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For the art of forming vases of potteryware, and of ornamenting them with paint ings, may not only have existed in various degrees of perfection in different places at the same time, but the state of this art had also, without doubt, been very different at different periods. And not only have earthen vases of very different degrees of fineness been manufactured at the same time and in the same places, but also plain vases, without any paintings, in all other essential respects agreeing with the painted ones, and destined for the same general purposes.

Of the painted earthen vases, dug up in different parts of Italy, those found in Lower Italy and Sicily are the finest. The best of all, however, are those found at Nola, both in respect to the excellence of their materials, and the elegance of their forms, together with the beauty of the paintings and the lustre of their varnish-like coating. Many of them are so perfectly preserved, that you might imagine them newly made. Next to the Nola vases, are those of Locria and Agrigentum. Many vases have also been found near Pæstum, the ancient Capua (now S. Maria di Capua), Sancta Agatha Sothorum, Trebbia, Aversa, Avella, Tarentum, and in some other places of Apulia, and of the Neapolitan province named Abruzzo, the greatest number of which are remarkable for their beauty. Of late years, vases have also been dug up in the vicinity of the cities of Angi and Pomarico in Calabria. The largest and best collection of vases found in these and other places of Lower Italy and Sicily, arranged most elegantly and in the best order, is preserved in the Royal Museum of Naples; this collection has, of late, been much enlarged by the purchase of the extensive one made at Nola, belonging to the family of Vicenzio. Of the private collections at Naples, the most remarkable is that of the Archbishop of Tarentum, which is preserved at his seat near Portici, elegantly adorned with choicest works of ancient and modern art; and what

renders this collection still more deserving of attention is, that it is illustrated by a a learned description drawn up by its accomplished proprietor himself. A great number of vases, dug up in Lower Italy, have also been deposited in the Vatican Library at Rome, and the public Museum of Florence.

In the middle part of Italy painted vases have been found much more rarely. In some places of ancient Etruria, as for example, near Voltena and the cities of Chinsi, Viterbo, and Corneto, a few were formerly dug up, some of which are preserved in the Florentine Museum+. The true Etruscan

* Millingen, Peintures ant. et ined. de Vases Grecs, p. vii.

+ Flea ad Winkelmannum, t. i. p. 215.Meyer in Boettiger's work, entitled, Griech

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vases may be distinguished from others by the inferior quality of their materials, by the dulness of their coating, but especially by the greater rudeness of their forms and painting, as well as by certain characters of the representations peculiar to the ancient Etruscan art. These differences may be very clearly seen in the Florentine Collection, where authentic Etruscan vases are placed in the same apartment with others of Grecian origin. In the great collection at Naples, I was shown only a single mutilated true Etruscan vase.

No vestiges of ancient painted vases have, in so far as I know, been found in Italy to the North of the Appenines. Those which are preserved in the Museum of Bononia, Turin, and other cities of Northern Italy, have migrated into those parts from southern Italy.

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It is not my design, in this treatise, to institute any inquiry into the periods at which these vases were manufactured, not only because investigations have already been made with respect to this point by many authors of great learning, but especially also because the settlement of it would involve an examination, entirely foreign to my views, of the various inscriptions observed on those vases, as well as of the subjects and characters of the paintings. It is undoubtedly more easy to discover the period up to which these vases may have been fabricated, than the time at which the art, commonly considered as of Grecian invention, but assuredly possessed of claims to a much higher antiquity †, took its origin.

It seems not improbable, that the latest period at which these vases were manufactured in Italy, was the time of the civil wars. The Roman vases, of latter periods, dug up in many parts of Italy, as at Nola, Pompeii, and Rome, have a very different character. They have no paintings, but are frequently ornamented with raised figures, and usually have a red coating; characters which are also observed in the Roman vases dug up in some parts of Germany and France.

