H Symposia Complete Mould

76. (Plate IY). The only break is at the bottom, where a small fragment is lost. There is only one field for decoration, set off above and below by patterns,—below, plain moulding, row of bosses, plain moulding, band of rosettes, plain moulding; above, row of eggs, row of bosses, and plain moulding. Besides these, near the top of the field, a conventional laurel leaf pattern with pendants at intervals runs around the vase. Diameter, 16. Height, 9.8.

In the field thus defined, four pairs of figures are represented, in each case a man and a woman reclining on a couch. The couches are all similar, and were evidently made with the same stamps, the

body of the couch, the legs, and the head and foot being impressed in the mould with small, separate stamps. In the figures, however, there is great variety, and no two pairs are alike. The detailed description begins with the figures below the inscriptions and goes from left to right.

  • a) The man reclines on a cushion at the head of the couch. His robe passes over his right shoulder and is wound about his left arm, which rests on the pillow. In his hair is a fillet. In his left hand he holds a vase or a box, from which he is apparently removing the cover with his right. The lower part of his body is hidden behind that of the woman. She rests her left arm on a cushion and turns toward her companion, stretching out her right hand toward the vase which he holds. She is dressed in a long chiton which leaves only the right shoulder and breast and the arms uncovered. Her hair is tied in a knot behind, with a single lock falling in front of the right shoulder. On her right arm she wears a bracelet. Between the two figures a Pan's pipe hangs from the conventional laurel leaf pattern which runs around the vase. In the field above the female figure, a loop of conventional laurel leaf pattern with tassel-like pendants is suspended. Above it is a rosette, on either side of which are the signatures,—at the left, M. Pererm, at the right, Ntcephor(us).
  • b) The man turns his head sharply to the right, as if to look at the group on the next couch. Only a small part of his body is visible; there is no indication of the drapery. Under his left arm is a large cushion, doubled over. The woman turns toward the man, pressing her left hand against the couch, and touches his chin with her right. He seizes her forearm with his left hand. She wears a thin chiton which does not cover her right shoulder. Her hair is confined by a veil (?), and on her wrists are bracelets. Under her left arm appears a cushion. Above, the space is filled by a Cupid dancing toward the right and carrying an amphora on his left shoulder. At each side of this figure, a flower hangs from the laurel leaf pattern. Beyond, at the left, hangs a bit of drapery (to suggest a curtain?), and behind this a girl gazes at the pair on the couch; only her head and right arm are visible. At the left of her, a flower hangs from the laurel leaf pattern.
  • c) The man has fallen asleep, with his right arm thrown over his head and his left hanging down and pressing into a large cushion. Only a small part of his robe appears, covering his right side. The stamp was pressed too deeply into the mould, so that the joining of this figure to the next is incorrect; the male figure projects in front of the female, though it is clearly conceived as disappearing behind her. Above, a Pan's pipe hangs from the laurel leaf pattern. The woman has raised herself on her left arm and looks over the man's head toward the group at the right. She wears a thin chiton, which has slipped from the shoulders, leaving the right breast uncovered. Her right arm is raised, but the hand seems to be empty. Above the woman's figure, the field is filled with a loop of laurel leaf pattern with pendants and a rosette, similar to those on the opposite side.
  • d) In the fourth group, the man reclines on a cushion, and has his left arm wrapped in his mantle. The upper part of this robe has slipped from his shoulders, so that his breast, which is rep-

resented almost in front view, is uncovered. His right arm is extended behind the woman's back. He wears in his hair a fillet with long ends. The woman's pose is similar to that of the man. She too reclines on her left arm, and turns to look at her companion, so that her upper body is in front view. She wears a long, high-girt chiton, which covers her whole body except the right arm and shoulder and the upper left arm. In her left hand she holds a wreath. Her left knee is raised and supports a lyre, which she holds in her extended right hand. Above, a large flower hangs from the laurel leaf pattern, and above the woman's feet the space is filled by a Cupid fliTTnlflT to the one in the opposite field.

The figures are for the most part skilfully modelled, though sometimes careless in details. The folds of the drapery in the female figures especially are gracefully rendered in low relief, and the variety of types makes this one of the most pleasing subjects in the whole range of Arretine work.

The types which appear in representations of symposia are discussed by Dragendorff, B. J. 96, p. 72; cf. Not. Scav. 1884, pp. 874f. Type (a), as described above, seems to be new, though the figure with the vase is very similar to one of the figures of Dragen-dorff's type 4 (cf. Not. Scav. 1884, pi. 9, No. 4). Dragendorff interprets this as a female figure, but the short hair makes it probable that it is male, as the figure on No. 76 certainly is. Type (b) is Dragendorff's type 8 (cf. B. J. 96, pi. 4, No. 10); type (c) is his type 7, type (d) his type 2 (cf. B. J. 96, pi. 4, No. 11 and Not. Scav. 1884, pi. 9, No. 5). For the inscription, cf. C.I.L. XI, 6700, 444.

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