the body there is a series of black 62 MEDITERRANEAN SECTION horizontal stripes. On the foot is a tongue pattern, alternate red and black and white and black. Accession No. MS405. Height, 29 cm. Furtwang- ler, Sitzungsberichte der Akademie zu Miinchen, 1905, p. 255, No. 12. Bates, Transactions of Dept, of Archae- ology, University of Pennsylvania, Vol. II, Part II, 1907, pp. 155-157, and PI. XI. A. J. A., XI, 1907, p. 57; XIII, 1909, p. 209. No. 42. A little amphora of Ionian manufacture, said to have been found on one of the Greek Islands. The designs are in panels on the body, while on the neck is a continuous frieze of lotus buds. On one panel is a lion, on the reverse, a deer. Several vases are known by the hand that produced this amphora, the most famous being the Phineus kylix in the Antiquarium at Wurzburg. The place where these vases were made was possibly the Island of Naxos. Accession No. MS401. Height, 24.4 cm. E. H. H(all), Museum Journal, V. 1914, pp. 218-222, Figs. 109, 110. A. J. A., XIX, 1915, p. 77. FRAGMENTS OF GREEK AND ROMAN POTTERY. Case IX. No. 47. Thirty-three fragments of small Attic blackfigured drinking cups (skyphoi) and ladles (kyathoi) ; these are for the most part appropriately painted with Bacchic scenes, although there are sometimes scenes of warriors in combat, or labors of Herakles. All were found at Orvieto. Accession No. MS4863. Two of these fragments are published by S. B. L(uce), Museum Journal, VIII, 1917, p. 150, and Figs. 56 and 57; and one by E. F. R(ambo), ibid., X, 1919, p. 13, Fig. 4. See also A. J. A., XXII, 1918, p. 210, Nos. 3 and 4. No. 48. Fragments of an early Attic blackfigured hydria, or water jar. The principal scene shows a warrior mounting his war chariot. From Orvieto. Accession No. MS4862. No. 50. A fragment of a blackfigured amphora, showing two satyrs, or silens, under a grape vine eating the clusters. This is a 63 THE UNIVERSITY MUSEUM rather unusual subject among the representations of Bacchic scenes, and deserves to be looked at with care, not only on that account, but because it is a good example of the best period in the black figured technique. Found at Orvieto. Accession No. MS4861. E. H. H(all), Museum Jour- nal, IV, 1913, p. 161, and Fig. 138. No. 51. Fragments of an Ionian kylix, or drinking cup, of paler clay than the pottery of Attica. The large prophylactic eyes were put on to avert the evil eye from its owner, just as today the fishermen of Sicily paint eyes on the bows of their boats for the same reason. Between the eyes is a very conventionalized nose. This vase was made by Ionians, probably in one of the Greek Islands, in the sixth century B. C. Later, vases of this kind, with eyes, were made in Attica, and became the principal type of Attic blackfigured kylix. Found at Orvieto. Accession No. MS4864. No. 52. Seven fragments of what are known as Kleinmeister kylikes, or kylikes of the minor artist type. These were made in Athens in the period of the blackfigured technique, and consist of a band of the color of the clay between two of black, with a decoration of a continuous frieze of small figures; or else, the entire vase is left in the color of the clay, and a very small design of figures or animals is drawn on the centre of each side. The principal artist to sign vases of this kind is the potter Tleson, who seems to have lived and flourished in the neighborhood of 510 B. C. All of these vases in this case came from Orvieto. Accession Nos. MS3433, MS4858, MS5446. No. 53. Four fragments from an Attic blackfigured amphora, one of them showing a horse, two others a warrior with helmet, round shield and spear, and the fourth an archer, in oriental costume, wearing the trousers characteristic of the Persians. It is believed by many scholars that the pictures of such archers on vasepaintings are of Scythian mercenaries in the Athenian army; but the vase is of too early a period for this to be possible, as no soldiers of this type were employed by the Greeks when this vase was painted. It may be either that Greek bowmen adopted 64 MEDITERRANEAN SECTION the Scythian costume, which seems most unlikely; or that here we have a representation of a Persian. Found at Orvieto. Accession No. MS4873. E. H. H(all), Museum Journal, IV, 1913, pp. 159, 160, Fig. 136. No. 54. A small vase, commonly called an amphoriskos, probably of Ionian manufacture, in good preservation. The body is decorated with horizontal bands. As large quantities of vases of this kind have been found in the American excavations at Sardes, it is suspected that this shape may be peculiar to that place. These vases seem to belong in the sixth century B. C. The provenance of this specimen is not known, but it comes from some site in Italy. Accession No. MS3980. No. 55. The fragments included under this number were found at Orvieto, and are of a kylix, or drinking cup, of the Attic redfigured technique, dating about 480 B. C. In the inside picture, a nude youth is represented, with a large krater, or mixing bowl for wine, on the ground beside him. The outside shows a scene of banqueters. Accession No. MS4871. Beazley, J. H. S„ XXXIX, 1919, p. 87, and PI. II, 2 (attributed to his Colmar painter). See also Beazley, Attic Red Figured Vases in America, pp. 81-82, No. 11, and Hoppin, Handbook of Red Figured Vases, Vol. I, p. 199, No. 13. No. 56. A group of eleven potsherds that differ radically from the others in the case. They are covered with a lustrous red glaze, and are ornamented with designs in relief. They were not turned on the wheel, but were made in moulds. These fragments date from Roman times and are of the Arretine ware, whch is named for the place of its manu- facture, the city of Arretium, the modern Arezzo. This ware was manufactured from the first century B. C., through the first century A. D., and even later. Accession No. MS4877. No. 131. A redfigured pyxis, or toilet box, of the latest Athenian style, belonging in the fourth century B. C. On the cover is the marriage of Herakles and Hebe, in the presence of Zeus, Athena, Hera, and Hestia, the goddess of the hearth, who welcomes them to their home among the gods. 65 THE UNIVERSITY MUSEUM Behind the bridal pair are two bridesmaids, while three love gods, or Erotes, appear at different parts of the vase. In the centre of the cover is a bronze ring. On the side of the pyxis is a pattern of myrtle leaves and berries. Originally, gilding was employed, and the vase was much richer in color than it is now. White is employed for the flesh and garments of Hebe, the flesh of the Erotes, and the upper garment of Athena; while an incense burner beside the throne of Zeus is also white. On the white draperies of Athena and Hebe, details are picked out in yellow, purple, and brown. This vase is very well known, and was one of the principal ornaments in a celebrated collec- tion of vases in England, known as the Forman Collection. From that collection it passed into the collection of Mr. J. E. Taylor in England, who exhibited it at the Burlington Fine Arts Club in 1904. The Museum acquired it in 1916. Accession No. MS5462. Diameter, 21 cm. Forman Sale Catalogue, No. 364, and plate facing p. 76. Cata- logue of Exhibition of Burlington Fine Arts Club, 1904, pi. XLVI, and pp. 118-119, No. 74. S. B. L(uce), Museum Journal, VII, 1916, pp. 269-276, Figs. 204, 205, and VIII, 191 7, p. 153. A. J. A., XXI, 1917, p. 352, No. 1, and p. 455, Fig. 1; XXII, 1918, p. 210, No. 12. No. 139. An Attic redfigured kylix, of uncertain provenance (prob- ably Orvieto), and put together from fragments. The subject of the outside, which is the only part with designs preserved, is of women engaged in various domestic pur- suits. It belongs to the period between 465 and 450 B. C., and is a work of a painter usually called the Penthesilea master. Accession No. MS5670. S. B. L(uce), Museum Journal, XI, 1920, pp. 63-66, No. 6, and Fig. 41. ATTIC BLACKFIGURED VASES, VI CENTURY B. C. Case XII. In the field of pottery, as well as in all other fields where a sense of beauty is of the first importance, Athens early became the dominant figure of Greece. The great masters of the Greek ceramic art were either Athenians, or came there from other places because 66 MEDITER RAX E A N T SECTION at Athens was to be found the centre of all artistic production. The great age of Greek vases is that of the supremacy of the Attic pottery, and begins at the time of the Peisistratid tyranny, or about 560 B. C., although the earlier blackfigured vases may antedate this. Attic vases may be divided into two styles — the blackfigured and the redfigured. All the vases in this case belong to the former style. The figures are painted in black silhouette on a background of the color of the clay. Details are rendered by incised lines, and white, purple, and other colors are employed. Often all of the vase is covered with a lustrous black glaze or varnish, except for a panel left in the color of the clay, in which the design is painted. Often the entire vase is left in the color of the clay, the panel decoration not being employed. The Attic blackfigured style lasted down to the end of the sixth century B. C., and perhaps into the fifth. For many years it divided the honors with the later redfigured technique, but finally subsided. The principal potters and painters working in this technique are Exekias, Amasis and Nikosthenes. The vases are described beginning with the vase at the left on the top shelf, and going from left to right on that and the lower shelves. No. 60. A fragment of a blackfigured amphora, found at Orvieto, and put together from fragments. It is painted with a Dionysiac scene, and was probably used to hold a rare and precious wine. Here we have three satyrs, one of whom is walking, and leading a mule on which the other two are riding. All are represented as extremely drunk,— an eminently proper state in which to portray the attend- ants of Dionysos. To this vase belongs the fragment No. 50, in Case IX. Accession No. MS4861. E. Id. H(all), Museum Journal, IV, 1913, p. 161 and Fig. 139. No. 78. A very small and early blackfigured lekythos, painted in Attica under Chalcidian influence. The design shows two draped men, a horseman, a winged male figure, and a running man, who seems to be attacking the rider. Behind the rider is a flymg bird. Found at Orvieto and put together from fragments. Accession No. MS4849. 