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         ------------------------------------------------------




                       HISTORY OF ANCIENT POTTERY

         ------------------------------------------------------

                                                              PLATE XLIX

[Illustration:

  ATTIC BLACK-FIGURED HYDRIA:
  HARNESSING OF HORSES TO CHARIOT
  (BRITISH MUSEUM).
]

         ------------------------------------------------------




                       HISTORY OF ANCIENT POTTERY
                       GREEK, ETRUSCAN, AND ROMAN

                     BY H. B. WALTERS, M.A., F.S.A.
                          BASED ON THE WORK OF
                              SAMUEL BIRCH

                             IN TWO VOLUMES
                               VOLUME II

                         WITH 300 ILLUSTRATIONS
                      INCLUDING 8  PLATES

                             [ILLUSTRATION]

                                NEW YORK
                        CHARLES SCRIBNER’S SONS
                                  1905

                               PRINTED BY
                             HAZELL, WATSON
                            AND VINEY, LD.,
                         LONDON AND AYLESBURY,
                                ENGLAND.




                         CONTENTS OF VOLUME II


                                                                    PAGE


 CONTENTS OF VOLUME II                                                 v

 LIST OF PLATES IN VOLUME II                                          ix

 LIST OF TEXT-ILLUSTRATIONS IN VOLUME II                              xi



                                PART III

                      THE SUBJECTS ON GREEK VASES

                                   –
                              CHAPTER XII
                  _INTRODUCTORY—THE OLYMPIAN DEITIES_

 Figured vases in ancient literature—Mythology and
 art—Relation of subjects on vases to literature—Homeric and
 dramatic themes and their treatment—Interpretation and
 classification of subjects—The Olympian deities—The
 Gigantomachia—The birth of Athena and other Olympian
 subjects—Zeus and kindred subjects—Hera—Poseidon and marine
 deities—The Eleusinian deities—Apollo and
 Artemis—Hephaistos, Athena, and Ares—Aphrodite and
 Eros—Hermes and Hestia                                             1–53


                              CHAPTER XIII
                  _DIONYSOS AND MISCELLANEOUS DEITIES_

 Dionysos and his associates—Ariadne, Maenads, and
 Satyrs—Names of Satyrs and Maenads—The Nether World—General
 representations and isolated subjects—Charon, Erinnyes,
 Hekate, and Thanatos—Cosmogonic deities—Gaia and
 Pandora—Prometheus and Atlas—Iris and
 Hebe—Personifications—Sun, Moon, Stars, and
 Dawn—Winds—Cities and countries—The Muses—Victory—Abstract
 ideas—Descriptive names                                           54–92


                              CHAPTER XIV
                            _HEROIC LEGENDS_

 Kastor and Polydeukes—Herakles and his twelve labours—Other
 contests—Relations with deities—Apotheosis—Theseus and his
 labours—Later scenes of his life—Perseus—Pelops and
 Bellerophon—Jason and the Argonauts—Theban legends—The
 Trojan cycle—Peleus and Thetis—The Judgment of Paris—Stories
 of Telephos and Troilos—Scenes from the Iliad—The death of
 Achilles and the Fall of Troy—The Odyssey—The Oresteia—Attic
 and other legends—Orpheus and the
 Amazons—Monsters—Historical and literary subjects                93–153


                               CHAPTER XV
                     _SUBJECTS FROM ORDINARY LIFE_

 Religious subjects—Sacrifices—Funeral scenes—The Drama and
 burlesques—Athletics—Sport and games—Musical scenes—Trades
 and occupations—Daily life of women—Wedding scenes—Military
 and naval subjects—Orientals and Barbarians—Banquets and
 revels—Miscellaneous subjects—Animals                           154–186


                              CHAPTER XVI
           _DETAILS OF TYPES, ARRANGEMENT, AND ORNAMENTATION_

 Distinctions of types—Costume and attributes of individual
 deities— Personifications—Heroes—Monsters—Personages in
 everyday life—Armour and shield-devices—Dress and
 ornaments—Physiognomical expression on vases—Landscape and
 architecture—Arrangement of subjects—Ornamental
 patterns—Maeander, circles, and other geometrical
 patterns—Floral patterns—Lotos and palmettes—Treatment of
 ornamentation in different fabrics                              187–235


