History of Ancient Pottery: Greek, Etruscan, and Roman. Volume 2 (of 2) — John Shaqi
History of Ancient Pottery: Greek, Etruscan, and Roman. Volume 2 (of 2)Walters, H. B. (Henry Beauchamp)
History
History of Ancient Pottery: Greek, Etruscan, and Roman. Volume 2 (of 2)
Walters, H. B. (Henry Beauchamp)
Mythology, Classical, in art; Pottery, Ancient; Pottery, Etruscan; Pottery, Greek; Pottery, Roman
Some description of the François vase has been given elsewhere (Vol. I.
p. 370)[35]; but as it is unique in its comprehensiveness, and as a
typical presentation of the subjects most popular at the time when
vase-painters had just begun to pay special attention to mythology, it
may be worth while to recapitulate its contents here. The subjects are
no less than eleven in number, arranged in six horizontal friezes, with
figures also on the handles, and there are in all 115 inscriptions
explaining the names of the personages and even of objects (_e.g._
ὑδρία, for the broken pitcher of Polyxena). Eight of these subjects
belong to the region of mythology:—(1) On the neck: the hunt of the
Calydonian boar, and (2) the landing of Theseus and Ariadne at Naxos,
accompanied by dancing youths and maidens. (3) On the shoulder: chariot
race at the funeral games of Patroklos, and (4) combat of Centaurs and
Lapiths (with Theseus). (5) On the body: the marriage of Peleus and
Thetis, attended by the gods in procession. (6) On the body: the death
of Troilos (see above), and (7) the return of Hephaistos to Olympos.
(8) On each of the handles, Ajax with the body of Achilles. On the flat
top of the lip is represented (9) a combat of pigmies and cranes; on
either side of the foot (10) a lion and a panther devouring a bull and
stag, Gryphons, Sphinxes, and other animals; and on the upper part of
the handles (11) Gorgons and figures of the Asiatic Artemis (see p. 35)
holding wild animals by the neck.
* * * * *
It is, of course, impossible to indicate all the subjects on the
thousands of painted vases in existence; and it must also be remembered
that many are of disputed meaning. The succeeding review must therefore
only be considered as a general summary which aims at omitting nothing
of any interest and avoiding as far as possible useless repetition. In
the references appended under each subject the principle has been
adopted of making them as far as possible representative of all
periods, and also of selecting the most typical and artistic examples,
as well as the most accessible, publications.[36]
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