67 THE UNIVERSITY MUSEUM No. 77. Fragmentary Attic blackfigured lekythos, or oil jar, of large size for a vase of this kind. It was found at Orvieto, and put together from many small pieces; but much is missing. On the body is portrayed a chariot drawn by four horses, going to right; the driver has his shield strapped to his back. Beside the chariot stands an old man, draped in a long himation, facing the driver. Accession No. MS4839. Height, 20.6 cm. E. H. H(all), Museum Journal, IV, 1913, p. 155, No. 9. No. 1 14. A blackfigured amphora, found at Orvieto and put together from fragments. Much is missing, including both handles. On the obverse, three goddesses, one of them Athena, are led towards the right by Hermes. At the right is a man, facing them. This is the early form of rendering the scene of the Judgment of Paris, and is the method regu- larly found on the black-figured vases that show the subject. It is called the procession type. The reverse side, much of which is lost, seems to have had the departure of a warrior. Accession No. MS4840. Height, 29.3 cm. E. H. H(all), Museum Journal, IV, 1913, pp. 153-155, No. 6, and Fig. 132. (The subject is there wrongly interpreted.) No. 46. An Attic blackfigured panel amphora, with a design on one side of Athena brandishing her spear, and facing a tripod, with a draped male figure on either side of her. The reverse shows a group of three nude dancers. Found at Orvieto. Accession No. MS2489. Height, 33.3 cm. No. 58. An early panel amphora, with black figures. This vase is probably not Attic, but may be either Chalcidian, or an Italic imitation of the Attic ware. It is said to have been found in one of the Greek Islands, but this information is suspected. On the obverse is a group of four draped men and a warrior; on the reverse two men, and a warrior brandishing his spear. Accession No. MS402. Height, 32 cm. No. 109. A blackfigured panel amphora, found at Orvieto, and put together from fragments. On the obverse, a lyre player is performing on his instrument before two seated figures; on the reverse side, the same figure is shown alone. 68 MEDITERRANEAN SECTION Accession No. MS4841. Height, 29.3 cm. E. H. H(all), Museum Journal, IV, 1913, p. 152, No. 4, and Figs. 130a and 130b. No. 62. An Attic blackfigured krater, or mixing bowl. The ancient Greeks never drank their wine straight, but always diluted it with water, and so at banquets the wine was mixed in one of these bowls before being served to the guests. This bowl is of the shape called a columnar handled krater, or kelebe, from the form of the handles, which are vertical, and rise in a straight line from the shoulder to the over- hanging lip. The vase belongs at about 535 B. C. The scene represents Herakles in his famous encounter with the Nemean Lion, the first of his labors. He is here shown wrestling with the lion standing. In the later vases he is always shown bending over the ferocious monster. Watch- ing the contest are, on the left, Iolaos, the hero’s nephew, and faithful squire and companion, and, on the right, the goddess Athena, who is the patroness of Herakles. On the reverse are four fully armed warriors. Said to have been found in one of the Greek Islands. Accession No. MS404. Height, 22.9 cm. S. B. L(uce), Museum Journal, VIII, 1917, p. 155, No. 2, and p. 152, Fig. 60. A. J. A., XXII, 1918, p. 210, No. 7. No. 136. An Attic blackfigured skyphos of the late sixth century B. C. Around the body runs a representation of the contest of Herakles and Nereus, the old man of the sea. On one side, JJerakles has caught the god, while two of his daughters, the sea nymphs or Nereids, rush off in terror; on the other side, Athena, Iolaos and Hermes stand watching the combat. Under one handle is a large ram, the attribute of Hermes. Acquired in 1918. Prov- enance unknown. Accession No. MS5481. Height, 19.4 cm.; diam- eter, 23.2 cm. E. F. R(ambo), Museum Journal, X, 1919, pp. 15-19, Figs. 6 and 7. A. J. A., XXIV, 1920, p. 104. No. 69. An Attic blackfigured oenochoe, or pitcher, from Orvieto, decorated with two maenads, dancing away from each other. It belongs to the period of about 525 B. C. Accession No. MS2492. Height, 22.4 cm. 69 THE UNIVERSITY MUSEUM No. 61. A fragmentary blackfigured amphora of a very interesting type, usually called the affected style. These affected vases, which are all amphorae, were first studied carefully by Karo (J. H. S. XIX, 1899, pp. 147-160), who thinks that all of them come from the same atelier, if they are not by the same hand. This specimen was found at Orvieto, and put together from fragments; and all of the previously known “affected” vases have also been found in Italy. Walters, in discussing these vases (Hist. Ancient Pottery, I, pp. 387-388, pi. XXIX, 2), says that they show excellence of technique and careful workmanship, but are “lifeless and monstrous almost to grotesqueness,” and that their style is “peculiar and mannered.” Of this specimen, only parts of the neck and shoulder remain. They show a design of draped figures and horse- men, with small horsemen filling the small space under the handles. It belongs near the middle of the sixth cen- tury, B. C. Accession No. MS4852. E. H. H(all), Museum Jour- nal, IV, 1913, p. 155, No. 7. No. 71. A blackfigured jug, or olpe, decorated with three dancing warriors in armor and two draped men. On the base is the meaningless graffto Accession No. MS4800. Height, 22 cm. No. 117. A blackfigured hydria, or water jar, found at Chiusi, and mended. The designs, as is the custom on vases of this shape, are in panels on the shoulder and body. On the shoulder is represented the combat of Herakles with the Nemean Lion; the hero bends forward and presses against the animal, who strikes at his head with his left hind paw. Above Herakles hang his cloak and quiver. At the left is Athena; at the right, Iolaos; both are seated. The principal painting, on the body, is of girls drawing water at a fountain. The fountain which is at the right, is like those in Modern Greece, being a wall with a spout, out of which the water runs. Here the spout is in the form of a lion’s head. (For the significance of the lion's head as a waterspout see Eleanor F. Rambo, Lions in Greek Art, Bryn Mawr Ph.D. thesis, pp. 29, 30.) On the top of the spring is a crow, while conventionalized 70 M E D I T E R R A N E A N S E ( ' T I O N branches in the field suggest that it was situated in a grove. The maidens are three in number. At the right, one is about to fill her jar; she is on the point of putting it under the water spout. The girl in the centre has filled hers, has put it upright upon her head, and is going home with the day’s supply. At the left, another girl approaches, who is also carrying her pitcher on her head, but sidewise, showing that it is empty. Between these two maidens flies a bird (mostly lost). This vase can surely be put at the latter half of the blackfigured period, in the neighborhood of 500 B. C., and recalls the style of the transitional artist Pamphaios, who painted both black- figured and redfigured vases. Accession No. MS2463. Height, 46 cm. S. B. L(uce), Museum Journal, VIII, 1917, p. 153, No. 61, and p. 155, No. 3. A. J. A., XXII, 1918, p. 210, No. 8. No. 116. A blackfigured panel amphora, found at Chiusi. On the obverse side are four satyrs, three of whom carry nymphs or maenads on their shoulders. The fourth, at the right, is swinging a maenad into place, and holds her in his arms. On the reverse, Dionysos stands in the centre, facing to the right. Opposite him are Athena and Hermes; at the left, behind him, a maenad and a satyr. The lid of this amphora has been preserved and rests on its mouth. The vase has been somewhat restored. It belongs in the latter half of the sixth century B. C. Accession No. MS2462. Height, 48.7 cm. No. 106. A blackfigured hydria, or water jar, found at Orvieto, and put together from fragments. The neck, lip, back handle, one side handle, back of the shoulder, foot, and a large part of the body are restored. On the shoulder