                              CHAPTER XVII
                     _INSCRIPTIONS ON GREEK VASES_

 Importance of inscriptions on vases—Incised
 inscriptions—Names and prices incised underneath
 vases—Owners’ names and dedications—Painted
 inscriptions—Early Greek alphabets—Painted inscriptions on
 early vases—Corinthian, Ionic, Boeotian, and Chalcidian
 inscriptions—Inscriptions on Athenian vases—Dialect—Artists’
 signatures—Inscriptions relating to the
 subjects—Exclamations—Καλός-names—The Attic alphabet and
 orthography—Chronology of Attic inscriptions—South Italian
 vases with inscriptions                                         236–278


                                PART IV

                            ITALIAN POTTERY

                             CHAPTER XVIII
                  _ETRUSCAN AND SOUTH ITALIAN POTTERY_

 Early Italian civilisation—Origin of Etruscans—Terramare
 civilisation—Villanuova period—Pit-tombs—Hut-urns—Trench-
 tombs—Relief-wares and painted vases from Cervetri—Chamber-
 tombs—Polledrara ware—Bucchero ware—Canopic jars—Imitations
 of Greek vases—Etruscan inscriptions—Sculpture in
 terracotta—Architectural decoration—Sarcophagi—Local pottery
 of Southern Italy—Messapian and Peucetian fabrics               279–329


                              CHAPTER XIX
            _TERRACOTTA IN ROMAN ARCHITECTURE AND SCULPTURE_

 Clay in Roman architecture—Use of bricks—Methods of
 construction—Tiles—Ornamental antefixae—Flue-tiles—Other
 uses—Inscriptions on bricks and tiles—Military tiles—Mural
 reliefs—List of subjects—Roman sculpture in
 terracotta—Statuettes—Uses at Rome—Types and
 subjects—Gaulish terracottas—Potters and centres of
 fabric—Subjects—Miscellaneous uses of terracotta—Money-boxes
 —Coin-moulds                                                    330–392


                               CHAPTER XX
                             _ROMAN LAMPS_

 Introduction of lamps at Rome—Sites where found—Principal
 parts of lamps—Purposes for which used—Superstitious and
 other uses—Chronological account of forms—Technical
 processes—Subjects—Deities—Mythological and literary
 subjects—_Genre_ subjects and animals—Inscriptions on
 lamps—Names of potters and their distribution—Centres of
 manufacture                                                     393–429


                              CHAPTER XXI
         _ROMAN POTTERY: TECHNICAL PROCESSES, SHAPES, AND USES_

 Introductory—Geographical and historical limits—Clay and
 glaze—Technical processes—Stamps and moulds—_Barbotine_ and
 other methods—Kilns found in Britain, Gaul, and Germany—Use
 of earthenware among the Romans—Echea—Dolia and
 Amphorae—Inscriptions on amphorae—Cadus, Ampulla, and Lagena
 —Drinking-cups—Dishes—Sacrificial vases—Identification of
 names                                                           430–473


                              CHAPTER XXII
          _ROMAN POTTERY, HISTORICALLY TREATED; ARRETINE WARE_

 Roman Pottery mentioned by ancient writers—“Samian”
 ware—Centres of fabric—The pottery of
 Arretium—Characteristics—Potters’ stamps—Shapes of Arretine
 vases—Sources of inspiration for decoration—“Italian
 Megarian bowls”—Subjects—Distribution of Arretine wares         474–496


                             CHAPTER XXIII
            _ROMAN POTTERY (continued); PROVINCIAL FABRICS_

 Distribution of Roman pottery in Europe—Transition from
 Arretine to provincial wares—_Terra sigillata_—Shapes and
 centres of fabric—Subjects—Potters’ stamps—Vases with
 _barbotine_ decoration—The fabrics of Gaul—St.
 Rémy—Graufesenque—“Marbled” vases—Vases with inscriptions
 (Banassac)—Lezoux—Vases with medallions (Southern
 Gaul)—Fabrics of Germany—_Terra sigillata_ in Britain—Castor
 ware—Upchurch and New Forest wares—Plain
 pottery—_Mortaria_—Conclusion                                   497–555


 INDEX                                                               557

                      LIST OF PLATES IN VOLUME II

           (_Except where otherwise noted, the objects are in
                          the British Museum_)

   PLATE


   XLIX. Attic black-figured hydria: Harnessing of horses
         to chariot (_colours_)                           _Frontispiece_


