(8) The Apulian amphora (Fig. 30) illustrates the form which, though generally adopted in Apulia, may have had its origin at Athens, as it is adopted for the fourth-century Panathenaic amphorae.[541] It is distinguished by its great size and egg-shaped body; the mouth is thick and high, spreading out like an inverted cone, and the neck is not cylindrical, but merges into the shoulder. A variety of the Apulian amphora, hardly common enough to form a separate class, was formerly known as the “candelabrum-amphora,” from its resemblance to an incense-burner (an object wrongly interpreted formerly as a _candelabrum_, or lamp-stand). Its peculiarities are the cylindrical body, tall neck, and elaborate handles in the form of double scrolls.[542] [Illustration: FIG. 30. APULIAN AMPHORA.] (9) The Campanian amphora is derived directly from the “Nolan,” and is in fact a local adaptation, but it was chiefly manufactured at Cumae.[543] It generally has twisted handles, and is painted in polychrome; the proportions are somewhat more elongated than those of the “Nolan” class. (10) A rare variety of the amphora is sometimes found in the red-figure period, with large spheroidal body and pointed base, intended to be placed in a separate stand. The conventional name of _diota_ is sometimes given to this form, from its imitation of the pointed base of the wine-amphora.[544] (11) The last variety of the amphora which calls for consideration is the wide-bellied type, usually called (on very slight authority) a _pelike_, πελίkη (Fig. 31).[545] The name was invented by Gerhard, and has been generally adopted since, but is only to be regarded as a conventional term. This form, which swells out towards the base, and has no stem or neck, is very rarely found before the fifth century,[546] but is common in the R.F. period, and in the Apulian style, in which its proportions are usually more slender. [Illustration: FIG. 31. SO-CALLED “PELIKE.”] The amphora when complete usually had a cover of clay, either coated with a plain black varnish or decorated with bands and patterns; it was lifted by means of a central knob. An amphora in the Berlin Museum (_Cat._ 1860) has a double cover, the inner one being of alabaster.