panel is a design of two warriors playing pessi, or dice, in the presence of Athena. Behind them the warriors have stacked their helmets and shields. The main decoration, on the body, shows Athena mounting her chariot, which faces right. With her is a bearded man, holding a club. Beside the horses are Apollo, playing his lyre, and Dionysos; and Hermes stands at the horses’ heads. Owing to the seated figure carrying a club, this painting may possibly represent the apotheosis of Herakles, which is regularly shown this 71 THE UNIVERSITY MUSEUM way in the blackfigured vases, the only difference being that the hero is almost invariably clad in the lion’s skin. Accession No. MS4831. Height, 40.3 cm.; diam- eter, 28.7 cm. E. H. H(all), Museum Journal, IV, 1913, Fig. 127, and pp. 149-150, No. 1. S. B. L(uce), Museum Journal, VIII, 1917, p. 152. A. J. A., XXII, 1918, p. 210, No. 1 1 . No. 135. A small blackfigured amphora, very crude. On the obverse, Herakles wrestles with the Nemean Lion, stand- ing, in the presence of Iolaos, Athena(?) and Hermes(?). The reverse shows a seated figure, facing left, in the centre, flanked to right and left by four standing figures, two winged victories, with flesh parts rendered in white, and two draped figures. Accession No. MS4802. Height 17 cm. S. B. L(uce), Museum Journal, VIII, 1917, p. 151, Figs. 58, 59, and p. 154, No. 1. A. J. A., XXII, 1918, p. 210, No. 6. No. 63. Fragment of a water jar, put together from many small pieces. Found at Vulci in Etruria. The Greeks employed two shapes of such vases; the hydria (see Nos. 106 and 117 in this case), the characteristics of which are a large mouth, the neck sharply separated from the shoulder, which is almost flat, and the body in its turn distinct from the shoulder, and sloping away to the foot. There are three handles, two on the body, one connecting the mouth with the shoulder. In the other form, known as the kalpis, of which these fragments are an example, the neck melts into the shoulder, which is rounded and not sep- arated from the body. The arrangement of the handles is the same, except that the back handle usually does not join the mouth, but the neck immediately under it. The kalpis form is rare in the blackfigured period, and is, on the other hand, the standard form for a redfigured water jar to take, while the reverse is true of the hydria, it being the usual blackfigured form, and rare in the following period. This kalpis, then, being in the earlier style, in itself a rather unusual thing, should be regarded as coming at the end of the blackfigured period, possibly in the transition between it and the redfigured style, in the neighborhood of 500 B. C. The scene, a conversa- MEDITERRANEAN SECTION tion between two men and two women in front of a colon- nade, is in the spirit of the redfigured period, rather than the blackfigured, although the earlier technique is employed. Accession No. MS694. Too fragmentary for accurate measurement. No. 70. A blackfigured oenochoe, or pitcher, with a design of three warriors, the one in the centre being on the point of mount- ing a horse, which faces the right. The other two carry big shields shaped somewhat like the body of a violin, which are known as Boeotian shields, owing to their being represented on the coins of the city of Thebes. The provenance of this vase is uncertain. Accession No. MS2493. Height, 23.4 cm. No. 113. A blackfigured panel amphora, found at Orvieto, and put together from fragments. The obverse has a chariot drawn in three quarters view, facing the right. This is rather unusual, as the Greek vasepainters generally drew chariots in prefile. At the right, an Amazon is seen running, while a dog darts alongside the horses. On the opposite side is a group of musicians and listeners, most of which is missing. Accession No. MS4832. Height, 41 cm. E. H. H(all), Museum Journal, IV, 1913, p. 148, Fig. 128, and pp. 150-151, No. 2. No. 118. A blackfigured amphora of the redbodied variety, found at Corneto-Tarquinia. The obverse has a fine drawing of Herakles wrestling with the Nemean Lion, in the presence of Athena. The hero bends against the lion, who strikes at his face with his left hind paw. This is a splendid example of the best period of the blackfigured technique. The drawing is vivid and lifelike; details are abundantly and accurately given by a copious use of incised lines. The reverse side is largely missing, and what remains is so badly preserved that it is impossible to interpret its subject; but the figures of Hermes and Herakles can be identified. This vase was made at about 525 B. C. Accession No. MSI 753. Height, 45 cm. S. B. L(uce), Museum Journal, VIII, 1917, p. 154, Fig. 62, and p. 155, No. 5. A. J. A., XXII, 1918, p. 210, No. 10. 73 THE UNIVERSITY MUSEUM No. 112. A blackfigured panel amphora from Orvieto, put together from fragments. The obverse of this vase portrays the combat of Theseus with the Minotaur. On the right, looking on, are three draped male figures; on the left, a woman (flesh in white overcolor) and another male figure. The woman is to be identified, of course, as Ariadne, daughter of King Minos. Theseus wrestles with the monster, much in the manner of the earlier representations of Herakles wrestling with the Nemean Lion, standing, and grappling with him with one hand, while with the other he thrusts his sword into him. This is a very common subject in Attic vasepaintings of all periods; and it should be compared with the bullfighting fresco from the palace at Knossos (West Room, Reproductions of Minoan Frescoes, No. 21). It was from combats like the one depicted in the fresco that the myth of the Minotaur was undoubtedly derived, and this vasepainting gives us the classical Greek idea of these combats; for we must realize that the Minoan period was less familiar to the Greeks of the classical age than it is to us. If archaeology had existed as a science in the sixth century B. C., the Minoan civilization would have been as much archaeology to the Greeks of that period as to us. The reverse shows a quadriga facing left. In it is a draped figure, of whom only the lower part remains. Behind him stand a warrior and a woman, facing left. In front of the horses stand another warrior and a woman, facing right, the woman being at the horses’ heads. Under the horses’ heads is a little boy. Beside the horses were two other draped figures, one male and one female, but they are mostly lost, only the lower parts remaining. This vase is early in the blackfigured period, about 540 B. C. Accession No. MS4833. Height, 53.1 cm. E. H. H(all), Museum Journal, IV, 1913, pp. 149, 150, Figs. 129a and b, and pp. 151-52, No. 3. No. 107. A blackfigured panel amphora, found at Orvieto, and put together from fragments. The obverse shows the birth of Athena from the head of Zeus. Zeus is seated in the centre of the panel in his throne, facing right. Out of 74 MEDITERRANEAN SECTION his head comes Athena, fully armed, represented as very small. In front of him at the right are two female divin- ities (flesh white), identified as Eileithyiai, or divinities presiding over childbirth; behind them are Ares and Dionysos. Behind Zeus are Apollo, playing his lyre; Poseidon, with his trident; a female divinity, either Artemis or Amphitrite, the wife of Poseidon ; and Hermes. Under the throne of Zeus is a winged human figure, with the head of a dolphin. The reverse shows a scene of departure. A number of warriors surround a chariot, which faces the right, and is driven by a draped male figure. Behind the chariot are two warriors and a woman, in front of it two more warriors and another woman, with a dog, while beside it are two more warriors, two bearded male figures, and a third woman. Accession No. MS3440. Height, 54 cm. Furtwang- ler, Sitzungsberichte der Akademie zu Munchen, 1905, p. 257, No. 17. E. H. H(all), Museum Journal, III, 1912, pp. 68-75, Figs. 36-38. No. 108. A blackfigured panel amphora, found at Orvieto, and put together from fragments. The obverse shows the birth of Athena from the head of Zeus. In this vase, Athena stands on the knee of Zeus, who is seated in his throne, facing the right. He holds his thunderbolt in his right hand. In front of Zeus is an Eileithyia, or divinity pre- siding over childbirth, who has come to support him in his travail. Behind her is Ares, fully armed. Behind Zeus, are Apollo, playing his lyre, and another male divinity who cannot be identified, as most of him is lost. Under the throne of Zeus is a winged female figure, prob- ably a Nike, or victory. In the field are meaningless inscriptions. In the reverse, Zeus and Athena are seen seated side by side, receiving the congratulations of the other gods. They face right, and in front of them stands Ares, with three divinities, two male, one female, whose identification is not clear, behind him. Behind the throne are Poseidon, with his trident, accompanied by a female divinity, 75 THE UNIVERSITY MUSEUM probably his wife, Amphitrite. Under the throne of Zeus is a sphinx. Accession No. MS3441. Height, 58.2 cm. Furt- wangler, Sitzungsberichte der Akademie zu Mtinchen, 1905, p. 257, No. 16. E. H. H(all), Museum Journal, III, 1912, pp. 68-75, Figs. 33-35. No. 138. A