                                                          TO FACE PAGE

      L. Contest of Athena and Poseidon: vase at
         Petersburg (from Baumeister)                                 24

     LI. Kotyle by Hieron: Triptolemos at Eleusis                     26

    LII. The Under-world, from an Apulian vase at Munich
         (from Furtwaengler and Reichhold)                            66

   LIII. Helios and Stars (the Blacas krater)                         78

    LIV. The Sack of Troy: kylix by Brygos in Louvre
         (from Furtwaengler and Reichhold)                           134

     LV. Scenes from funeral lekythi (Prothesis and cult
         of tomb)                                                    158

    LVI. Early Etruscan red ware                                     300

   LVII. Etruscan hut-urn and Bucchero ware                          302

  LVIII. Etruscan imitations of Greek vases                          308

    LIX. Etruscan antefix and sarcophagus                            316

     LX. Sarcophagus of Seianti Thanunia                             322

    LXI. Roman mural reliefs: Zeus and Dionysos                      366

   LXII. Roman mural reliefs: Theseus; priestesses                   370

  LXIII. Roman lamps (1st century B.C.)                              402

   LXIV. Roman lamps: mythological and literary subjects             412

    LXV. Roman lamps: miscellaneous subjects                         416

   LXVI. Moulds and stamp of Arretine ware                           492

  LXVII. Gaulish pottery (Graufesenque fabric)                       520

 LXVIII. Gaulish pottery from Britain (Lezoux fabric)                526

   LXIX. Romano-British and Gaulish pottery                          544




                LIST OF TEXT-ILLUSTRATIONS IN VOLUME II

    FIG.                                                           PAGE

    111. Gigantomachia, from Ionic vase _Mon. dell’ Inst._
         in Louvre                                                   13

    112. Poseidon and Polybotes, from   _Gerhard_
         kylix in Berlin                                             14

    113. The birth of Athena            _Brit. Mus._                 16

    114. Hermes slaying Argos (vase at  _Wiener Vorl._
         Vienna)                                                     20

    115. Poseidon and Amphitrite        _Ant. Denkm._
         (Corinthian pinax)                                          23

    116. Apollo, Artemis, and Leto      _Mon. dell’ Inst._           30

    117. Aphrodite and her following    Ἐφ. Ἀρχ.
         (vase at Athens)                                            43

    118. Eros with kottabos-stand       _Brit. Mus._                 48

    119. Hermes with Apollo’s oxen (in  _Baumeister_
         the Vatican)                                                51

    120. Dionysos with Satyrs and       _Brit. Mus._
         Maenads (Pamphaios hydria)                                  59

    121. Maenad in frenzy (cup at       _Baumeister_
         Munich)                                                     63

    122. Charon’s bark (lekythos at     _Baumeister_
         Munich)                                                     70

    123. Thanatos and Hypnos with body  _Brit. Mus._
         of warrior                                                  71

    124. Nike sacrificing bull          _Brit. Mus._                 88

    125. Herakles and the Nemean lion   _Brit. Mus._                 96

    126. Herakles bringing the boar to  _Brit. Mus._
         Eurystheus                                                  97

    127. Apotheosis of Herakles (vase   _Arch. Zeit._
         at Palermo)                                                107

    128. Peleus seizing Thetis          _Brit. Mus._                121

    129. Judgment of Paris (Hieron cup  _Wiener Vorl._
         in Berlin)                                                 122

