for ΟΝΕΤΟΡΙΔΕΣ ΚΑΛΟΣ, ΜΕΜΝΟΝ ΚΑΛΟΣ," is not merely "the handsome Onetorides-the handsome Memnon ;" but rather the positive declaration, Onetorides is handsome! Memnon is handsome! Perhaps the ellipsis euoi dokeî is to be understood here, for on the inscribed vase at Munich we have ΚΑΛΟΣ ΝΙΚΟΛΑ, ΔΟΡΟΘΕΟΣ ΚΑΛΟΣ ΚΑΜΟΙ ΔΟΚΕΙ ΝΑΙ ΧΑΤΕΡΟΣ ΠΑΙΣ ΚΑΛΟΣ MEMΝΟΝ ΚΑΜΟΙ ΚΑΛΟΣ ΦΙΛΟΣ Καλὸς Νικόλα [os], Δυρόθεος καλὸς καμοὶ δοκεῖ ναὶ χάτερος παῖς καλὸς, Μέμνων καμοὶ καλὸς φιλὸς; the apostrophe is still more distinct in the inscriptions XAIPE37 and XAIPE KAI IIIEIME, 38 χαῖρε καὶ πίειμε, or ΧΑΙΡΕ ΚΑΙ ΠΙΟ ΜΕ, χαῖρε καὶ πίου μέ Hail and drink me! ᎾᎬ 40 41 39 ΚΑΛΕ ΗΟΠΟΣ ΠΙΕΣ 42 I am so good that you may drink me. KAAEAOKEI, kaλý dokeî,11 She seems fair. IIPOIIINEMH KATOHIΣ,"2 Take a sip, and do not lay me down unquafed! ΠΡΟΣΑΓΟΡΕΥΟ,43 προσαγορεύου, "Hail!" All these are modes by which the artist enhanced in the eyes of his customer the efforts of his trade or art. It is evident that such could only be applied to the productions of inferior hands, for neither the original nor the copies of the great masters of antiquity contain such light remarks; they are the tricks of sheer traders. The Kaλòs is added to names on vases, to recall to the purchaser the fame or beauty of the celebrated athletes, youths, and courtesans of the day. The inscription on a vase with red figures, representing Tithonos snatched by Eos to Heaven, lately discovered at Vulci, OYIANTOXEXTIOKOPINOO2, is of a like kind; for the noble treatment of the Vase prohibits the idea that it is the address of Aurora,-it is the potter's reflection on the subject-few could attain the felicity of the love of the immortal gods-his homely way of expressing by his local proverb οὐ παντός ἐστι κόρινθος, what a more elegant later writer has rendered familiar. Besides, Aurora has to chase, as in the instance of Cephalus, a reluctant lover, and the phrase is like-l'heure de berger ne sonne pas toujours-her love is scorned. 44 But there is another class of inscriptions which enter into the com 41 Gerhard and Panofka, Berlin's Antike Bild. 42 Cat. Dur. p. 295, no. 1006; Cf. 1003, 1007; Mus. Blac. pl. xvi. 5; Panofka, Recherches, p. 30, pl. v. 75. 43 Cf. Archæologia, 4to. Lond. 1831, p. 184; Mus. Etr. no. 563; Gerhard, Rapp. Volc. n. 779, 482; Bull. Inst. Arch. 1829, p. 140; Rapp. Volc. p. 80. 44 Annali. XIX. 1847, p. 233. Panofka supposes this to be the speech of Aurora. position of the subject of vases, to understand which is scarcely less essential than the names attached to the figures, viz., the speeches addressed by the persons represented to each other, introduced by the artists of the earliest styles. To this class must undoubtedly be referred many of the inscriptions called by archæologists illegible or unintelligible, but several of the words of which are capable of being resolved into appropriate expressions, although the rest are either expressed or distributed upon principles, the clue to which has not been detected. Some are, however, perfectly clear, and in many instances appear to have been taken from Scolia, or other poems which have not been preserved. One of the most interesting is undoubtedly that published by Ritschl, 45 from a vase in the Vatican. It is in the Doric dialect. On each side are two men-one young, the other of advanced years, with a dog. The inscription on one side is, ΟΖΕΥΠΑΤΕΡΑΙΘΕΠΛΟΥΣΙΟΣΓΕΝ, Ω Ζεύ πατέρ αἴθε πλούσιος Yevoiτo. "Oh Father Jove, will this harvest be rich ?" rather than yevoluav, Shall I be rich? for on the other side of the vase, where the two figures also stand, the answer is given, EAEMANEAENAEΟΝΠΑΡΑΒΕΒΑΚΕΝ, ἤδη μὲν ἤδη πλεόν παραβέβακεν. " It has al ready indeed more than exceeded." This seems to have a special reference to the same unrecorded local mythos, and the Doricism of the dialect suggests that it is