blackfigured panel amphora, of unknown provenance. On the obverse, a warrior is seen, mounting his chariot, which faces the right. Three other warriors stand facing him beside the horses. On the reverse, is a horseman, facing the left, between two warriors. This vase is lent to the Museum by Mrs. John Kearsley Mitchell. Accession No. Loan G2. Height, 43.6 cm. S. B. L(uce), Museum Journal, VIII, 1917, pp. 188-196, Figs. 73, 74. A. J. A., XXII, 1918, p. 83. No. 59. A blackfigured amphora of the redbodied type, found at Orvieto, and put together from fragments. This example is typical of the best blackfigured period, 525 B. C. On the obverse is Dionysos at the left, facing right, a kantharos in his left hand. Beside him is a goat. In front of him is a maenad, facing him, who dances to the accompaniment of the castanets which she holds in her hand. On the reverse side, much of which is missing, is Athena, facing right, and a maiden in front of her. Accession No. MS4834. Height, 42.2 cm. E. H. H(all), Museum Journal, IV, 1913. pp. 152-53, No. 5, and Fig. 131. ATTIC BLACKFIGURED AND REDFIGURED VASES, AND VASES FROM SOUTHERN ITALY. Case XIII. This case continues the collection of Attic blackfigured vases, and then brings the history of Greek pottery through the fifth and fourth centuries B. C. Following the blackfigured vases come the vases where the reverse technique is employed — the vase entirely covered with the black glaze except for the figures, which are left in the color of the clay. The redfigured technique represents the high- est achievement of the Attic potters and vase painters, and the most beautiful specimens in the collection are of this ware. Beginning in 76 MEDITERRANEAN SECTION the end of the sixth century and existing side by side with the black- figured pottery for a short period, the new style finally drives out the old, at about the beginning of the fifth century B. C., and continues throughout the century. Details are here given, not by incised lines, but by fine lines painted freehand on the figures. Archaeologists can trace the development of this style, by means of the draftsman- ship of the paintings, and are enabled to date the vases with a fair degree of accuracy. Four styles are distinguished — the severe, or archaic, followed by the strong, or ripe archaic, which in its turn is succeeded by the free or fine style, which degenerates into the late fine group. Following this is a class that are usually con- sidered Attic, though the principal finding place has, up to now, been in the Crimea. Of this class the Museum possesses no examples, (unless the pyxis No. 131 in Case IX is to be classed as such), and they are not often to be found in America. The principal makers and painters of redfigured vases are Epiktetos, Cachcylion, Euphronios, Euthymides, Phintias, Duris, Hieron, Makron, Brygos, Hermonax and Meidias. At the time of the Peloponnesian War, the free style was in vogue in Athens, and was even then losing its strength and vigor. Of course that war stopped all export of vases from Athens, which was herself losing her grip on the supremacy in ceramics. The scene then shifts to Southern Italy where Greek colonists were firmly ensconced in Campania, Lucania and Apulia. Vases began to be made in great numbers in these colonies, and soon four distinct styles of South Italian vases can be identified — each of the sections above named having its own peculiar ware, while the fourth style, known to archaeologists as the School of Paestum, is, both geograph- ically and stylistically, close to the Campanian ware. Makers of vases of this technique sometimes sign their works — the principal name to remember being that of Assteas — but the other South Italian vases are rarely, if ever, signed. The vases from Lower Italy on view in the Museum are nearly all of the Apulian technique, which is by far the commonest of the four styles, and the centres of manufacture for which seem to have been Tarentum and Rubii (now known as Taranto and Ruvo di Puglia). There are a few specimens also which may be Campanian, but it is admittedly hard in many instances to distinguish the Camp- anian from the Apulian vases. After the middle of the fourth century B. C., the South Italian 77 THE UNIVERSITY MUSEUM vases begin to deteriorate in artistic excellence, and give place to vases made from moulds, the types known as Megarian bowls and Calene phialae being the principal examples. The vases in this case will be described, beginning with the three left hand shelves from top to bottom, then the two central shelves, and then the three right hand shelves, the vases at the bottom being the last to be discussed. No. 86. Three undecorated Attic vases, completely covered with the black glaze. Two are known as lekanae and are in perfect preservation; their provenance is uncertain. The third, an alabastron, was found at Orvieto and put together from fragments, and a good deal of it is missing. Accession Nos. of the lekanae, MS409 and MS410. Heights 5.4 and 5 cm. respectively; diameters, 12.6 and 12.1 cm. respectively. No. of the alabastron, MS4920. Height 18.8 cm., diameter, 6.8 cm. No. 79. A small Attic white lekythos, said to have been found in Attica. The design, in black on the cream colored slip, is of a girl, sitting in a chair, facing right, making a wreath. In front of her is a large basket. Above her head is a serpent. This vase is early in the redfigured period, or rather, the period of the white lekvthoi, and belongs at about 475 B. C. Accession No. MS5314. Height 13.5 cm., diameter 5 cm. Formerly in the Lamborn collection. No. 128. An Attic white lekythos, said to have come from Athens itself. These vases are only found in tombs, and were used cnly for funeral purposes. This vase is fairly early in this type, as it corresponds with the end of the strong style of the redfigured technique, or about 465 B. C. It bears the dedicatory inscription, AI44AOS KAAO, “ Diphilos is fair.” Many of these white vases have been found bearing this name, and it has been shown that they are all by the same hand. The subject of this vase is a seated woman, stringing a necklace of beads, while before her stands another woman, with a basket of offerings. On the wall hang a pitcher, a mirror, and a sakkos. Acquired in 1916. Accession No. MS5463. Height, 38.5 cm. Formerly in Borelli Bey Collection; sale catalogue, No. 223, and 78 MEDITERRANEAN SECTION PI. XXIII. S. B. L(uce), Museum Journal, VIII, 1917, pp. 21-25, Figs. 3, 4. A. J. A., XXI, 1917, pp. 352-53, No. 3. Luce, A. J. A., XXIII, 1919, pp. 19-32 (attributes to Beazley’s Achilles master). No. 84. An Attic white lekythos, acquired by exchange with the National Museum in Athens. This example is later than No. 128, and belongs in the second half of the fifth century B. C. On the white ground are painted designs in poly- chrome, showing a man and a woman bringing gifts to a stele, or tombstone. These designs, which were originally rendered in a bright polychromy on a chalky white slip, have largely rubbed off. Accession No. MS5291. Height, 30.6 cm. S. B. L(uce), Museum Journal, VIII, 1917, pp. 23-25. A. J. A.. XXI, 1917, pp. 352-53, No. 4. No. 132. A small redfigured skyphos from Athens, of the late fine style, having on the obverse Dionysos, seated, facing the left, with a woman standing in front of him. On the reverse is a maenad, standing, with a thyrsos in her hand, facing the left, with an Eros in front of her. Accession No. MS5468. Height, 5.8 cm. S. B. L(uce), Museum Journal, VIII, 1917, p. 187. No. 121. An Attic redfigured pelike, found at Orvieto, and put together from fragments. The designs are in panels on the front and back. They are of the same general char- acter on both sides, being of Dionysos and a satyr. Much of the reverse is missing, and what remains is in poor preservation. The obverse shows Dionysos at the right, with his head turned to the left, with a branch of a vine in one hand, and a kantharos in the other. At the left, moving to the right, is a satyr, nude, who holds a pitcher in his right hand, and with his left holds the neck of a wine skin, which he carries over his shoulder. On the reverse the same painting seems to have been shown, but the satyr is there represented as running away. This vase belongs to the period between 480 and 460 B. C. Accession No. MS3443. Height, 37.1 cm. Beazlev, Attic Red Figured Vases in America, p. 61 (attributes to his Troilos painter) ; Hoppin, Handbook of Attic Red Figured Vases, Vol. II, p. 457, No. 12. 