scenes from everyday life that o]en go unrecorded. 2. It expands our understanding of pain)ngs on a larger scale. 3. It extensively explores mythology/literature beyond the text. 4. Residue from pots gives valuable insight into the Greek diet.
basins. In the right-hand basin the clay has been cut into slabs for ease of handling. Although both scenes on the Robinson skyphos might be interpreted as showing a simple mass of raw clay, the different types of stippling incision strongly suggest two stages of purification comparable to the effects of the settling basins. Thus the herringbone-hatched mass on side B FIG. 5. Providence 25109. Red-figure lekythos The Kiln If you will pay me for my song, O po0ers, Then come, Athena, and hold thy hand above the kiln! May the kotyloi and all the kanastra turn a good black, May they be well ﬁred and fetch the price asked, Many being sold in the marketplace and many on the roads, And bring in much money, and may my song be pleasing. But if you (po0ers) turn shameless and deceigul, Then do I summon the ravagers of kilns, Both Syntrips (Smather) and Smaragos (Crasher) and Asbetos (Unquenchable) too, and Sabaktes (Shake-‐to-‐Pieces) And Omodamos (Conqueror of the Unbaked), who makes much trouble for this cra]. Stamp on stoking tunnel and chambers, and may the whole kiln Be thrown into confusing, while the po0ers loudly wail. As grinds a horse’s jaw so may the kiln grind To powder all the pots within it. [Come, too, daughter of the Sun, Circe of many spells, Cast cruel spells, do evil to them and their handiwork. Here too let Cheiron lead many Centaurs, Both those that escaped the hands of Herakles and those that perished. May they his these pots hard, and may the kiln collapse. And may the po0ers wail as they see the mischief. But I shall rejoiced at the sight of their luckless cra].] And if anyone bends over to look into the spy-‐hole, may his whole face Be scorched, so that all may learn to deal justly.
the figure ppears to be the base of the herm behind emphasized in the case of the youth to the B (fig. 2), where the herm base seems over him. mass of material in the center of each sonably be interpreted as clay-but not a parison with classical kilns shows little if nce in shape to the mass here."1 The two d examples for the study of Attic kiln are the seventh century kiln found under uildings at the site of the Tholos in the the fourth century kiln excavated in the 1" Considering the difference in dates, the arkably similar. In both cases, the kiln is in plan and has clay surfacing on the lls. A central column in both examples here was an upper chamber. This could een covered with a dome after the vases cked. The shape is paralleled by the kilns n the Penteskouphia plaquesl4 and on a kythos in Providence'" (fig. 5). The yphos, however, seems to show two some- nt subjects. On both sides the shape of the suggests a truncated cone rather than ristic dome profile of a kiln. Moreover, t of the surface is quite different on the nd in neither case is there any indication e, spyhole or door to the pottery chamber, e of which, from the examples on the uld normally be represented. Neither in surface treatment, then, do these masses ng but the vaguest resemblance to either d or the illustrated kilns. The craftsman- Theseus Painter is too good to allow us his as ineptitude on his part. An alterna- must be sought. ry part of a potter's workshop is a series r the preparation of the raw clay. "This hed . . . by mixing water with the clay he mixture stand in a large settling basin. mpurities fall to the bottom and the upper and water is pumped or bailed into an be seen in the courtyard of a modern Greek pottery workshop17 (fig. 6). At the far left is a mass of un- treated raw clay and in the center are two settling basins. In the right-hand basin the clay has been cut into slabs for ease of handling. Although both scenes on the Robinson skyphos might be interpreted as showing a simple mass of raw clay, the different types of stippling incision strongly suggest two stages of purification comparable to the effects of the settling basins. Thus the herringbone-hatched mass on side B FIG. 5. Providence 25109. Red-figure lekythos
aspect of Greek art to study? 2. How do the form of the pots correspond to their uses? 3. How is the painted decora)on on vases related to their func)ons? 4. How are Greek vases a0ributed to some ar)sts?