No CrossRef data available.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
Published online by Cambridge University Press: 23 December 2013
The object of this paper is to bring before the notice of the Society two unpublished vases relating to the escape of Odysseus and his comrades from the cave of Polyphemus. I shall endeavour to show:
1st. The place that these two vases take in the history of vase painting, and certain special points of interest that attach to each of them.
2nd. The relation of the designs on each of these vases to what I must call the ‘typography’ of the myth they represent.
The two questions can in fact, as it is now well understood, scarcely be considered apart. To analyse a vase satisfactorily it is as necessary to consider its ‘typography,’ i.e. the exact form in which the legend is embodied, and the relation of that form to other forms preceding and following, as it is to discuss the actual technique of the design.
page 249 note 1 The whiteness of the ground is, owing to the necessity of shading, not very evident in the woodcut. On the obverse, as well as reverse, of the original, there are unintelligible inscriptions.
page 251 note 1 A tracing of the obverse of this vase, and also of the Lunghini vase, I owe to the kindness of Miss M. Malleson.
page 260 note 1 This attitude appears also in such vases as represent the blinding of Polyphemus.
page 261 note 1 The situla decorated with ivory, Mon. dell'I. x. 39, A. 1, is an instance of this from an older class of monuments.
page 262 note 1 Of 11 I have tried in vain to obtain the necessary particulars.