79 THE UNIVERSITY MUSEUM No. 83. A redfigured cup with one handle. The sole decoration of this little cup is a design of an athlete, nude, leaning forward, with his arms stretched toward the ground. He is facing the right. This design is drawn with a delicacy and restraint that puts this vase in the period between 450 and 430 B. C. — the fine style of the Attic redfigured technique. Its provenance is not known. Accession No. MS2272. Height, 8.3 cm. No. 81. A redfigured kylix, found at Chiusi. Only the interior is decorated. A nude athlete runs to the right; behind him, at the left of the scene is a chest, while a pair of halteres, or jumping weights, lie on the ground by his feet. The vase painting can be surely assigned to the painter Makron, who flourished in the period between 480 and 460 B. C., and who painted most of the vases that are signed by the potter Hieron. Accession No. MS2515. Height, 8.4 cm., diameter, 19.1 cm. Bcazley, Attic Red Figured Vases in America, p. 101, and p. 106, No. 95. Hoppin, Handbook of Attic Red Figured Vases, Vol. II, p. 107, No. 1 10. No. 72. An oenochce, put together frcm fragments found at Orvieto, but of which the greater part is missing. The vase is of the very early blackfigured style, and seems to be Attic, showing strong Chalcidian influence. The scene is the pursuit of Troilos by Achilles. Polyxena flees to right, on foot, followed by Troilos on horseback. Under the horse of Troilos is a hydria, that Polyxena has dropped in her flight. Achilles, fully armed (only his head and legs are preserved) pursues them on foot. A curious feature, but not uncommon with these early vases, is that the horse of Troilos is drawn with eight legs. This vase should be studied in connection with No. 41, in Case VIII, as it continues the tale begun there. Accession No. MS4857. Too fragmentary for accurate measurements to be made. No. 82. A redfigured kylix, found at Chiusi, and of the period of the artist Euphronios, though not by his hand. It there- fore belongs at about 480 B. C., or a little later. Only the interior is decorated. A youth, draped in a small chiton, moves to the right. He is obviously going to so MEDITERRANEAN SECTION sacrifice, probably to Demeter. He holds with his right hand a pig, by the left hind foot. This is the animal that is always sacrificed to Demeter at the famous Eleusinian Mysteries. The object that he holds in his left hand appears to be one of the curious sacrificial implements usually described as trays or baskets for first fruits, that are often found on Greek vase paintings. Around him is the inscription O PAIS KAAOS. Accession No. MS2448. Height, 9.3 cm.; diameter, 24.1 cm. Bates, Transactions, Dept, of Archaeology, Uni- versity of Pennsylvania, Vol. II. Part II, 1907, pp. 144-46, No. 3, and PL XXXVI. A. J. A., XI, 1907, p. 57. E. H. H(all), Museum Journal, IV, 1913, pp. 162-63, Fig. 140. A. J. A., XIX, 1915, p. 77. Beazley, Attic Red Figured Vases in America, p. Ill (attributes to his Lysis, Lykos and Laches group). Hoppin, Handbook of Attic Red Fig- ured Vases, Vol. II, p. 170, No. 22. No. 40. A small oenochoe, or pitcher, of the blackfigured style, showing both Attic and Chalcidian characteristics, and probably to be considered a late product of the latter style. Found at Orvieto, and put together from fragments. At the left, two sphinxes are seated, facing each other, while at the right, two centaurs are represented, fleeing towards the right. The vase is in very fragmentary condition. Accession No. MS4835. E. H. H(all), Museum Jour- nal, V, 1914, pp. 229-230, Fig. 116. No. 80. A redfigured kylix, found at Orvieto, and put together from fragments. The interior only is decorated. It consists of a boy, seated, facing right, draped in a himation, either writing or drawing with a stylus on a tablet. This vase probably should be placed at about 470 B. C. Accession No. MS4842. Height, 7.7 cm.; diameter, 20.8 cm. E. H. H(all), Museum Journal, IV, 1913, pp. 1 56— 157, No. 10, Fig. 134. Beazley, Attic Red Figured Vases in America, p. 46 (attributes to his Eucharides painter). Hoppin, Handbook of Attic Red Figured Vases, Vol. I, p. 360, No. 21. Nos. 73-76. Four covered bowls, of the blackfigured technique, found at Orvieto. They are noteworthy chiefly for their 81 THE UNIVERSITY MUSEUM shape, which is most unusual among Greek vases. The style is in the middle of the blackfigured period. By great good fortune a bowl of this shape in the Archaeolog- ical Museum in Florence bears the signature of the maker, Nikosthenes, one of the most prolific of all the potters of Athens, and who worked in both the blackfigured and redfigured techniques. No less than a hundred or more vases and fragments are known which bear his signature. It is, therefore, quite possible to attribute unsigned vases to his hand, through the study of all this material. These four bowls, which may have been used for sweetmeats, have many resemblances to some of the work of Nikos- thenes, and may perhaps be by him. Each one wall be described in detail. Accession Nos. MS3437, MS3438, MS3439, and MS4868. E. H. D(ohan), Museum Journal, VI, 1915, pp. 173-179, Figs. 94-98. A. J. A., XX, 1916, p. 487, Fig. 1. No. 73. On the body is a continuous frieze of youths, men, and maidens in conversation. The cover has a design of a warrior on foot attacking a horseman, four times repeated. Accession No. MS3438. Height, 21.9 cm.; diameter, 17.1 cm. Published, lcc. cit . , p. 176, Fig. 96 (cover only). No. 74. The body is decorated with a scene similar to that on No. 73, a continuous frieze of youths, maidens, and old men. The cover has a design of horsemen, men and maidens. Accession No. MS3439. Height, 22 cm.; diameter, 17 cm. Published loc. cit., p. 174, Fig. 94 (body only). No. 75. Very fragmentary. On the body is a continuous frieze, representing an assemblage of the gods, of whom Iris, Zeus, Ares, and Hermes can be definitely recognized. The cover is decorated with a band of galloping horsemen, going to the right. Accession No. MS4868. Height, 20.5 cm.; diameter, 18.3 cm. Published, loc. cit., p. 178, Fig. 98 (body only; identified as a Birth of Athena scene on insufficient evi- dence). No. 76. The body of this bowl is decorated with a continuous frieze, showing Dionysos with his band of satyrs and maenads. On the cover is a design of horsemen, warriors fighting, old men, and maidens. 82 MEDITERRANEAN SECTION Accession No. MS3437. Height, 23.6 cm.; diam- eter, 18.5 cm. Published, loc. cit . , p. 175, Fig. 95 (body) and p. 177, Fig. 97 (cover). An outline drawing of a covered bowl of this shape signed by Nikosthenes, in the Villa Giulia at Rome, can be found in Hoppin, Handbook of Attic Red Figured Vases, Vol. II, p. 231. See also Perrot and Chipiez Historie de l’Art dans l’Antiquite, Vol. X (La Cevamique d’Athenes) p. 261, Fig; 165. No. 91. An Apulian oenochce. The design is of two women, one seated, facing left, with a basket in her right hand, and one standing in front of her. It is quite characteristic of the height of the Apulian style, of the fourth century B. C. Accession No. MS4801. Height 23.1 cm. No. 87. A deep bowl, or phiale, found at Corneto-Tarquinia. It is probably of South Italian manufacture, and belongs in the fifth century B. C. In the interior is a gorgon’s head, and, outside, a design of ivy leaves. Accession No. MS1754. Height, 7.7 cm.; diameter, 20.7 cm. E. H. H(all), Museum Journal, V, 1914, p. 216, Figs. 105, 106. No. 93. A crude pelike, either Apulian or Campanian, but probably the former. On one side is a nude youth, on the other, a woman. Accession No. MS4010. Height, 15.5 cm. No. 92. An Apulian lekythos of the late fifth century B. C., with a design of a nude youth seated on a rock, facing left. Notice the globular shape, so different from such vases as Nos. 77, 79, or 84. The provenance is not known. This shape of vase, known as an aryballic lekythos, is found in Attica as well as in Southern Italy. Accession No. MS412. Height, 14.1 cm. No. 89. An Apulian pyxis, or toilet box, with a cover. The deco- ration consists of a woman’s head, profile to left, on the cover, with a rough palmette decoration. On the body is a wave maeander pattern. The provenance is unknown. Accession No. MS3425. Height, 12.5 cm. No. 88. An Apulian pelike, said to have been found at Rugge. This vase is fairly early in the Apulian style, and seems to belong at the end of the fifth century B. C. On the obverse 83 THE UNIVERSITY MUSEUM is a youth, nude, with a chlamys, or cloak, thrown shawl fashion over his left arm, and a pail in his right hand. He faces left, towards a maiden, who is draped in a chiton, with kolpos, who is looking at him. On the reverse are two draped youths, facing each other. Accession No. MS4007. Height, 30.9 cm. No. 85. An Attic oenochoe, in the form of the head of a woman, made in the redfigured period, or in the fifth century B. C. Around the head is painted a wreath of ivy leaves. Its provenance is unknown. Beside it has been put a toy pitcher of the same variety. Accession No. of large oenochoe, MS5409. Height 19.2 cm. Accession No. cf toy oenochoe, MS274. Height, 2.9 cm. No. 90. An Apulian askos (so called from a fancied resemblance to a wine skin), decorated with a myrtle leaf pattern. Provenance unknown. Accession No.MS407. Height, 8.7 cm. ; diameter, 9.3 cm. No. 44. An Italo-Ionian amphora, that is a vase made in Italy in imitation of the Ionian pottery. In shape it bears a close resemblance to the Tyrrhenian amphorae, but the technique is somewhat different, and bears a distant rela- tion to the class sometimes known as Pontic vases. It was found at Orvieto, and belongs in the sixth century B. C The obverse and reverse have the same decoration, in panels high on the body. On the neck and below the principal design are bands of palmettes and lotuses. The principal design in each case is of a horseman, riding to left, pursuing a