History of Ancient Pottery: Greek, Etruscan, and Roman....

Under this heading are included all remaining vase-inscriptions, except a few from Italy. Their value to us, as Kretschmer points out, is not to be measured only by the mythological information they provide, or by the list of Athenian craftsmen and popular favourites which can be drawn up from them, but it is also largely philological. In other words, they illustrate for us the vernacular of Athens in the sixth and fifth centuries, just as the Egyptian papyri have thrown light on the Hellenistic vernacular of the second. In countless small details the language of the vase-painters varies from the official language of state documents and the literary standard of Thucydides, Sophocles, and even Aristophanes. The reason is, of course, a simple one—namely, that the vase-artists occupied a subordinate position in the Athenian state; they were mere craftsmen, of little education, and in all probability their spelling was purely phonetic.[2137] Hence we constantly find such forms as πίει for πίε, υἱύς for υἱός, or Θῆσυς for Θησεύς (see above, p. 237); and even the rich potter Hyperbolos is ridiculed by the comic poet Plato[2138] for saying ὀλίον (sc. oliyon) for ὀλίγον, and δῃτώμην for διῃτώμην.

Another interesting point is that many of the artists who have signed their vases were obviously not Athenians by birth. Thus we find such names as Phintias, Amasis, Brygos, Cholkos, Sikanos, Thrax,[2139] and even such signatures as ὁ Λυδός (or ὁ Σκύθης) ἔγραψεν. It is, then, evident that many of them were μέτοικοι or resident aliens, and consequently occupied but a humble rank in the social order of the city.[2140] One name, indeed, that of Epiktetos, is actually a slave’s name (Ἐπίκτητος = “acquired”).

We need not, then, be surprised at meeting with many un-Attic forms or spellings in the vase-inscriptions, which sometimes give a clue to the origin of the artist, and of which it may be interesting to give some specimens. Kretschmer notes that these variations are always Doric, never Ionic.

The commonest Doricism on Attic vases is the use of Α for H, of which there are many instances, such as , Δαιάνειρα for Δηιάνειρα[2141]; for Ἱμερόπη (B.M. E 440); for the Attic Οἰδιπούς.[2142] Such forms as Ὀλυσσεύς and Φερρέφασσα are also clearly un-Attic. On the other hand, the names Menelaos and Iolaos always appear in their Attic form Μενελέως, Ἰολέως. The above instances are all from proper names; but there are other remarkable instances, such as the use of καλά for καλή in .[2143] On one of his signed vases Exekias uses the un-Attic form , τέσ(σ)αρα, but, as Kretschmer notes, he also uses Ἰόλαος for Ἰολέως, and was probably not an Athenian. On a B.F. amphora in Rome (see below, p. 263) occurs the form παρβέβακεν.

Perhaps the most remarkable use of non-Attic Greek on a vase is in the case of the artist Brygos, who, as we have already pointed out, was of foreign origin. On a kylix in his style (B.M. E 69) we find the forms Δίπιλος, Νικοπίλη, Πίλων, and Πίλιππος. These were at one time referred to a Macedonian origin,[2144] but Kretschmer points out that that people used Β, not Π, for Φ. He aptly quotes the Scythian in the Thesmophoriasusae,[2145] with his πιλήσει, παίνεται, and κεπαλή, as giving a likely clue to the home of this dropping of the aspirate.[2146]

The painted inscriptions on the Attic vases may be divided into three classes: (1) those relating to the whole vase and its purpose, such as artists’ signatures; (2) those relating to the designs on the vase, i.e. explanatory inscriptions, and those found on Panathenaic amphorae; (3) those which stand in no direct relation to the vase, such as the so-called “love-names” or “pet-names,” and interjections such as “hail,” “drink deep,” etc. The incised inscriptions have already been discussed.

The artists’ signatures first call for consideration. In relation to their works they are fully discussed elsewhere (Chapters IX., X.), but the present may be regarded as a convenient opportunity for some general outline of the style and palaeography of these inscriptions.