To a later period also belongs the vases dug up in great quantity near Aretium, so far down as the time of Vasarius §, many of which are preserved in the Florentine MuThese vases have a red or blackish coating, and, in other respects, are of similar composition with the oldest Etruscan vases]]

seum.

ische Vasengemalge, i. ii. p. 5, 20.-Peintures de vases antiques vulgairement appellés Etrusques, gravées par A. Clener; accomp. d'Explications par A. L. Millin, 1808, vol. i. p. 6, note 34.

* Lanzi de vasi antichi dipuiti, volgarmente chiamati Etruschi. Dissertazioni tre, p. 23.

Ritter, i. cit. P. 230. Millingen, Peintures antiques, p. 8. § Lanzi, l. c. p. 39. Il Ibid. p. 37.

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with which they are sometimes confounded. It seems not improbable, that they belong to the Aretine vases, so highly esteemed in ancient times, which have been praised by Martial, and taken notice of by Pliny and Isidorus, although it is difficult to arrive at any certainty with regard to this point.

The painted earthen vessels of Grecian origin, which have been found in Lower Italy, seem to be of different ages. According to the opinion of the celebrated Millingen, and some other antiquaries, an opinion which seems to be well grounded, the vases commonly, but incorrectly, called Egyptian, whose paintings are of a dusky red colour upon a yellow ground, in which condition some vases have also been dug up in Greece, are the most ancient §. The vases, commonly called Sicilian, which have black paintings upon a reddish yellow ground, are, according to the same opinion, less ancient, but more so than the vases with reddish yellow figures and ornaments upon a black ground, which are the most common of all. This opinion has indeed been lately opposed by the celebrated Rossi, who has shown the vases with black figures to be of the same age with the rest: his arguments, how ever, do not seem to invalidate the former opinion**

Many vases, either having no paintings at all, or, instead of figures, having other singular ornaments, have been dug up, both along with painted vases and by themselves, not only in Lower Italy, but also in ancient Etruria, which have either the natural colour of burned clay, or a black coating, or have been manufactured of clay evidently mixed with some black matter. The ornaments upon the black vases are very frequently of a white colour, sometimes yellow or red. Not only the forms, but also the colours of the black coating and ornaments, as well as the other circumstances, correspond with those which are observed in vases adorned with more perfect and more complex paintings; from which it may be supposed that these rude and less elegant vases are of the same age and manufacture with those more beautiful productions of art, which, without doubt, were more highly esteemed in ancient, as they are in modern times.

The vases dug up in Lower Italy are found in Grecian sepulchres more or less

Lib. xiv. Ep. 98.

+ Hist. Nat. Lib. xxxv. cap. 12. Origen, 1. xx. cap. 4.

§ Mezer in Boetlinger's work, Griechische Vasengemälde, 1. 2.

Mengen, Peintures Antiques de Vases

Grecs, p. iv. v.

Ibid. Third letter addressed to M. Millingen by the Chev. Rossi.

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concealed beneath the surface of the ground, and constructed of stone in a rectangular form, placed near the remains of the dead body, and sometimes also suspended upon the walls; as is clearly shewn by the excellent representations delineated by Knipius, added to Teischbein's plates of vases, as well as by the accurately executed models exposed in the royal collection of vases at Naples. Many vases are often found in the same sepulchre, of various sizes and qualities. Some of these sepulchres which are small, and constructed of rough stones, usually contain a smaller number of a coarse kind. In other sepulchres of larger size, constructed of hewn stones, and covered over with slabs like the roof of a house, some of which I have seen before the gates of the ancient Pæstum, vases of superior quality are found in greater number*. Sometimes they occur in their original position, and in a perfect state of preservation; at other times, however, they are crushed and destroyed. Some of them have retained in a surprising degree their polish and original colours; others, especially those dug up in moist places, are slightly incrusted with a white calcareous substance, easily soluble in acids, which has probably been precipitated upon them from the water that had penetrated through the walls of the sepulchre. This preservation of vases, constructed at so remote a period, of such frail materials, and with so thin a coating, is a subject of much interest, and not less than the perfection of the art as practised by the ancients, invites to the investigation of their mode of formation.

We shall endeavour to distribute the most ancient earthenware vases, whether Greek or Etruscan, according to their mode of composition, into classes, for the purpose of obtaining a more distinct perception of their varieties.