deer, which is standing on its hind legs. Accession No. MS2491. Height, 33.6 cm. Furt- wangler, Sitzungsberichte der Akademie zu Munchen, 1905, p. 257, No. 13. E. H. H(all), Museum Journal, V, 1914, pp. 222-226, Fig. 113. No. 57. An Italo-Ionian amphora, with designs in panels. The shape is graceful enough, but the execution is careless, and shows a deplorable lack of skill. The lid is preserved, and rests on the vase. The vase has been overfired, hence the figures and body, instead of appearing black, have come out red. On the neck is a zigzag decoration; on the bcdy, on one side, is a warrior, nude, charging to right, with a shield in his left hand. On the other side is a 84 MEDITERRANEAN SECTION horse, facing right. This vase was found at Orvieto, and belongs in the sixth century B. C. It represents the last period of Italo-Ionian art, and, though of no artistic beauty, has a certain archaeological value. Accession No. MS2490. Height, 29 cm. E. H. H(all), Museum Journal, V, 1914, pp. 222-226, Figs. Ill, 112. No. 94. An Apulian krater, or mixing bowl, of the shape known as a bell krater. This shows the typical Apulian decoration for fairly large vases. The principal side shows a nude youth, standing before a seated maiden. He is wreathed and garlanded, and holds a mirror in his right hand. The maiden sits facing him; the upper part of her body is nude, and is rendered in white. Her garment is thrown across her knees. She offers food to the youth from a basket in her left hand. Her hair is very elaborately dressed. The drawing shows great freedom and knowledge on the part of the painter; but this knowledge has led to decadence, and to a lack of vitality, which makes this vase less pleasing than the Attic vases of a century earlier. Fourth century B. C. Accession No. MS4806. Height, 35 cm. No. 123. An Attic redfigured stamnos, or amphora with side handles like those of a hydria. The provenance is unknown; it was acquired by purchase in fragments in 1911, and put together in the Museum. The obverse shows the departure of a warrior. He stands in the centre, facing the left. He wears a short chiton, and a chlamys, or cloak, and is armed with a helmet, round shield (with the device of a lion) and spear. In front of him is a youth dressed for a journey, with a cloak and traveling hat, or petasos, and two spears. Behind the warrior is a woman, perhaps his wife. She faces towards him and holds an oenochoe in her right hand, and a kylix in her left. She wears a long chiton and himation. On the shield of the warrior is the inscription KAAOS, “handsome;” between him and the woman the inscription KAAE, referring to the woman. The reverse has in the centre a woman, facing the left, draped in a long chiton, holding a kylix in her right hand. On either side of her stands a draped youth, facing towards her. This vase belongs to the fine style of the red- 85 THE UNIVERSITY MUSEUM figured technique, 450-420 B. C., which corresponds roughly to the Age of Perikles. Accession No. MS4830. Height, 37 cm. E. H. H(all), Museum Journal, V, 1914, pp. 38-42, Figs. 21, 22 (attrib- utes to maker of vases in Munich and Petrograd, called by Beazley the Kleophon painter). Beazley, Attic Red Figured Vases in America, p. 171 (attributes to his Hek- tor painter). Hoppin, Handbook of Attic Red Figured Vases, Vol. II, p. 14, No. 5. No. 125. An Attic redfigured kelebe from Chiusi. On the obverse are two athletes, nude, in conversation with their trainer, who stands in the centre, with his head turned to the left, and whom they face. They are gesticulating with their hands. The trainer is draped in a long himation, and carries a staff; he moves to right, with his head turned to left. The reverse shows two nude athletes exercising. This vase was painted between 475 and 465 B. C. Accession No. MS2465. Height, 39.8 cm. Beazley, Attic Red Figured Vases in America, p. 59, No. 8. Hop- pin, Handbook of Attic Red Figured Vases, Vol. I, p. 453, No. 9. (Both Beazley and Hoppin attribute this vase to the socalled Flying Angel Painter.) Nos. 95, 96. These two vases, both amphorae, were found at Orvieto. They are very rare and unusual; and although they were found on an Etruscan site, seem to be of South Italian make, probably late Apulian. The place of their manufac- ture was probably Canusium (the modern Canosa di Puglia). They belong at the end of the fourth century B. C., or the beginning of the third. Most of the designs have worn away, but they consisted of decorative patterns, such as palmettes and other floral decorations. The handles are moulded, and decorated in polychrome, and end in the heads of sea horses. Accession Nos. MS2510, MS2511. Heights, 64.1 and 39.8 cm., respectively. No. 124. An Attic redfigured kelebe, found at Chiusi. On the obverse of the vase a banquet is depicted. Two bearded men recline on couches, facing left, each with a small table in front of him, on which the good things are spread. Between the two couches a third bearded man stands, 86 MEDITERRANEAN SECTION facing the right, playing the double flute. On the back are three youths in mantles, conversing. This vase is of the same period as No. 125, i. e., 475-465 B. C. Accession No. MS2464. Height, 39.8 cm. No. 122. An Attic redfigured stamnos, found at Orvieto, and put together from fragments. The subject, of athletes in the palaestra, or gymnasium, is interesting. There is a discus thrower in the centre, facing right, about to throw his discus; behind him is another athlete, with a jumping weight in his left hand, and his right arm extended behind him. Both of these athletes are nude. In front of the discus thrower stands the trainer, face to the front, draped in a himation, and carrying his long staff, with which he was accustomed to beat youths who were unskilful or disobedient. At the right is a flute player, facing the left, playing his flute, that the young athletes might do their exercises in cadence. At each end of the scene is a column, indicating the wall of the palaestra. Most of the reverse is missing, but it portrayed a similar scene. Here again there are two trainers and two athletes, one of whom may be another discus thrower. This vase was painted about 470 B. C. Accession No. MS4872. Height 36.5 cm. E. H. H(all), Museum Journal, IV, 1913, pp. 157-59, No. 11, Fig. 135. Beazley, Attic Red Figured Vases in America, p. 39 (attributes to the school of his Master of the Berlin Amphora). Hoppin, Handbook of Attic Red Figured Vases, Vol. I, p. 73, No. 91. No. 137. An Apulian bell krater, of unknown provenance, lent to the Museum by Mrs. John Kearsley Mitchell. This is of earlier date than No. 94, and more closely resembles Attic ware. On the obverse is a youth, seated, facing the right. He is nude, and his garment rests on the rock on which he sits. He holds a kylix in his left hand. In front of him stands a satyr, nude, facing the left. Behind the youth is a maiden. The youth may be the youthful Dionysos. On the reverse are two draped young men. Accession No. Loan G3. S. B. L(uce), Museum Jour- nal, VIII, 1917, pp. 188-96, Figs. 75. 76. A. J. A., XXII, 1918, p. 83. 87 THE UNIVERSITY MUSEUM BLACKFIGURED AND REDFIGURED KYLIKES. Case XV. The kylix, or drinking cup, was the favorite shape of the Greek vase painters. On it they put their very best work, and to many of these vases they signed their names, with as much conscious pride as any artist of today would show in signing one of his canvases. The large, almost flat, surfaces of the exterior give the painter plenty of space for original and pleasing compositions, while in the interior the usual treatment is to leave the whole in the black glaze, save for a medallion in the centre, in which a small scene is rendered. We have seen kylikes in the preceding case (Case XIII) and some fragments also in Case IX. On the earlier blackfigured kylikes, it will be noticed that a large part of the decoration consists of eyes, painted in black and white on the sides of the vase. These eyes are known as prophy- lactic eyes, and were doubtless put on the cups to avert the evil eye from the user. In Case IX, No. 51, a similar example from Ionia may be seen. The vases will be described beginning with the top shelf, and going from left to right. No. 66. A blackfigured kylix, with prophylactic eyes. The interior is undecorated. On the exterior, between the eyes, are, on one side, two nude youths, about to start wrestling, and, on the other, another nude youth before a sphinx, sugges- tive of the story of Oedipus and the Sphinx. From Orvieto. Accession No. MS2497. Height, 9 cm.; diameter, 22.8 cm. No. 68. A small blackfigured kylix on a low foot, similar to No. 67. Its exterior is decorated with two dancing satyrs and maenads, carelessly drawn, on each side. The prove- nance is unknown. Accession No. MS417. Height, 9.1 cm.; diameter, 21.5 cm. No. 97. A redfigured kylix, found at Orvieto. It dates at about 460 B. C. The workmanship is careless, and the subjects uninteresting. In the interior are two youths draped in himatia, facing each other and conversing. The exterior 88 MEDITERRANEAN SECTION has, on each side, a design of three young men, similarly draped, engaged likewise in conversation. Accession No. MS2496. Height, 