Klein in his Meistersignaturen (2nd edn.) reckons a total of ninety-five signatures, a number which has probably been largely increased since he wrote in 1887. These names he finds distributed over some 424 vases, one name, that of Nikosthenes, occurring on no fewer than seventy-seven; he divides them into four classes, as follows: (1) masters in the B.F. method; (2) masters combining the two methods; (3) masters in the R.F. method (including S. Italy vases); (4) masters whose names appear on vases without subjects. These four classes are not mutually exclusive, as names in (1) and (3) appear again in (2) and (4).

The form (3) may possibly indicate the priority of the artist, but it is more probable that it was adopted as forming an iambic trimeter. When ἐποίησεν only occurs on a painted vase, it is generally to be assumed that the potter is also the painter.

The older artists avoided, as a rule, the imperfect ἔγραφε or ἐποίει, but its use came into fashion for a short time among the early R.F. artists, such as Andokides, Chelis, and Psiax, who use ἐποίει (Vol. I. p. 430); it was again adopted by the Paestum and Apulian schools, as a modest affectation that their work was as yet unfinished.[2147] But the majority preferred the more decided aorist, indicating completeness. The word με or ἐμέ is usually added by the earlier artists, as in the instance already quoted from Exekias. Generally speaking, ἔγραψεν rarely occurs on B.F. vases, ἐποίησεν being the rule. A rare form of inscription is the formula ἔργον (τοῦ δεῖνα), as in the doubtful signature of Statios[2148]; and even more unique is the use of the word κεραμεύειν by the early Attic potter Oikopheles,[2149] as a synonym for ποιεῖν. Other peculiarities of signature are to be seen on the works of Lykinos (ἠργάσατο), Paseas (Πασέου τῶν γραμμάτων), and Therinos (Θερίνου ποίημα).[2150]

The potter sometimes added the name of his father, either as being that of a well-known man, or to distinguish himself from others of the same name. Thus Timonidas of Corinth signs Τιμωνίδας ἔγραψε Βία (sc. son of Bias); Tleson, Τλήσων ὁ Νεάρχου; Eucheiros, Ὁργοτίμου υίυς (the son of Ergotimos); Euthymides, , ὁ Πολίου. The latter in one instance not only gives his patronymic, but challenges comparison with his great rival Euphronios, in the following terms: , ὁς οὐδέποτ(ε) Εὐφρόνιος, i.e., “Euphronios never made anything like this.”[2151] Other peculiarities are: the omission of the verb, as was sometimes done by R.F. artists (e.g. Psiax); or, on the contrary, the simple ἐποίησεν, without a name, sometimes found on R.F. kylikes of the Epictetan school[2152]; or the addition by the artist of his tribe or nationality. Among the latter we have Kleomenes, Teisias, and Xenophantos, who style themselves Ἀθηναῖος, and Nikias, who not only gives his father’s name, but also his deme in Attica:

Two other artists call themselves ὁ Λυδός (the Lydian) and ὁ Σκύθης (the Scythian). Smikros signs one of his vases in the Louvre[2153] ΔΟΚΕΙΣΜΙΚΡΩΕΙΝΑΙ, “It seems to be Smikros’ work.” There are also frequent vagaries of spelling, as in Φιτίας for Φιντίας, Πάνφαιος or Πάνθαιος for Πάμφαιος, and Ἱέπων for Ἱέρων. Sakonides once spells his name Ζακωνίδης, and Nikosthenes once uses the koppa Ϙ for Κ. Fuller information in regard to this subject may be found in Klein’s admirable work; there is also much of interest relating to the R.F. cup-painters in Hartwig’s exhaustive treatise. A complete list of all known artists’ names is given at the end of this chapter.