an extract from some of the lyrical writers, if it is not indeed derived from some of the earlier fabulists-such as Æsop. The presence of the dog and the expression seem to refer to the avarice of Ancæus and his vineyard, although it is possible, but not probable, that a mere local tradition is intended. The most remarkable vase for its inscription is, however, undoubtedly that of the return of the swallow.46 This is not in the Doric but in the Ionic dialect, and from its style and metre of an early poem, much earlier than the fragment of Eubulus, and possibly one of the true odes (xeλidovioμara) of Anacreon to the bird, the later paraphrases of which have reached us. Its metrical arrangement was discovered by Hermann.“ The scene represents a man seated on an ocladias, (a) surrounded by three youths. ß. y. d. a. IAOXEAIAON. ß. NHTONHPAKAEA.2 Another of these epigraphical vases also has the speech of Eros to the two goddesses who stand before him. The inscription is upon an upright stele or pillar, disposed perpendicularly. It has been published as +ΙΗΣΑΝ ΜΟΙΤΑΝ ΣΦΙΡΑΝ, for "Ιησαν (ἵεσαν) μοὶ τὰν σφαίραν. This explanation, which supposes the use of the 7 in the place of the ‹, Ερως. Χρῆσαν(ον) μοὶ τὴν σφαίραν. 50 An expression of a very similar character occurs on a lecythus published by Stackelberg, 5" which was found in the Athenian graves. It represents three youths probably training for the pentathlon; one holds a leaping pole and quoit, and is named NE.... Σ KAAOΣ NéapXos Kaλós-Nearchos is brave! to whom the pædotribe, or epistates of the gymnasium, turns round and exclaims, AПO▲оΣTOAIAMEPION, "Aπodos τò diaμépiov, “give back the day's pay!" Another boy, Ainios, AINION KAAOZ, is crowned by the pædotribe, and a third, Charis, XAPIE KAAOZ, holds the halteres and leaping pole: before a pædotribe, behind whom is a mutilated inscription, ANT ΙΚΣΣΕΔΑ, probably the name of an artist, A[iyov]idns eypa[yev.] ... Traces of speeches occur also on some other vases with athletic scenes. There is in the British Museum an amphora of remarkably pale earth, resembling the vases of the style called National, i. e. Etruscan, in Italy, formerly in possession of Millingen," by whom it 48 In the Naples Museum. Millingen, Anc. Uned. Mon. Pl. xII. p. 30, and foll. Neapels Ant. Bildw. Z. vII. Schrank, 2, 1, 174. 49 Ueber den Styl und die Herkunft der bemahlten Griechischen Thongefässe. 8vo. Berlin, 1837, s. 183. 50 Die Gräber der Hellenen. taf. 12, no. 3. 51 Arg. ad Soph. Edip. Tyr. Schol. Aristides. Frommel, 8vo. Franc, 1826, p. 193, 245. c. Brunck, Analecta, III. 321. was ceded to the national collections. On one side are two men wrestling, and the inscriptions ΣΙΓΟΣΤΕΝΕΣ and ΣΙΚΛΟΣ, probably for Ιπποσθένης and Σιχλος, Hipposthenes and Sichlos: these are fol lowed by a boy leaping with a pair of halteres, or the leaping dumb bells, over a series of five upright points which mark the distance. This figure is accompanied by the inscription AYTOKENXY. This is not decypherable: the man who stands behind, has attached to him the expression ОAЕП02; and to the paidotribes behind. is ΘΥΠΕΣΘΕ, θυπέσθη, perhaps a dialectic form of ἐτυπέσθη. On the other side are also traces of inscriptions of a similar kind; for amidst a combat of warriors are the expressions ΠΟΚΘ ΠΙΨΕΣΟ ΛΠΙΣΣΕΣ OY.. OEIE QEZOA, In these is the Corinthian form of the K or Q,-in the latter word Keo0a probably the word ixés0a. On another vase, at present in the Museum of the Vatican, the subject of which is Edipus, named OIAIгOAEZ, Edipodes, in its Doric form-seated and listening to the sphinx-instead of that monster being accompanied by its name, are the words KAITPI, kai Tρinovs, taken from the ænigma, ἐστὶ δίπουν ἐπὶ γῆς καὶ τετράπον οὗ μία φωνὴ ΚΑΙΤΡΙΠΟΝ.53 An amphora found at Vulci of a style rather Nolan than Vulcian, having on one side a bearded