Fragments of Vases

18. Nude satyr treading out grapes. The type is the same as that of (e) on No. 17, and the vase was evidently made from a mould similar to No. 17. It had the same grapevine above and bunches of grapes below the figures.

19-52. Thirty-four fragments of similar vases, differing from one another only in the arrangement of the figures and the details. In some cases, the bunches of grapes under the feet of the figures are omitted. All the four types that appear on No. 17 are represented, but there are no new types. One fragment (No. 89) bears an inscription, (Per)en(ni).

(e) Kalathiskos Dancers Complete Mould

58. (Plate III). Mould for a large bowl. Pieced together from a number of fragments; one small section is entirely lost, but no essential part is missing. Diameter, 17. Height, 10.2.

Almost the entire surface is occupied by a single range of figures, the lower field being very narrow. The decorative patterns are:—below the lower field, a row of bosses; between the upper and the lower fields, a plain moulding; above the upper field, a tongue pattern, a row of bosses, and a plain moulding. The decoration of the lower field consists of a branch of ivy, with single leaves springing from it on either side in regular alternation. The point where each stem springs from the main stalk is marked by a bunch of berries.

The principal field is divided into four parts by four tripods set on high bases, which were evidently impressed in the mould by means of separate stamps; in one case, there is a considerable space between the tripod and its base. Three of the bases are exactly alike; they are set upon four low steps and finished off at the top with a low cornice with dentils. In the field between the steps and the cornice are three draped female figures in very low relief. All are dancing to the right, the first and the second looking round at the third. The details are not very clear. The first figure has her left hand at the side holding up the lower part of her drapery; the second has her left arm raised above her head, and with her right holds a flying end of the drapery of the first figure; the third holds the edge of her chiton in her left hand, and her right swings idly behind her. The fourth base is plain, except for the steps and the cornice and their mouldings. One of these near the top is slightly hatched, in a way that suggests an astragal. The tripods are similar in form and were all made with the same stamp, though they vary in their decoration. The simplest is the one which stands upon the plain base. This has the usual form of a rather shallow bowl set upon three legs. These are rectangular in plan, tapering toward the bottom and ending in lion's paws. One (in the center) is represented in front view, the others are in profile. The outer surface of the bowl presents a series of broad ribs (four appear between each pair of legs), and the upper edge has a plain moulding with a bead moulding above it. Upon this three sphinxes with outspread wings, one over each leg, serve as supports to an ornamental top, decorated at top and bottom with two plain mouldings. The other tripods are similar, but they have a double spiral on either side of the central leg, a conventional laurel leaf pattern between the two mouldings of the ornamental top, and between the two sphinxes there are slight traces of rings attached to the upper edge of the bowl. These details were clearly added after the tripod had been impressed in the mould. On a level with the top of the tripods, distributed symmetrically about the bowl, are eight bucrania, each joined to the next by a conventional garland (laurel leaf pattern) suspended from the horns. The inscriptions are placed just above two of these bucrania, exactly opposite each other, on one side Perenni, on the other, Cerdo. The tripods near which the inscriptions stand are distinguished from the others by having on either side of their bases three plant stems, the central one bearing a large flower.

In Ihe four fields marked off by the tripods are four dancing female figures of the type of the so-called " kalathiskos dancers." Two different types are represented here, the figures in opposite fields being exactly alike and clearly made with the same stamp. In the fields in which the inscriptions stand—type (a)—the maiden dances to the left, clad in a short chiton, fastened with clasps on the shoulders and girded high at the waist, so that it does not reach the knee. The flying folds are very carefully and delicately rendered. The figure stands on tiptoe, as usual. The lower body and the head are in profile, the upper body is turned so as to appear in three-quarters view. Both arms are bent at the elbow, the hands are clenched and rest on the left breast. Beneath the " kalathiskos " cap the hair appears as a mass of short curls. The figure in the other two fields—type (b)—is very similar. She also dances to the left, and wears the same short chiton and peculiar cap. Of the hands, however, only the right is brought to the breast; the left arm is thrown out behind the figure and the left hand is not clenched. In both types the head is slightly inclined, the gaze directed downward.

The kalathiskos dancers are among the commonest figures used to decorate Arretine vases of Class I. A good account of the different types is given by Dragendorff, B. J. 96, pp. 58-60. The two types of this mould correspond to his types 5 and 6. For published examples of similar figures on Arretine pottery, cf. Not. Scav. 1884, pi. 7, No. 2; Walters, II, pi. 66, No. 5; and in other materials,

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