We now come to the inscriptions which have relation to the subjects depicted on the vases. These are seldom of a general kind, having reference to the whole composition; but on a Panathenaic amphora in Naples a boxing scene is entitled , “general maul,”[2154] and on another in Munich over a foot-race is written, , σταδίου ἀνδρῶν νίκη,[2155] while B.F. lekythos in the same collection with Dionysos and dancing Maenads is inscribed .[2156] On a vase with a Homeric subject is , and on one with a scene from Theban legend .[2157] Localities are sometimes hinted at by the use of such words as (κρήνη) on the François vase, where Polyxena goes to the fountain, or by the Καλλιρρ(ό)η κρήνη on the British Museum hydria (B 331) with girls drawing water at the fountain of Kallirrhoë. More often names are given to inanimate objects like the θᾶκος (seat) and ὑδρία (pitcher) on the François vase, σταθμός on the Arkesilas cup, the βῶμος (altar) on a vase in Munich (Cat. 124), λύρα (lyre) on a cup in Munich (333), and θρονός (throne) on an amphora in the Louvre.[2158] On a washing-basin on a R.F. vase published by Tischbein appears the word , i.e. “public baths.”[2159] The word τέρμων sometimes appears on a stele on later vases.[2160] Animals are also occasionally named, such as the ὗς on the Munich vase already quoted (333).[2161]

But the greater majority of these inscriptions refer to the names of persons, deities, and mythological figures, the name being usually in the nominative, but occasionally in the genitive, with εἶδος or εἰκων understood.[2162] Sometimes generic names or nicknames are given to ordinary figures in genre scenes, as Ἀρχεναύτης, “the ship’s captain”; Κώμαρχος, “leader of the revels”; or, again, Πλήξιππος for a horseman, Τόξαμις and Κιμμέριος for a Scythian bowman.[2163] Names of real contemporary persons are occasionally introduced, as on a hydria by Phintias, on which his comrade Euthymides and the “minor artist” Tlenpolemos are represented, with names inscribed[2164]; and on a stamnos by Smikros at Brussels the artist introduces himself and the potter Pheidiades at a banquet.[2165] Although proper names usually stand alone, they are sometimes accompanied by some interjection, as ὁδὶ Μενεσθεύς, “Here is Menestheus,”[2166] Σφίγξ ἥδε χαῖρε, “This is the Sphinx; hail!”[2167] or in the form of a phrase, as Ἑρμῆς εἰμὶ Κυλλήνιος.[2168] So also we find Ἅλιος γέρων, “the old man of the sea,” for Nereus[2169]; “Nestor of Pylos”[2170]; Διὸς φῶς, for Dionysos[2171]; , “the son of Zeus,” for Herakles[2172]; ταῦρος φορβάς, “the grazing bull,” for the metamorphosed Zeus (a doubtful instance).[2173]

Besides the names of figures and objects, words and exclamations are sometimes represented as proceeding from the mouths of the figures themselves, in the same manner as on the labels affixed to the figures of saints in the Middle Ages. They vary in length and purport, but in some cases they appear to be extracts from poems or songs, or expressions familiar at the time, but now unintelligible or lost in the wreck of Hellenic literature. They are found on both B.F. and R.F. vases, but more commonly on the former, and generally read according to the direction of the figure, as if issuing from the mouth.

Thus a boy pouring wine out of an amphora cries, , ἔ(γ)χει ἡδ[ὺν] οἶνον, “Pour in sweet wine”[2174]; over the first of three runners in a race appears νικᾷς, Πολυμένων, “Polymenon, you win”[2175]; again, Amphiaraos is exhorted to mount his chariot with the word ἀνάβα,[2176] or one personage says to another, χαἶρε or πῖνε καὶ σύ.[2177] Sometimes the words are evidently those of a song, as on a R.F. kylix at Athens, where a man lying on a couch sings an elegy of Theognis beginning ὦ παίδων κάλλιστε, “Fairest of boys!”[2178] Another sings , which has been recognised as an inaccurate version of an Aeolic line, καὶ ποθήω καὶ μάομαι.[2179] On a red-figured vase in the British Museum (E 270) a man accompanied by a flute-player has an inscription proceeding from his open mouth, which runs, , ὡδέ ποτ’ ἐν Τύρινθι; evidently the beginning of a song, “Here once in Tiryns....” On a stamnos in the British Museum (E 439) the letters ΝΟΝ appear before the mouth of a Seilenos, and evidently represent notes of music.[2180]

