VASE ROOM.

In the account which we shall give of the contents of this Room, we propose to follow the same plan which we have pursued in other parts of the Museum collections, to give first a general outline of the objects which may be found in it, and a rough classification of them, and then to select from each class a few specimens which it is worth while to notice more particularly. The labour of description is, however, much lessened in this room by the careful arrangement which it has already undergone, and it will be therefore only necessary for us to state preliminarily the order in which the vases are placed in the cases, and the different heads under which it will be convenient to describe them, with reference to the different styles of art to which they respectively belong. We may add that considerable progress has been made towards a complete catalogue of the whole collection of vases, and the first volume of this catalogue is now printed, and will be, in a short time, in the hands of the public.

Commencing on the left hand, as the Room is entered from the Egyptian Room,

Cases 1-5 contain the oldest specimens of Vases fabricated of a coarse brown ware, often in imitation of wooden vessels, by the ancient inhabitants of Etruria, and discovered for the most part at Vulci, Chiusi, and Cervetri (the ancient Cære).—These vases vary considerably in size, and have often figures upon them in relief; but no instances occur of the use of paint. Their date is probably between B.C. 660 and B.C. 416, after which period Greek influence appears to have prevailed over the native power of the Etruscan people. From their dark colour, the material of which they are made has a great resemblance to basalt.

Cases 6, 7 contain those vases which are next to the former in antiquity; with pale back-grounds and figures painted upon them in a deep reddish maroon colour. The representations on them are generally those of animals, as lions, stags, sphinxes, and cocks, with

borders composed of flowers and fantastic ornaments. These vases have been for the most part found at Vulci in Etruria, and at Nola in Campania, and have sometimes been called Nolan-Egyptian, or Phonician, because in their pattern they bear some resemblance to the Egyptian vases, though there can be little doubt that they are the productions of early Greek artists. They bear considerable resemblance to the vases found at Corinth by the traveller Dodwell; their date is from between B.C. 660 and B.C. 520, corresponding with the period of the Mythic arrival of the Greek potters, Eucheir and Eugrammos, who are said by Pliny to have been brought to Etruria by Demaratus from Corinth. By this means, it is possible that the antique style of vase painting, then in use at Corinth, may have been conveyed into Etruria. As compared with the first class we have mentioned, these vases may be considered to be of foreign origin.

Cases 8-19 contain early vases, with black figures upon red or orange-coloured back-grounds, with a considerable proportion of mythological subjects. They show an advanced style of workmanship both in their form and in the paintings on them, and some of them, from their size, are noble specimens of the art of pottery. The general character of the painting in the male figures is rude and clumsy, with great prominence of some of the muscles; but the drawing at the same time is often careful. In the female figures the eyes are generally long and almond-shaped. The drawing of the horses is generally very spirited and good. These vases are generally found at Vulci, Canino, and to the north of Rome.

Cases 20-30 contain the finest and most perfect specimens of ancient vase painting. They are found chiefly at Canino and Nola, and exhibit in the treatment of their subjects the utmost care and finish. The ground of these Vases is a black varnish, the figures being either left of the natural reddish colour of the clay, or painted of that colour.

Cases 31-55 are of a later style, and have been chiefly procured from the province of the Basilica, which lies to the south of Rome. Their subjects are for the most part selected from the Dionysiac cycle. Among them will be found, in Case 35, some rhytons or drinking-cups, fashioned in the shape of the heads of animals. Down the centre of the room, are placed specimens selected chiefly for the excellence of their workmanship, with one or more subjects painted on each side, and belonging to the last two classes. A large proportion of them have subjects from the Mythological or Heroic Legends. For convenience of subsequent description, we propose to adopt the following classification of the vases according to their art, which

will be found nearly coincident with the chronological arrangement we have just spoken of.

I. Early Italian Ware.

II. Black Etruscan Ware.

III. Red Etruscan Ware.

IV. Miscellaneous Varnished Ware, mostly of the Early

Period.

V. Italian Vases of Archaic Greek Style.

VI. Vases of Transition Style.

VII. Vases of the finest Greek Style.

VIII. Vases of the Basilicata and latest period.

Before, however, we proceed to individual description, it seems worth while to say a few words on the origin and progress of the art of pottery and vase painting in Italy.

Now, though nearly all the vases in the Vase Room were found in Italy, and are of Italian origin, there is good reason for supposing that the finest specimens of the workmanship of Etruria and of Magna Græcia were the result of their connexion with the Greeks: the Mythological subjects depicted on their vases and the art with which they are painted clearly point to such a connexion.

