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A Caeretan Hydria in Dunedin
Published online by Cambridge University Press: 23 December 2013
Extract
The vase here described was recently presented to the Otago Museum in commemoration of the distinguished services of Dr. H. D. Skinner, for many years Director of the Museum. It was formerly on the Rome market. It is restored from fragments, and missing pieces of the neck, mouth, and shoulder have been replaced by plaster. The joints and plaster restorations have been carefully painted over, and there has been a good deal of repainting where the glaze was worn. On the mouth, neck, and shoulder the restorations, though extensive, merely fill gaps in a well-defined pattern, and can therefore be passed over without a detailed description. The repainting of the figures on the body of the vase will be described at greater length below. The clay is a fine, clear red, rather lighter than the usual colour of Attic. The principal dimensions of the vase are as follows (measurements in metres):
The body is ovoid, with high, flat shoulders. It is separated from the wide flaring foot by a low, raised ridge. A similar ridge separates the shoulder from the neck, which is cylindrical with slightly concave sides. The lip flares widely. The side handles are small and slope slightly upward; they are attached just above the widest part of the vase and below the sharpest curve of the shoulder. The vertical handle is divided by three deep, vertical grooves. The inside of the mouth and the upper surface of the foot are ornamented with rounded tongues of black glaze. These were painted alternately red and white, but the paint, which was applied on top of the black glaze, is now much worn. On the lower part of the body are short black rays; above these is a rather wider zone with a chain of five-petalled lotuses linked to five-leaved palmettes.
- Type
- Research Article
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- Copyright
- Copyright © The Society for the Promotion of Hellenic Studies 1955
References
1 Dunedin E.53.61. Professor A. D. Trendall, by whose advice the vase was purchased, very kindly supplied me with microfilms of the articles by Santangelo and Devambez to which reference is made below. Professor G. R. Manton read over the first draft of this paper and added a large number of valuable observations. The staff of the Library of the University of Otago has also assisted me in many ways. But I have boen unable to refer to more than a small part of the publications dealing with Caeretan hydriai, and have not therefore attempted a full study of the subject, which would demand not only a complete mastery of the literature but also a first-hand knowledge of the material. Such a study is, I believe, about to be produced by a scholar possessing the necessary qualifications; in the meantime, a description of our vase, together with an attempt to ascertain its relationship to some others of this class, may be of value. I have mentioned in the notes only those works which I have been able to consult. A fuller bibliography may be found in the articles of Santangelo and Devambez and in the relevant volumes of the CVA. The photographs are the work of Miss Daphne Marshall.
2 For this pattern, which is often used on these vases, see Santangelo, , Mon Piot XLIV 7.Google Scholar
3 Santangelo (op. cit. 14) points out that these features show the influence of metal vases.
4 White is used for the flesh of Herakles and Eurystheus on Louvre E 701, for one of the pairs of combatants in the centauromachy on Louvre E 700, for the young warriors or hunters on Louvre E 699, for the rider on Louvre E 697, for Kephalos on Louvre E 702, and for two of the four hoplites on the British Museum hydria BM 59. These are only a few examples where sex is beyond question. See also Cook, R. M., BSA XLVII 141 n. 78Google Scholar for the use of white paint for male flesh on Clazomenian vases. The heavily emphasised pectoral muscles are exactly like those of Nessos and Tityos on the vases published by Devambez, (Mon Piot XLI).Google Scholar More usually this painter uses a continuous curving line, but he is certainly not trying to draw a girl's breasts.
5 As are those of the horses on Louvre E 697, 699.
6 E 698. CVA Louvre IX, Pl. 612. (Compare especially our left-hand eagle with ibid.fig. 5.) Webster, , JHS XLVIII 196 ff.Google Scholar Catalogue No. 17.
7 Op. cit. 204.
8 E 697. CVA Louvre IX, Pl. 609 and 611. Webster, op. cit. Catalogue No. 15.
9 Op. cit. 204.
10 CVA Musée Scheurleer I, pl. 19, figs. 3 and 4. Webster, op. cit. Catalogue No. 13.
11 In the following discussion I have only considered those vases about which I could form an opinion from the photographs available to me. My method is based upon that of Webster, and has led me to very similar results. I hope that it may prove applicable to the rest of the material.
12 E 700. CVA Louvre IX, Pl. 613, 614 fig. 2, and 615. Webster, op. cit. Catalogue No. 10.
13 CVA Louvre IX Text III Fa p. 7.
14 Devambez, , Mon. Piot. XLI 29 ff.Google Scholar
15 Op. cit. 45, Fig. 8.
16 Op. cit. 31, Fig. 1.
17 Leto rather than Ge; op. cit. postscript on p. 62.
18 E 696. CVA Louvre IX, Pl. 609, 610. Webster, op. cit. Catalogue No. 5.
19 E 702. CVA Louvre IX, Pl. 616 and 618. Webster, op. cit. Catalogue No. 9.
20 The Villa Giulia Europa (Webster, op. cit. Catalogue No. 6) is known to me only from the drawing in Poulsen, Delphi, fig. 21 on p. 79.
21 Op. cit. 204.
22 Webster, op. cit. Catalogue No. 11 (Pl. XI 2).
23 E 701. CVA Louvre IX, Pl. 616–17. Webster, op. cit. Catalogue No. 2.
24 BM 1923, 4–19, 1. Webster, op. cit. Catalogue No. 18 and Pl. XI, 1, and XII.
25 Devambez, op. cit. esp. Pl. VI.
26 Webster, op. cit. Catalogue No. 11, Pl. XI 2 and Fig. 1.
27 Webster, op. cit. Catalogue No. 19. Known to me only from Pfuhl, Malerei und Zeichnung der Griechen, Fig. 151. My opinions, not being based on pictures of the whole vase, may be completely wrong.
28 E 699. CVA Louvre IX, Pl. 613 and 614. Webster, op. cit. Catalogue No. 16.
29 Op. cit. 204.
30 Webster, op. cit. Catalogue No. 1. The best illustrations available to me have been Pfuhl, op. cit. Figs. 152, 153.
31 On the fringed linen καλάσιρις of the Egyptians see Herodotus II 81; Pfuhl, op. cit. I 182.
32 Mingazzini's article (Bollettino d'Arte, 2nd Ser. III, 1924) has not been available to me; his views are rejected by Webster (op. cit. 203 f.). Beazley believes that the female figures on Santangelo's hydriai A and B once had white paint on their flesh (Santangelo, op. cit. 43). See also R. M. Cook, op. cit. 147, for the absence of polychromy in Ionia proper.
33 See Santangelo, op. cit. 33 ff. for a fuller discussion and references, especially p. 37 for references to the Hellenism of Caere.
34 I cannot accept Devambez's view that the scene on the shoulder of the Tityos hydria represents a ritual dance in honour of Artemis of the Ephesians. Nor am I wholly satisfied by comparisons between the Caeretan hydriai and the sculptures of the archaic temple of Artemis at Ephesus.
35 Pallottino, , Etruscan Painting, 37 ff.Google Scholar
36 Pallottino, op. cit., pl. on p. 39.
37 Ibid., pl. on p. 41.
38 Ibid., p. 38.
39 Ibid., p. 40.