    130. Capture of Dolon               _Brit. Mus._                129

    131. Pentheus slain by Maenads      _Brit. Mus._                142

    132. Kroisos on the funeral pyre    _Baumeister_
         (Louvre)                                                   150

    133. Alkaios and Sappho (Munich)    _Baumeister_                152

    134. Scene from a farce             _Brit. Mus._                161

    135. Athletes engaged in the        _Brit. Mus._
         Pentathlon                                                 163

    136. Agricultural scenes            _Baumeister_
         (Nikosthenes cup in Berlin)                                170

    137. Warrior arming; archers        _Hoppin_
         (Euthymides amphora in Munich)                             176

    138. Banqueters playing kottabos    _Brit. Mus._                181

    139. Maeander or embattled pattern                              212

    140. Maeander (Attic)                                           212

    141. Maeander (Ionic)                                           212

    142. Maeander and star pattern                                  212

    143. Maeander (Attic, 5th century)                              213

    144. Maeander (Attic, about 480
         B.C.)                                                      213

    145. Net-pattern                                                215

    146. Chequer-pattern                                            216

    147. Tangent-circles                                            216

    148. Spirals under handles
         (Exekias)                                                  217

    149. Wave-pattern (South Italy)                                 218

    150. Scale-pattern (Daphnae)                                    218

    151. Guilloche or plait-band
         (Euphorbos pinax)                                          219

    152. Tongue-pattern                                             219

    153. Egg-pattern                                                220

    154. Leaf- or chain-pattern                                     221

    155. Ivy-wreath (black-figure
         period)                                                    222

    156. Ivy-wreath (South Italian)                                 222

    157. Laurel-wreath (South Italian)                              223

    158. _Vallisneria spiralis_
         (Mycenaean)                                                224

    159. Lotos-flower (Cypriote)                                    224

    160. Lotos-flowers and buds         _Riegl_
         (Rhodian)                                                  225

    161. Palmette-and lotos-pattern
         (early B.F.)                                               225

    162. Lotos-buds (Attic B.F.)                                    226

    163. Chain of palmettes and lotos
         (early B.F.)                                               226

    164. Palmettes and lotos under
         handles (Attic B.F.)                                       227

    165. Palmette on neck of red-bodied
         amphorae                                                   228

    166. Enclosed palmettes (R.F.
         period)                                                    228

    167. Oblique palmettes (late R.F.)                              229

    168. Palmette under handles (South
         Italian)                                                   230

    169. Rosette (Rhodian)                                          231

    170. Rosette (Apulian)                                          231

    171. Facsimile of inscription on    _Brit. Mus._
         Tataie lekythos                                            242

    172. Facsimile of Dipylon           _Ath. Mitth._
         inscription                                                243

    173. Scheme of alphabets on Greek
         vases                                                      248

    174. Facsimile of inscription on    _Roehl_
         Corinthian pinax                                           251

    175. Facsimile of signatures on     _Furtwaengler and
         François vase                  Reichhold_                  257

    176. Facsimile of signature of      _Brit. Mus._
         Nikias                                                     259

    177. Figure with inscribed scroll
         (fragment at Oxford)                                       264

    178. Etruscan tomb with cinerary    _Ann. dell’ Inst._
         urn                                                        285

    179. Villanuova cinerary urns from  _Notizie_
         Corneto                                                    286

    180. Painted pithos from Cervetri   _Gaz. Arch._
         in Louvre                                                  293

    181. Canopic jar in bronze-plated   _Mus. Ital._
         chair                                                      305

    182. Etruscan alphabet, from a vase _Dennis_                    312

    183. Terracotta sarcophagus in      _Dennis_
         Brit. Mus.                                                 318

    184. Painted terracotta slab in     _Dennis_
         Louvre                                                     319

    185. Askos of local Apulian fabric  _Brit. Mus._                326

    186. Krater of “Peucetian” fabric   _Notizie_                   328

    187. Concrete wall at Rome          _Middleton_                 338

    188. Concrete wall faced with brick _Middleton_                 339

    189. Concrete arch faced with brick _Middleton_                 339

    190. Diagram of Roman wall-         _Blümner_
         construction                                               340

    191. Roman terracotta antefix       _Brit. Mus._                343

    192. Method of heating in Baths of  _Middleton_
         Caracalla                                                  347

    193. Flue-tile with ornamental
         patterns                                                   348

    194. Stamped Roman tile             _Brit. Mus._                354

    195. Inscribed tile in Guildhall
         Museum                                                     359

    196. Inscribed tile from London                                 363

    197. Mask with name of potter       _Brit. Mus._                377

    198. Gaulish figure of Aphrodite    _Blanchet_                  383

    199. Gaulish figure of Epona        _Blanchet_                  386

    200. Terracotta money-box           _Jahrbuch_                  390

    201. Terracotta coin-mould          _Daremberg and
                                        Saglio_                     392