It must, however, be remembered, in attempting to trace the progress of this art in Italy, that there were from remote antiquity two distinct races occupying different portions of that Peninsula-the Oscan or Sabellian tribes in Lower and Central Italy, of which the Romans were descendants; and the Etruscans or Rasenians, in the district north of Tiber. The chief seat of the latter people was round Care and Tarquinii (Tarchonion). Both were affected by Hellenic influences, but in a different manner; the races of Southern Italy, chiefly by the Greek colonies, which settled in Magna Græcia, at Vulternum (Capua) and Nola; those of Northern Italy, by their intercourse with Corinth, as we have already mentioned. The temple architecture of the Etruscans was an offshoot of the Grecian Doric with considerable modifications, and their tombs, in the peculiarity of their construction, recall the Mausoleums of the Lydian rulers. From a general consideration of the remains of Etruscan art Müller has inferred that the sombre and severe spirit of the Etruscan nation has shown itself in Art to be much more receptive than productive, inasmuch as at its early acquaintance with Greek, and especially Peloponnesian artists, it faithfully appropriated their style, and adhered to it for centuries.

At the period, when Art in Greece had attained its highest development, the intercourse between the two nations was much interrupted, chiefly by the Samnite conquest of Etruria, about B.C. 420; while, on the other hand, the unity of the Etruscan race itself was inwardly too much broken and decayed to appropriate Art with equal success when carried to perfection: and, hence, subsequently to this period, we meet with few good specimens of genuine Etruscan Art.

I. Early Italian Ware.

Of these, one of the most interesting is No. 1.

This is an oval vase of coarse brown ware, in the form of the Tugurium, or rustic cottage of the early inhabitants of Italy, having at one end a moveable door, flanked by perpendicular ridges and grooves, which perhaps represent fluted pilasters. The surface of the vase appears to have been painted, as traces of a rude mæander pattern remain in several places. The interior is filled with burnt bones. This interesting specimen of the earliest Italian fictile art was found in 1817, in the Monte Albano, near the road from Castel Gandolfo to Marino, about thirteen miles from Rome, and was presented to the Museum by W. R. Hamilton, Esq.

No. 11 is a Cyathus of coarse brown ware and archaic workmanship, with the handle divided into two parts, so as to be held by separate fingers, and surmounted by projections for the thumbs. The body has round it three knobs, and a rudely hatched fret.

No. 10 is an Askos in coarse brown ware and archaic workmanship, having on the body feather-shaped ornaments formed of incised lines, and the neck encircled by seven parallel lines. The handle is ridged.

The general character of this class of vases is, as we stated, rudeness and coarseness of execution. They are evidently the work of the early people of Italy, before they had been influenced by Greek taste. These vases have been chiefly found at Cervetri, the ancient Cære.

II. Black Etruscan Ware.

The vases of this class do not differ very much from the preceding, but they show some progress towards both elegance of pattern and of shape. Certain peculiarities of form may be remarked in these two classes, indicating the origin of many of these early vases. Thus, Nos. 80-84 are evidently imitations of wooden structure. Nos. 169, 171, 173, 174, of metal work. No. 20, an Askos from the leather vessel which preserved the wine; and vases in the shape of a canopus, suggesting an Egyptian origin-such as Nos. 176*,

176**, 176***. The oldest have only a rude zigzag hatched pattern traced on their surface, the material being black all through; the representations of animals, projecting heads of animals, &c., and friezes, make their appearance subsequently. In some cases, these friezes appear to have been impressed from cylinders, which have been rolled over their surfaces. Human heads and figures occur still later, together with Caryatid forms, resembling those of Egypt, and used like pilasters to support capitals.

No. 37, which has been repainted in modern times, has its body and neck encircled by grooved lines, and the upper part of the handle formed in imitation of snakes' heads. No. 53 is a double vase with one handle. Its upper division is striated, and the lower encircled by a band of floral ornaments, which are incised upon it. No. 60 is a Cyathus with a foot; having round the mouth two zigzag incised bands, and a handle, which is ornamented with a lion's face, two ivy leaves, and a bud. No. 108 is a Kantharos, having round the body a row of lozenges, and another of intersecting hatched curves, with a row of flowers punched in, and grooved lines. The base is fluted. No. 163 is a Cyathus, the body of which is encircled by a row of female heads in relief, four in number, and the lip surmounted by five buds. On the handle is a male figure in relief, clad in a tunic which reaches to the loins, and wearing long hair, his head being surmounted by a bud. No. 165 is a Krater, supported by seven Caryatid figures with long hair in sleeveless tunics. Each holds in both hands above the head a basket. Round the body of the vase are seven fan-shaped ornaments punctuated, and four concentric grooved bands. No. 166 is a Krater supported by a central foot, round which two Caryatids are placed alternately, with two pilasters placed so as to imitate trellis work. The heads of the Caryatids are surmounted by a polos; they hold their hair in their hands, and their wings are pendant. The central pillar tapers spirally from a pierced base, and rude representations of dogs and birds are formed by the open work of the pilasters. The body of the vase is encircled by three parallel grooves, above which are fan shaped ornaments punctuated. At the bottom of the Krater, inside, are grooved lines radiating from a circle.

III. Red Etruscan Ware.

There are but few specimens of this ware; but it has considerable resemblance in style to the preceding class. All those in the Museum have been discovered at Cervetri. No. 184* is a jar in red grittish ware with a fluted body. On the shoulder is a group