We shall place in the first class those vases in which the colour of the clay is natural, without glaze, or other coating or painting. Of this kind are some vases which were dug up at Cuma, as well as near S. Agatha Sothorum, along with others of a black colourt.

In the second class, we shall place those in which the natural colour of the clay is somewhat heightened by their having a very thin glaze or coating.

To the third class belong those vases which have been manufactured of clay intermixed with black matter. These vases are found, either simple, that is, without ornaments, either impressed or in relief; or they are painted with a white or yellowish

* Hamilton in Boettiger's Work, cited above, 1. 1. p. 34.

Sul metodo degli Antichi nel dipingere i vasi. Due Lettere del Canonico Andrea

** Gottingische gelehrte Auzeign, 1820, de Jorio al. Sig. Cav. M. Galdi, p. 4.

p. 739.

Jorio, loc. cit. p. 8.

colour.

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colour. Of this description are many of the vases dug up, not only in Lower Italy, but also in the districts of ancient Etruria.

To the fourth class belong those vases whose clay is evidently covered over with a black glaze or coating. Like those of the third class, they are either simple, or with ornaments either impressed, or painted with a white, yellowish, or red covering.

The fifth class may contain those vases, in which, upon a basis of clay, either of the natural colour, or with a somewhat brighter glaze, there are ornaments or painted figures of a black colour, sometimes with impressed lines. These vases, which have been dug up in various places, although they commonly go by the name of Sicilian, are either simply painted with black, or ornamented with figures, in which the red and white colours are covered over with black; of which kind some exquisite vases have been found, as for example in the vicinity of

Pæstum.

To the sixth class we shall refer those painted vases, the most common of all, which have figures and ornaments either of the natural colour of clay, or somewhat heightened; the general ground, however, and some lines, being black; some of them are of more simple construction, others are ornamented with white, red, yellowish, or dusty colours.

The seventh class includes those vases of rarer occurrence, in which the ground is black, and the figures which are red are laid upon a white colour, covering the black, the lines being impressed so as to penetrate to the black ground.

The eighth class we shall appropriate to those very rare vases, commonly but falsely called Egyptian, in which the ground is yellowish, and the paintings of a coffeecolour; which, however, does not cover the ground perfectly, there being sometimes a covering of white and red colours. The vases found in Lower Italy correspond, in so far as regards the colour of the clay and paintings, with others discovered in Greece, one of which that had been dug up at Athens, is preserved in the Museum of our University, having been presented to it by the celebrated English traveller Hawkins.

ANCIENT BEADS AND TUMULI. The Glass Beads mentioned by Dr. Clarke (says a writer in the Scots Magazine) as being found in the Tumuli at Seccara-by Mr. Ure as those which have been found in the Tumuli near Rutherglen-and by Mr. Pennant as having been found in some Tumuli in England, are neither more nor less than the Ova Anguina, which Pliny describes as an article which formed part of those employed by the Druids in their rites, and which, he says, were formed by a number of serpents, which mingled their saliva to effect this purpose. In Scotland they are called Adder Stones, and are still viewed

