No CrossRef data available.
Article contents
Some Vases in the Lewis Collection
Published online by Cambridge University Press: 23 December 2013
Extract
On March 31st, 1891, died Samuel Savage Lewis, librarian of Corpus Christi College, Cambridge, and one of the original members of the Hellenic Society. To his college he left a large collection of coins, gems and miscellaneous antiquities, among them the following vases:
(1) Red-figured kotyle, from Castellani Collection.
Castellani Sale Catalogue (Rome 1884), p. 12, No. 67 (not figured).
(A) Goddess running off with youth, who holds a large lyre.
(Plate XIII.)
(B) Two youths in attitudes of alarm; one holds a double flute.
(Plate XIV.)
Under each handle is a large double palmette from which spring elaborate palmette and tendril ornaments on either side (Fig. 1).
Purple is used for the letters, the cord of the lyre on (A) and the hair fillets of the youths on (B).
Details are represented in the main by black relief lines; the less important body muscles of the youths by brown glaze lines.
- Type
- Research Article
- Information
- Copyright
- Copyright © The Society for the Promotion of Hellenic Studies 1921
References
1 De Ridder, 846 (ii. p. 497, Fig. 120 and Pl. III.). This is another kotyle, of the developed fine style contemporary with Polygnotus (the vase painter). The subject is continuous all round, two of Tithonos' companions, a musician and a huntsman (the latter through confusion with the Kephalos legend?), being named Priamos and Dardanos, thus showing that the artist definitely had the Tithonos legend in mind.
2 On a contemporary lekythos in Madrid (Leroux, 159; Ossorio, Pl. XXXVI.) the youth is named Kephalos. Such a figure, however, is unsuited to the Kephalos legend, and the ascription is probably a painter's error.
3 Another instance is a kotyle in Florence (4228), contemporary with the Paria vase.
4 E.g. the New York stemless kylix, A.J.A. 1915, p. 405, Fig. 3, and the twist-handled amphora (present whereabouts un known), Mon. In. iii. Pl. XXIII.
5 In the British Museum ‘Pilipos’ kylix, E 68, a similar figure is dancing. This may have been intended here, though the effect is rather that of sitting.
6 Cf. similar representations on B.M. E 38 (F.R. 73), by Epiktetos, , and B.M. E 49 (W.V. vi. 10)Google Scholar, by Douris.
7 F.R. 135.
8 Best published in the 1888 Burlington Club Catalogue, No. 8, Pls. IV.–VI.; also Hartwig, Pls. XLVII., XLVIII. = Hoppin, i. p. 387. The much-restored kylix in St. Petersburg (Hartwig, Pls. XLVIII, and XLIX.) is also interesting in this connexion.
9 Hoppin, i. pp. 310–11 : F.R. 73 = Hoppin, i. p. 313.
10 Mon. In. x. Pls. XXIII., XXIV. = Hoppin, ii. p. 251.
11 Museo Italiano, iii. Pl. II. = Hoppin, i. p. 153.
12 The presence of a small and inconspicuous palmette under each handle hardly influences the general unity of the design.
13 F.R. 22 = Hoppin, i. p. 391.
14 F.R. 123 = Hoppin, ii. p. 422.
15 Thus the Pamphaios kylix, which is adorned outside and in with eleven running warriors, all exactly alike save for their shield device, can hardly be quoted as an instance of design at all. It merely betokens lack of ideas on the part of the artist.
16 A.J.A. 1916, Pls. II.–VI. = Hoppin, i. p. 393.
17 W.V. vi. Pl. VII.; Hoppin, i. p. 245, from photos.
18 F.R. 46 = Hoppin, ii. p. 63.
19 A.J.A. 1917, Pls. I.—III. = Hoppin. ii. pp. 68–9.
20 F.R. 53 = Hoppin, i. pp. 266–7.
21 J.H.S. xxvi. (1906), Pl. XIII, (outside only); Murray, , Designs, Pl. XIV. 55Google ScholarPubMed (inside only).
22 Arch. Anz. 1892, p. 101, Fig.
23 Hartwig, Meisterschalen, Pls. XXXIV., XXXV.
24 Hartwig, , Meisterschalen, Pls. XXXIX., XL. = Hoppin, ii. p. 47Google Scholar.
25 This was suggested by Van Branteghem as long ago as 1888.
26 Petersen, E., Jahrbuch, xxxii. (1917), pp. 137–45Google Scholar, Pl.
27 Such subjects as the murder of Thomas à Becket and the life of St. Francis form no exception to this rule, as they had become an accepted part of the religion of the age, no less than the legends of such saints as St. Catharine and St. Margaret, by the time they found their way into art. The same can hardly be said of the occupation of Salamis!
28 50th Wpm. (1890), p. 163, note.
29 F.R. 8.
30 For undoubted kerchnoi from Eleusis see Philios, Ἐφ.Ἀρχ., 1885, Pl. IX., Nos. 5, 7, 8, and 9. Miss Harrison, in her Prolegomena, talks as if the Melian vases were identical with these, which is, of course, not the case.