On a psykter by Euphronios[2181] a courtesan playing at kottabos casts the drops out of a cup with the words , τὶν τάνδε λατάσσω Λέαγρ(ε), “To thee, Leagros, I dash these drops.” Another kylix (Munich 371) represents a surfeited drinker on a couch, saying, οὐ δύναμ’ οὔ, “I can no more!”

To turn to another class of these expressions, we have a Panathenaic amphora in the British Museum (B 144), on which a herald proclaims a victor in the horse-race as follows: , Δυ(σ)νείκητου ἵππος νικᾷ, “The horse of Dysneiketos[2182] wins.” On another of the same class[2183] is an acrobat on horseback before judges, of whom one cries, , καλῶς τῷ κυβιοτῇ[2184] τοι, “Bravo, then, to the acrobat.” A boy walking with his dog calls to it, , Μελιταῖε (i.e. “Maltese (?) dog”).[2185] A charioteer calls to his horses, ἔλα, ἔλα, “Gee up!”[2186] Women weeping over a corpse cry, οἴμοι, “Woe is me!”[2187] In a representation of Oedipus and the Sphinx on a R.F. vase in Rome the words , καὶ τρίπουν, occur, evidently with reference to the well-known riddle.[2188]

An interesting bit of dialogue appears on a B.F. vase,[2189] which represents boys and men watching a swallow, evidently the first of the returning spring; one boy says, ἰδοὺ χελιδών, “See, the swallow”; to which a man replies, νὴ τὸν Ἡρακλέα, “Yes, by Herakles!” Another boy joins in with αὑτηί, “There she is,” and ἔαρ ἤδη, “It is already spring.” Another good instance is on a B.F. vase in the Vatican.[2190] On one side we see the proprietor of an olive garden extracting oil from the olives, with the prayer, ὦ Ζεῦ πάτερ, αἴθε πλούσιος γέν[οιμ’ ἄν, “O Father Zeus, may I be rich!” while on the other he sits over a full vessel, and cries to the purchaser, , ἤδη μέν, ἤδη πλέο(ν) παρβέβακεν, “Already, already it has gone far beyond my needs.”[2191]

To conclude with a few miscellaneous and unique inscriptions, we have firstly, on a vase in the British Museum (E 298), a tripod, on the base of which are the words Ἀκαμαντὶς ἐνίκα φυλή, showing that it is intended for a monument in honour of a choragic victory, with the name of the victorious tribe. On a sepulchral stele on a B.F. funeral amphora at Athens[2192] are the words (now nearly obliterated) ἀνδρὸς ἀπ[οφθιμ]ένοιο ῥάκ[ος] κα[κ]ὸν [ἐν]θάδε κεῖμα[ι, “Here lie I, a vile rag of a dead man.” Similarly, on a sepulchral plaque at Athens are the words, , “This is the grave of Areios.”[2193] In a representation of Sappho reading from her poems, she holds an open roll, on which are visible the words Θεοί, ἠερίων ἐπἐων ἄρχομαι ἄλλ[ων] ... ἔπεα πτερόεντα[2194]; and in the well-known school-scene on the Duris vase in Berlin[2195] a teacher holds a roll, on which are the words (in Aeolic dialect, and combined from the openings of two distinct hymns):

A small fragment of a red-figure kylix (?) of fine style, found at Naukratis in 1899 (and now in the Ashmolean Museum at Oxford),[2197] has a similar scene of a dictation lesson. A seated figure unrolls an inscribed scroll, on which is the boustrophedon legend, στησίχορον ὕμνον ἄγοισαι, while another figure, of which the right hand alone remains, is writing on a tablet (Fig. 177).