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with superstitious veneration by the common people. Mr. Ure thinks that these beads have been brought to our island by the Phoe nicians; I confess I am inclined to assign them a much higher antiquity. Sir Walter Scott, in speaking of the Tumuli of Scotland, says, that they are generally of a conical form, though sometimes square, and mentions, that he has in his possession an urn found in one of them, which was opened at Roughlee, or Ruthlee, in Liddesdale, in which were ashes and bones, and some beads. (Ova Anguina) made of coal instead of glass; and Sir Walter seems to think that this mode of burial was subsequent to, and in imitation of, that practised by the Romans when in possession of the country, an opinion which, perhaps, that distinguished individual may previously to this time have abandoned. It may be proper to mention some reasons for the belief that the Tumuli, or Cairns, found in different countries, and the Logan Stones, and Circles of stones which have vulgarly been referred to the Druids, are the work of the same people. In almost all situations in Scotland, where tumuli have been found, the word or syllable Ruth, or Rath, which in Celtic signifies circular, may be detected; thus we have Rutherglen, in the neighbourhood of which there are vast numbers of those conical tumuli; also Ruthven, and Rothiemurcus, where there are both tumuli and circles; Logie Rait, &c.; and in one situation where the syllable occurs, it is curious to observe, that there is a rocking stone, but no tumuli (probably time has obliterated all trace of the latter); this is at Ruthwell, and Mr. Pennant describes it as having stood in the situation where the parish church was built, which, from its dimensions, and the account he gives of it, there can scarcely be a doubt was a Logan stone, or Lingan, and which, from its being continued to be looked upon with feelings of religious veneration by the people, was overthrown and broken in pieces, by an order of the Presbytery, soon after the Reformation. The same fate befell one in Cornwall, which was cast down by order of Cromwell's governor of Pendennis Castle, because the lower classes viewed it with a certain degree of veneration. The ornaments and Runic characters, which Mr. Pennant says are to be seen on the stone at Ruthwell, there can be no doubt are of a much later date than that of its original erection. It is also related that these stones were common in Ireland, and that the first Christian Bishops who went to the country expelled Demons from them, and shattered the stones to pieces by means of exorcism.

ANCIENT BOATS.

In making the common sewer, in London-street, Glasgow, from the part near the Cross, which is finished, down to the Molendinar Burn, there was found, some time ago, at the depth of about ten feet, the remains

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Antiquarian Researches.-Select Poetry.

remains of a boat lying in a bed of blue clay, which was covered and surrounded by fine sand, like that found on the shores of a navigable river or wide frith. Some of the nails which were used as fastenings were in the wood, which was fine oak, and become quite black from its long immersion under the earth. The calking used for the boat' appeared to have been wool dipped in tar. It is a curious fact, that some years ago, when the common sewer was cutting in the Stockwell, that a boat of a similar description was found a little above Jackson-street; which would indicate that these two places where the boats have been found, were then the line of the shore of the frith, or bed of the river. These boats must have lain in the places where found many centuries. It is not probable they belonged to, or were constructed by, the aborigines of the country. The workmanship would indicate that they were formed by a people considerably advanced in civilization. It is probable they were constructed by the Romans, about the period of Agricola's expedition into Caledo

SELECT

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nia, about 1740 years ago; at which period, there seems little reason to doubt, the greater part of the ground on which Glasgow now stands, and all the low lands on both banks of the river, to a considerable distance, were covered by the water of the Clyde.

MEXICAN CURIOSITIES.

The Government of Mexico has recently passed a law prohibiting the exportation of any article, of antique sculpture, or relic of curiosity. The Mexicans have been induced to take this decisive step preparatory to their forming a National Museum of their own upon a very extended scale. Mr. Bullock, who visited the country amidst the confusion of its revolution, was fortunate enough to obtain a vast assemblage of these treasures, which, on the dissolution of his exhibition (announced to take place in September), will infallibly pass into private hands, unless the Directors of our national collection have the judgment to possess themselves of specimens so truly unique and valuable.

POETRY.

EPILOGUE TO THE ANDRIA OF TERÉNCE,

Davus.

DAVUS IN LONDON.

Byrrhia. Dave, quis ignotum casus te his appulit oris ?
Dic mihi; que tantæ causa molesta viæ ?
En ego Londini: (quòd vulgo fertur) egestas
Lege carens, hos me fecit adire locos.
Urbs hæc, immensum famâ celebrata per orbem,
Tam longum Davo per mare suasit iter.
Audieram vicos auro splendere superbos,
Eraque de loculis sternere lapsa vias;
Audieram fulvis hortos frondere metallis,
Et caro gemmas imbre rigare solum !
O infanda virum mendacia! quanta, viator,
Quàm multa, haud aliis aspicienda, videt!
Aut si non cernit, saltem se cernere fingit;

Byrr.

Davus.

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1825.]

Davus.

Byrr.

Select Poetry.