man, half draped, and standing with the paẞoos, or staff, half draped, on a square pedestal, and rather resembling a statue than a figure in action, has also part of a verse. On the pedestal is inscribed aλov e; from the mouth of the figure issues the inscription HOA EПOTENTYPINOI.5 On the other side is a female playing on the double pipe, one of the auletrides who were the zest of ancient entertainments. This inscription has already occasioned much controversy. It is apparently part of an iambic dimeter cataleptic ode. 55 Ο δη ποτ έν Τυρρινω. Who formerly in the Tyrrhenian, (land, or sea.) Οι Ὧδε ποτ ̓ ἐν Τυρινῳ καλος εἰ, an expression applicable to many poets, perhaps more particularly to Arion. There is another remarkable metrical inscription placed on a stele between two draped youths, who are Eteocles and Polynices; above them in the area is a pair of dumb bells. It is the epigram 52 Mus. Etr. Vat. Pt. ii. T. LXXX. 53 Archæologia, 1834, p. 202; Mus. Etr. 54 This inscription has excited much observation since the time of its first discovery. Cf. Bulletini, 1837. Arch. 1839, p. 202. Vase, No. 797. 55 Millingen, Anc. Un. Mon. Pl. 31. Welcker, Sylloge Epigrammatum, 8vo. Bonn, 1828, No. 102, p. 138. of the tomb of Edipus, and occurs on a vase in the Museo Borbonico at Naples.56 ΝΟΤΩΜΕΝΜΑΛΑΧΗΝΤΕ ΚΑΙΑΣΦΔΗΛΟΝΠΟΛΥΡΙΖΟΝ ΚΟΛΠΩΔΟΙΔΙΠΟΔΑΝΛΑΙΟΥΥΙΟΝ ΕΧΩ, Νώτῳ μὲν μαλάχην τε καὶ ἀσφόδελον πολύριζον Κόλπα δ' Οιδιπόδαν Λαίου υἱὸν ἔχω. There can be no doubt but that this contains the epigram cited by Eustathius, as pointed out by Welcker.—I shall close this portion of the subject with one or two of the shorter expressions addressed by the figures on vases to each other, such as XAIPE, xaîpe-stop, ho! by which Apollo calls to Tityus, who attempts to ill-use his mother Leto." So indeed, instead of the names of the figures on an amphora, with red figures, published by Millin,58 and representing the combat of Pallas Athene and Enkelados, are the speeches of the two combatants, KAOIE, KEOMI; κalîe, “lay down!" kéoμat, "I place myself!" and the shout of the old Tyndareus on the cylix, published by M. Gerhard,59 XAIPE OEZEY, "Stop, Theseus," and the cry of Clytemnestra or Leda, ΕΙΔΟΝΘΕΜEN, not Ειδον Θεσεν, but ειδοςθεμεν, some irregular form from the verb eidéw, perhaps a kind of third person of the first aorist passive, as cidóolŋ μèv, it is known. 60 Among similar expressions, I am inclined to class EYOYMO, which has been read EYOYMOΣ by all who have published the Vase with the subject of Croesus mounted upon the funeral, at the foot of which stands a man with a torch, ready to fire the pyre. The restoration Evovμos, supposes that this is the name of the man, and it is indeed a good Attic name found on the vases in its patronymic Evovμions; but there is no Σ in both plates of the vase which have been published; and from a communication which I have lately received from M. De Witte, it appears doubtful whether such exists in the original. This makes me suspect that in this instance evevμo (v) is the word uttered by the man at the pyre to Croesus, the contracted form of evovμéov, "be of good cheer," "fear not," a valedictory address" similar to χαῖρε · προσαγορεύο (υ); and in the same form as this last word and the precited ido (v.) with the archaic o for ov ου; for on the reverse of this very same vase is ΠΕΡΙΟΘΟΣ for Περίθοος; on another of the Prince de Canino, on which is vase formerly in the collection 56 Lenormant et De Witte, 'Elite des Monumens Céramographiques, Pl. LVI. 57 Vases Peints. 58 A. V. taf. CLXVIII. 59 Duc de Luynes, Mon. In. de l'Inst. Arch. Pl. LIV. LV. Ann. v. p. 237. Millingen, Supp. Trans. R. S. Lit. Vol. 11., 4to. Lond. 1834, p. 28. 60 Euripides, Cyclops, 530. 62 That is in the form given by the Vase Artists, the first form might be di, the form ráλov. Arch. 1839, p. 209. B. 793. |