7.2 cm.; diameter, 22.3 cm. Beazley, Attic Red Figured Vases in America, p. 132 (attributes to the Penthesilea master). Hoppin, Handbook of Attic Red Figured Vases, Vol. II, p. 348, No. 46. No. 64. An Attic blackfigured kylix, found at Orvieto, and put together from fragments. It is a beautiful example of unusual size. It has the design of prophylactic eyes, that is found on No. 51 in Case IX, and on Nos. 65 and 66 in this case, but this vase is Attic, not Ionic. This is proven by the color of the clay, which is redder than in the Ionic vases, and also by the bolder drawing of the Attic painter, who retains the conventional nose, but does away with the ears that are seen on the Ionic example. In the case of this vase, the bunches of grapes around the handles are a peculiarly Attic touch. This vase was made in the neighborhood of 525 B. C. Accession No. MS4851. Height, 12.2 cm.; diameter, 30.5 cm. E. H. H(all), Museum Journal, IV, 1913, p. 155, No. 8, and Fig. 133. No. 104. An Attic redfigured kylix, found either at Cortona or at Chiusi. In the inside a draped youth stands, facing the right, making offerings at a herm, or wayside image of a god, corresponding to the wayside shrines found today in Italy and Greece. On the outside the same design, of a winged Nike, or Victory, flying to left, between two youths draped in himatia, is repeated on both sides. The execution is careless and poor, and the vase dates about 460 B. C. Accession No. MS2440. Beazley, Attic Red Figured Vases in America, p. 132 (attributes to the Penthesilea master). Hoppin, Handbook of Attic Red Figured Vases, Vol. II, p. 347, No. 44. No. 67. A blackfigured kylix on a low foot, of unknown provenance. That it is of later date than the eye kylikes is shown by its careless execution. Its interest is derived from the subject that it portrays on both sides; the rape of the sea nymph Thetis by Peleus. Peleus faces the right; he 89 THE UNIVERSITY MUSEUM grasps Thetis round the waist. On either side is a Nereid, who is running away in terror. From this union was born the hero Achilles. This subject is repeated on the reverse. Accession No. MS418. Height, 9 cm.; diameter, 19.2 cm. No. 65. An Attic blackfigured kylix, of the regular type with prophylactic eyes. In the interior there is a gorgon’s head, bearded; while both sides of the exterior have the same design, a garlanded helmet between the two eyes, with bunches of grapes between the eyes and the handles. Found at Orvieto. Accession No. MS2498. Height, 8.6 cm. ; diameter, 22 cm. No. 103. A redfigured kylix of uncertain provenance, probably from Chiusi or Cortona. It is put together from a number of fragments, and is important, not only for the subjects shown, but for the fact that it bears the dedicatory inscrip- tion, partly retrograde, ZOAAKLVKOZ, “Lykos is fair.” This vase shows the influence of the famous mcker and painter Euphronios to a marked degree, and is probably the work of an artist who worked under him. In the interior is a nude youth with a staff; and it is here that the inscription is found. A pair of halteres, or jumping weights, lie on the ground, and a discus, in its case, hangs in the field. On the outside, one picture shows a pair of nude wrestlers, with their trainer standing over them, draped in a himation, with his staff. Behind his head is the retrograde inscription ZOAAK. At the left is a column, to represent the palaestra. In the field are a pair of halteres, a discus in its case, and two throwing spears. The opposite picture shows three athletes, one at the left holding a cord in both hands, moving to the left. In the, centre another reclines on the ground looking back toward the left, as if in conversation with the one at the left. Between them runs the retrograde inscription Z(0)AAK- The rope was used, perhaps for a contest something like our tug of war. At the right is a third athlete, prac- ticing the javelin throw. In the field are a bunch of thongs such as were worn by boxers, and four throwing spears. 90 MEDITERRANEAN SECTION Accession No. MS2444. Height, 9.5 cm. ; diameter, 22.4 cm. Furtwangler, Sitzungsberichte der Akademie zu Munchen, 1905, p. 259, No. 22, 1 . Bates, Transactions Dept, of Archaeology, University of Pennsylvania, Vol. H, Part II, 1907, p. 140-144, and PI. XXXV (attributes to Onesimos). E. N. Gardiner, Greek Athletic Sports and Festivals, p. 392, Fig. 122. A. J. A., XIII, 1909, p. 210. Beazley, Attic Red Figured Vases in America, p. Ill (attributes to his Lykos, Laches and Lysis group). Hoppin, Handbook of Attic Red Figured Vases, Vol. II, p. 170, No. 21. No. 102. A redfigured kylix, found at Chiusi, dating at a period between 470 and 460 B. C. In the interior is a woman, facing the left, standing in front of a chest, and raising the lid with her right hand. In her left she holds a small casket, perhaps for jewels. The treatment of the drapery, in fine lines, which reveal the difference in texture between the heavy himation and the thin inner chiton, shows great skill. On the outside are two scenes; in each, three women take part. In the first to be described, they are seated; one, at the left facing the right, plays the double flute; one, at the right, facing left, the castanets, while the third in the centre, facing left, holds a bunch of grapes. In the field hangs the flute case for the double flute. On the other side, the woman in the centre stands, facing left, a mirror in her right hand, her left hand extended behind her. The other two women are seated, and look toward her; they are engaged in making garlands. In the field are a pair of castanets. This vase is of the very best red- figured period, and seems to be by a pupil of Duris, though not by that painter himself. Accession No. MS2449. Height, 8.9 cm.; diameter, 23.3 cm. No. 100. A redfigured kylix found at Orvieto, and belonging at about 460 B. C. The interior has a design of two draped youths facing each other, engaged in conversation, much as in No. 97. On the outside are two designs. In one, a winged Nike, or Victory, walks to right towards a draped youth, who carries a staff. She stretches out her arms towards him. Behind her is another youth, similarly 91 THE UNIVERSITY MUSEUM draped. On the ground is a stool. The other side has a similar design, except that the Nike is there flying, and has a fillet in her hands. Accession No. MS2495. Height, 9.8 cm.; diameter, 23.7 cm. Furtwangler, Sitzungsberichte der Akademie zn Munchen, 1905, p. 259, No. 23, 2 (attributes to Penthe- silea master). Bates, Transactions Dept, of Archaeology, University of Pennsylvania, Vol. II, part II, 1907, pp. 152- 54, Fig. 9, and PI. XXXIX (attributes to School of Pen- thesilea master). A. J. A., XIII, 1909, p. 210. Miss Swindler, A. J. A., XIX, 1915, p. 406, No. 9 (attributes to Penthesilea master). Beazley, Attic Red Figured Vases in America, p. 132 (confirms Miss Swindler’s attribution). Hoppin, Handbook of Attic Red Figured Vases, Vol. II, p. 348, No. 45. No. 101. A redfigured kylix, found at Orvieto, and put together from fragments. The interior shows two draped women, one of whom is apparently doing a sleight of hand trick for the amusement and bewilderment of the other. The one doing the trick stands at the right of the scene ; she is taller than the other woman, and wears a chiton, with a himation loosely thrown over her left shoulder. The woman at the left is closely draped in a himation, and wears a snood over her hair. Around the edge of the inside runs a border of ivy leaves. The outside, much of which is lost, contains on each side a group of five figures, male and female, in conversation, very carelessly rendered. This vase is by all scholars who have seen it assigned to the hand of the Penthesilea master. It therefore dates at about 460 B. C. Accession No. MS3436. Height, 13.2 cm.; diameter, 30.7 cm. Furtwangler, Sitzungsberichte der Akademie zu Munchen, 1905, p. 259, No. 23, 1. Bates, Transactions, Dept, of Archaeology, University of Pennsylvania, Vol. II, Part II, 1907, pp. 146-52, Pis. XXXVII, XXXVIII. A. J. A., XIII, 1909, p. 210. Miss Swindler, A. J. A., XIX, 1915, p. 406, No. 8. Beazley, Attic Red Figured Vases in America, p. 132. Hoppin, Handbook of Attic Red Figured Vases, Vol. II, p. 348, No. 47. 