At nigrum malus fumum, mirabile dictu,
Evomit; inclusus vexat ahena focus.
Fit sonus horrendus lymphis undantibus; ingens
Hinc rota fert faciles, acta vapore, vias!
Obstupui; tandem, posità formidine, mentem
Implebant rursus gaudia vana meam.
Mirabar virides ripas, fluviumque profundum,
Quò fert congestas undique mundus opes.
Mirabar vestes varias, populosque remotos,
Nautarum fremitum, veliferasque rates.
Cum subitâ insonuit puppis convulsa ruinâ,
Infandum fractæ dissiluere trabes!

Membra virum semusta leves torquentur in auras,
Et tingunt Auvium; brachia, crura, manus!
Me vix ex undis ereptum-Byr. Dave, quiescas;
Ut semper, garris; nec tibi finis erit.

Hoc nihil est Anglis-longas jam siste querelas;
Omissis speres jam meliora malis.

Sed, quid agam, dubito.-Byr. Solers hîc verna-Dav. Recuso;
Ingenium poscit jam magis alta meum!

Aut ferula armatus, pueros moderare-Dav. videtur
Hic mihi servitio durior esse labor!

[Enter Sosia as an old Jew Clothesman.]

Vest! Vest!-Dav. Quid poscit?-Byr. Vir vestimenta misellus,
Omne genus, duplo quæ modò vendat, emit.

Sos. to Byr. O here, num tunicam parvi vis?-Byr. Improbe, abito.
Sosia. Aut braccas? parvi; num quod ematur, habes?

[Shewing a Sixteenth of a Lottery Ticket.]

Visne emere hanc partem? poteris cras-Byr. Ni rapis hinc te,
Hoc, dicto citius, fuste dolabo caput.

Sos. to Dav. O Here, ne spernas fortunam ;-crastina forsan

Det tibi nummorum pondera larga dies.

Dav. to Byr. Quid vult?-Byr. Fortunæ hæc est alea, Lottery dicta;
Hæc perdit multos, hæc aliquando beat.

Davus.

Byrr.

Davus.

Davus.

Davus.

Stultum; ast experiar-quanti?-Sos. Tres, optime, libras
Da mihi-Byr. Quid tibi vis? accipe dimidium.

[Exit, crying Vest! Vest!'

Aut pete torpentes crudeli frigore terras,
Quâ sceptrum æternum fert Borealis hyems.
Haud ego-non sævis mecum sic convenit ursis-
Fors, Indi in verubus viscera tosta ferant!

An mercator ero?-Byr. Nunc, heu! industria vana est:
Nil per se virtus, non sociata, valet!

Quid si Comodus.-Byr. Vita est tua purior illis ;
Nec tragico ritu turpis adulter ris!

At statuendum aliquid; mihi consule.-Byr. Siste, priusquam
Audieris, dederint quid tibi fata boni.

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[Scene changes, and discovers Charinus, as Lottery-office Keeper, sitting
at a table, with a book before him. Pamphilus and Chremes standing
at the table, with their tickets in their hands.]

Pamph. Quæ bona vel mala sors mihi contigit?-Char. At numerus qui?
Pamph. Centenus decimus tertius.-Char. (shewing the book) Ecce, nihil!
Pamph. Ut semper.-Chr. Fortuna mihi num favit?-Char. amabo,
Quis numerus ?-Chr. Nonus.-Char. Sunt tibi quinque minæ.
[Enter Mysis, running and speaking very quickly.]

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O Here, (namque potes) lætam mihi dicito sortem.

Quindecimus.-Char. (looking at the book) Doleo; sed tibi, cara, nihil,
Argento hoc pulchram potuisses quærere vestem.
Nil est, at miseræ non mihi sponsus erit!

[Enter Byrrhia and Davus.]

Tertia quid sibi pars?-Char. Tibi gratulor, ô here, namque hanc
Millia librarum bis duodena manent.

Harum sexdecimam partem tibi trado!-Dav. (taking the money) Valeto.

GENT. MAG. August, 1825.

[Turning

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