    202. Lamp from the Esquiline        _Ann. dell Inst._           399

    203. “Delphiniform” lamp                                        399

    204. Lamp with volute-nozzle                                    400

    205. Lamp with pointed nozzle                                   400

    206. Lamp with grooved nozzle                                   401

    207. Lamp with plain nozzle                                     401

    208. Lamp with heart-shaped nozzle                              402

    209. Mould for lamp                 _Brit. Mus._                405

    210. Lamp with signature of Fortis  _Brit. Mus._                424

    211. Stamps used by Roman potters                               440

    212. Roman kiln at Heddernheim      _Ann. dell’ Inst._          444

    213. Kiln found at Castor                                       447

    214. Plan of kiln at Heiligenberg   _Daremberg and
                                        Saglio_                     450

    215. Section of ditto               _Daremberg and
                                        Saglio_                     450

    216. Ampulla                        _Brit. Mus._                466

    217. Lagena from France                                         467

    218. Arretine bowl in Boston: death _Philologus_
         of Phaëthon                                                484

    219. Arretine krater with Seasons   _Brit. Mus._                488

    220. “Italian Megarian” bowl        _Brit. Mus._                491

    221. Gaulish bowl of Form 29                                    500

    222. Gaulish bowl of Form 30                                    501

    223. Gaulish bowl of Form 37                                    502

    224. Vase of St.-Rémy fabric        _Déchelette_                517

    225. Vase of Aco, inscribed         _Déchelette_                518

    226. Vase of Banassac fabric from   _Mus. Borb._
         Pompeii                                                    525

    227. Medallion from vase of         _Brit. Mus._
         Southern Gaul: scene
         from the _Cycnus_                                          531

    228. Medallion from vase: Atalanta  _Gaz. Arch._
         and Hippomedon                                             532

    229. Jar from Germany, inscribed    _Brit. Mus._                537

    230. Roman mortarium from           _Brit. Mus._
         Ribchester                                                 551




                               PART III
                       THE SUBJECTS ON GREEK VASES




                              CHAPTER XII
                   _INTRODUCTORY—THE OLYMPIAN DEITIES_

    Figured vases in ancient literature—Mythology and art—Relation of
      subjects on vases to literature—Homeric and dramatic themes and
      their treatment—Interpretation and classification of
      subjects—The Olympian deities—The Gigantomachia—The birth of
      Athena and other Olympian subjects—Zeus and kindred
      subjects—Hera—Poseidon and marine deities—The Eleusinian
      deities—Apollo and Artemis—Hephaistos, Athena, and
      Ares—Aphrodite and Eros—Hermes and Hestia.


The representation of subjects from Greek mythology or daily life on
vases was not, of course, confined to fictile products. We know that
the artistic instincts of the Greeks led them to decorate almost every
household implement or utensil with ornamental designs of some kind, as
well as those specially made for votive or other non-utilitarian
purposes. But the fictile vases, from the enormous numbers which have
been preserved, the extraordinary variety of their subjects, and the
fact that they cover such a wide period, have always formed our chief
artistic source of information on the subject of Greek mythology and
antiquities.

Although (as has been pointed out in Chapter IV.) ancient literature
contains scarcely any allusions to the painted vases, we have many
descriptions of similar subjects depicted on other works of art, such
as vases of wood and metal, from Homer downwards. The cup of Nestor
(Vol. I. pp. 148, 172) was ornamented with figures of doves[1], and
there is the famous description in the first Idyll of Theocritus[2] of
the wooden cup (κισσύβιον) which represented a fisherman casting his
net, and a boy guarding vines and weaving a trap for grasshoppers,
while two foxes steal the grapes and the contents of his dinner-basket;
the whole being surrounded, like the designs on some painted vases,
with borders of ivy and acanthus. The so-called cup of Nestor
(νεστορίς) at Capua[3] was inscribed with Homeric verses, and the
σκύφος or cup of Herakles with the taking of Troy[4]. Anakreon
describes cups ornamented with figures of Dionysos, Aphrodite and Eros,
and the Graces[5]; and Pliny mentions others with figures of Centaurs,
hunts and battles, and Dionysiac subjects[6]. Or, again, mythological
subjects are described, such as the rape of the Palladion[7], Phrixos
on the ram[8], a Gorgon and Ganymede[9], or Orpheus[10]; and other
“storied” cups are described as being used by the later Roman emperors.
But the nearest parallels to the vases described in classical
literature are probably to be sought in the chased metal vases of the
Hellenistic and Roman periods.[11] We read of _scyphi Homerici_, or
beakers with Homeric scenes, used by the Emperor Nero, which were
probably of chased silver[12]; and we have described in Chapter XI.
what are apparently clay imitations of these vases, usually known as
“Megarian bowls,” many bearing scenes from Homer in relief on the
exterior.