92 MEDITERRANEAN SECTION No. 99. An Attic redfigurcd kylix, found at Orvieto. The preserva- tion is very poor. In the interior is a warrior, charging to left, his shield (device, a cock) on his left arm. On the outside is a scene of battle, that runs all around the vase. On one side, in the centre, a warrior, armed with a spear and crescentshaped shield (device, two birds), has driven to his knees another warrior, similarly armed (shield device, a tripod). At the right of this scene, another warrior, with a round shield (device, two dolphins) subdues his antag- onist, of whom only the head and shield (device, a tripod) remain. On the other side, in the centre, a warrior advances to the left in pursuit of his adversary, who runs from him. The pursuer carries a short sword with a curving blade, in shape very much like a Malay bolo, called by the Greeks a Konls, and a shield (device, the fore parts of a boar). Of the pursued, only the rear parts are preserved. At the right of this group, a warrior in Phrygian costume, with a pointed leather helmet, and carrying a shield (device, two dolphins) pierces with his spear a fallen warrior, who is armed with a short sword and a shield (device, wreath of ivy leaves). The interior, in the field, is the inscription, HOLA 2KAA = o Trai(s) *aXo? “the boy is fair;’’ on the first side to be described, in the field, is the inscription KAOZEJLILYKOS, which has been interpreted as ’EttiXvkos kcmXios, “ Epilykos is fair.” The other side has a repetition of the inscription on the inside. This vase belongs in the severe style of the red- figured technique, at about 500 B. C. Accession No. MS3499. Height, 9.6 cm.; diameter, 26.1 cm. Bates, Transactions Dept, of Archaeology, University of Pennsylvania, Vol. II, Part II, 1907, pp. 133-39, Fig. 1, and Pis. XXXIII and XXXIV (attributes to vase painter Epilykos). A. J. A., XIII, 1909, p. 210. No. 98. Redfigured kylix, found at Cortona. This is the latest example of vases of this shape in the collection, and belongs in the free or fine style of the redfigured technique, about 450-430 B. C. In the interior is a youthful knight, dressed in a chlamys, or traveling cloak, while fastened around his neck is a broad brimmed felt hat, or petasos, which was regularly worn by the ancient 93 THE UNIVERSITY MUSEUM Greeks when on a journey. His horse stands in front of him; both face to the left. Of the outside, one of the scenes is lost; the other shows the young knight in the centre facing the left, bidding farewell to a man, draped in a himation, leaning on a staff. Behind the youth is a woman, facing him, with a kylix in her right hand. These figures are to be thought of as the young knight’s father and mother. Accession No. MS2452. Height, 9.4 cm.; diameter, 23 cm. No. 105. A redfigured kylix, of uncertain provenance, but probably from Vulci. This is an important specimen, and extremely well painted. In the interior, a nude youth advances to right, face to the front, a chlamys thrown shawl fashion over his left arm, a long, knotted staff in his right hand. On his feet are low shoes. His gait suggests that he has been drinking. On the outside, one scene only is com- pletely preserved. It shows a procession of drunken youths. At the right, going right, is a nude youth with a chlamys and staff, similar to those of the youth in the interior design, and holding a skyphos in his left hand. Behind him comes a cithara player, draped in a himation, his head thrown back, as if singing to the accompani- ment of his instrument. He is followed by a nude youth, doing a violent dance, with a flute case in one hand, as well as a pair of castanets, wdfich he is playing. In the other hand he has another pair of castanets. Behind him is a knotted stick. The other side shows a similar procession. Of the figure at the right only the lower part of the legs and the ends of a flute case remain. In the centre is a flute player, nude, with a chlamys on his left arm, and behind him another tipsy youth, like the one in the interior. This vase has been attributed to the work- shop of the maker Brygos, and therefore dates at about 470 B. C. Accession No. MS2445. Height, 9.6 cm. ; diameter, 23.2 cm. Formerly in the Canino, Jarves, and Coleman collections. Furtwangler, Sitzungsberichte der Akademie zu Munchen, 1905, p. 259, No. 22, 2 (attributes to the Panaitios master). Bates, A. J. A., XVII, 1913, pp. 94 MEDITERRANEAN SECTION 479-486 (attributes to Brygos). Beazley, Attic Red Figured Vases in America, p. 96, No. 24 (attributes to his Painter of the Paris Gigantomachy Cup). Hoppin, Hand- book of Attic Red Figured Vases, Vol. I, p. 138, No. 92 (attributes to Brygos). BLACKFIGURED AND REDFIGURED PANEL Case XXV. AM PH ORAL No. 120. Redfigured panel amphora, painted approximately between 510 and 500 B. C., and bearing on the foot the signature of the potter Menon, (MENON EPOIE2EN). This is the only extant vase that bears the signature of this maker, and it is the only vase in the collection that is signed. It was found at Vulci. The obverse side shows in the centre, Apollo standing facing the right, (ATOAONOS). He is dressed in a long chiton, with sleeves, and high boots, and his hair is done in long corkscrew curls. Around his head is a wreath. He holds in his hands a large cithara, which he is playing. Behind him, stands his mother, Leto (VETO), dressed in chiton and himation, the latter draped over the back of her head. She faces the centre and holds a flow T er in each hand. At the right stands Artemis (APTEMIAOZ), dressed in a long sleeved chiton and himation, facing Apollo. She holds a flower in her right hand, and a branch of laurel in her left. Her hair is done in a knot behind, and she wears a fillet. In the reverse picture a young warrior is leading two horses towards the right. He w r ears a short chiton and a chlamys, and on his feet are high boots that come almost to the knees, and end in flaps. On his head is a pointed leather cap with flaps that come down over the ears, cheeks, and back of the neck. This costume has been identified as Thracian. With his right hand he holds the horses’ reins, with his left, two spears. In the field are the inscriptions 2KON0ON r(l2)TO rLPES. The manes of the horses are rendered in white overcolor. The inscription SKONHON is a corruption for ^av9a»v, “the 95 THE UNIVERSITY MUSEUM tawny ones” (i. e., horses). The other two inscriptions mean ‘‘the fire red” and “the faithful,” and are the names of the two animals. Accession No. MS5399. Height, 61.6 cm. Formerly in the Jarves and Coleman Collections. Noel des Vergers, L’Etrurie et les Etrusques, Vol. Ill, p. 8, PI. IX (fails to see signature). Klein, Meistersignaturen, 2d ed., p. 189 (attributes to Andokides). Six, Gazette Archeologique, 1888, p. 196 (denies Klein’s attribution). Norton, A. J. A., 1896, p. 4. Furtwangler, Sitzungsberichte der Akademie zu Mtinchen, 1905, p. 258, No. 21 (first to identify the signature of Menon). Bates, A. J. A., IX. 1905, pp. 68, 170-181, and Pis. VI and VII (makes Menon painter as well as potter). D. M. Robinson, A. J. A., XII, 1908, pp. 431-433 (discusses inscriptions on the vase). Bates, A. J. A., XII, 1908, pp. 435-36. E. H. H(all), Museum Journal, V, 1914, pp. 31-37, Figs. 17-20 (assigns to Ando- kides’s atelier; reveals the existence of new inscription). Buschor, Griechische Vasenmalerei, 2d ed., p. 152. Nicole, Corpus des Ceraminstes Grecs, 96. Hoppin, Euthymides and his Fellows, p. 37. Beazley, Attic Red Figured Vases in America, p. 6 (assigns to Menon painter). Hoppin, Handbook of Attic Red Figured Vases, Vol. II, p. 202, No. 1 (with plate). No. 111. Blackfigured panel amphora, found at Orvieto, and put together from fragments. On the obverse, the death of Achilles is represented. At the right, Ajax leans over a prostrate body. His back is turned to the centre of the painting, and his big Boeotian shield, with the elaborate device of a leopard or panther seizing a fawn, with a ser- pent underneath, is strapped to his back. The prostrate warrior wears a white breastplate, and under that a short chiton, adorned with an incised decoration. Over the breastplate is another black garment, probably a chlamys, with a very elaborate incised design. He wears greaves. His he’met, with its high crest of red, lies on the ground beside him. Beside him runs the retrograde inscription ZOdLI, the last part of the name Achilles. At the left of this scene a warrior, fully armed, a spear in his right hand, and a round shield, rendered in white overcolor, with the 96 MEDITERRANEAN SECTION device of a dog tearing a piece of meat, on his left arm, and wearing a helmet with a crest supported by a writhing serpent, advances to the left. Beside him is the inscrip- tion MENELAOS, Menelaus. He pierces with his spear a fleeing Ethiopian, who is nude, and carries a crescent shaped shield on his left arm, and a club, like the Zulu knob kerry, in his right hand. Frcm his breast, where the spear has pierced him, the blood rushes out. Over his head is the inscription AMAZOZ, i. e., Amasis, which is a non-Greek name applied to this Ethiopian. The reverse has as its subject the death of Antilochos. Very little of this scene has been preserved. The dead man, as on the obverse, lies in the middle; but here his head is at the left, and not at the right, as was that of Achilles. He wears a white breastplate, and greaves of red. At the left, over his head, is the retrograde inscription ZOXOLITNA, Antilcchos. Above him, three warriors in armor charge to the left, in pursuit of two nude figures, who are probably negroes, as in the case of the obverse. Of the negroes only the bodies from the shoulders down are preserved. Of the leading warrior only the lower part of the head, neck, right elbow, part of right hand, and left foot remain. Of the second warrior part of the crest of the helmet, the round shield (black with an outer band of red) and part of one leg are all that is left. The third warrior is better preserved, wears a helmet, and carries a spear in his right hand, and a round shield, rendered in white overcolor, and with the device of a raven in black, on his left arm. Beside him is the inscription EV