In attempting a review of the subjects on the painted vases, we are met
with certain difficulties, especially in regard to arrangement. This is
chiefly due to the fact that each period has its group of favourite
subjects; some are only found in early times, others only in the later
period. Yet any chronological method of treatment will be found
impossible, and it is hoped that it will, as far as possible, be
obviated by the general allusions in the historical chapters of this
work to the subjects characteristic of each fabric and period.

Embracing as they do almost the whole field of Greek myth and legend,
the subjects on Greek vases are yet not invariably those most familiar
to the classical student or, if the stories are familiar, they are not
always treated in accordance with literary tradition. On the other
hand, it must be borne in mind that the popular conception of Greek
mythology is not always a correct one, for which fact the formerly
invariable system of approaching Greek ideas through the Latin is
mainly responsible. The mythology of our classical dictionaries and
school-books is largely based on Ovid and the later Roman compilers,
such as Hyginus, and gives the stories in a complete connected form,
regarding all classical authorities as of equal value, and ignoring the
fact that many myths are of gradual growth and only crystallised at a
late period, while others belong to a relatively recent date in ancient
history.[13]

The vases, on the other hand, are contemporary documents, free from
later euhemerism and pedantry, and presenting the myths as the Athenian
craftsmen knew them in the popular folk-lore and religious observances
of their day. It cannot be too strongly insisted upon that a
vase-painter was never an illustrator of Homer or any other writer, at
least before the fourth century B.C. (see Vol. I. p. 499). The epic
poems, of course, contributed largely to the popular acquaintance with
ancient legends, and offered suggestions of which the painter was glad
to avail himself; but he did not, therefore, feel bound to adhere to
his text. This will be seen in the list of Homeric subjects given below
(p. 126 ff.); and we may also refer here to the practice of giving
fanciful names to figures, which obtains at all periods, and has before
now presented obstacles to the interpreter.

The relation of the subjects on vases to Greek literature is an
interesting theme for enquiry, though, in view of what has already been
said, it is evident that it must be undertaken with great caution. The
antiquity and wide popularity of the Homeric poems, for instance, would
naturally lead us to expect an extensive and general use of their
themes by the vase-painter. Yet this is far from being the case. The
_Iliad_, indeed, is drawn upon more largely than the _Odyssey_; but
even this yields in importance as a source to the epics grouped under
the name of the Cyclic poets. It may have been that the poems were
instinctively felt to be unsuited to the somewhat conventional and
monotonous style of the earlier vase-paintings, which required simple
and easily depicted incidents. We are therefore the more at a loss to
explain the comparative rarity of subjects from the _Odyssey_, with its
many adventures and stirring episodes; scenes which may be from the
_Iliad_ being less strongly characterised and less unique—one
battle-scene, for instance, differing little from another in method of
treatment. But any subject from the _Odyssey_ can be at once identified
by its individual and marked character. It may be that the _Odyssey_
had a less firm hold on the minds of the Greeks than the _Iliad_, which
was more of a national epic, whereas the _Odyssey_ was a stirring
romance.[14] It may also be worth noting that scenes from the _Odyssey_
usually adhere more closely to the Homeric text than those from the
_Iliad_.

Another reason for the scarcity of Iliad-scenes may be that the Tale of
Troy as a whole is a much more comprehensive story, of which the
_Iliad_ only forms a comparatively small portion. Hence the large
number of scenes drawn both from the Ante-Homerica and the
Post-Homerica, such as the stories of Troilos and Memnon, or the sack
of Troy. The writings of the Cyclic poets begin, as Horace reminds us,
_ab ovo_,[15] from the egg of Leda, and the Kypria included the whole
story of the marriage of Peleus and Thetis, the subsequent Judgment of
Paris, and his journey to Greece after Helen, scenes from all these
events being extremely popular on the vases.[16] The _Patrokleia_ deals
with the events of the earlier years of the war, the _Aithiopis_ of
Arktinos with the stories of Penthesileia and Memnon, and the death of
Achilles, and the _Little Iliad_ of Lesches with the events of the
tenth year down to the fall of Troy. All provided frequent themes for
the vase-painter, as may be seen by a reference