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Archaic Etruscan Paintings from Caere
Published online by Cambridge University Press: 23 December 2013
Extract
The British Museum has lately acquired five terra-cotta slabs on which are Etruscan paintings of an archaic and interesting character such as have not hitherto been seen in this country. These slabs were found at Cervetri in 1874 inside a small tomb to which they had served as wall decorations. The only measurement that is given of the tomb is the size of the entrance which was forty inches in height. As that corresponds with the height of the three principal slabs we may perhaps assume that they had been placed against the walls so as to rest on the ground and reach up to the height of the doorway. The surface of the slabs has been first covered with a white slip which converts them into πίνακες λελευκωμένοι such as were used by Craton of Sikyon, one of the oldest painters in Greece.
On this white slip the designs were sketched in with an ivory or wood point and then filled in with reds and blacks, the white ground being allowed to stand for the faces and arms of the women and for dresses which were meant to be white, whereas the flesh of the men is always painted red. In this use of white to distinguish women from men we have an artifice familiar in the Greek black-figure vases. But there the white is specially laid on and becomes a conspicuous feature on the vases. Here we have an older stage of the process, more natural, less conspicuous, yet quite effective enough. It is said by Pliny that the painter Eumaros was the first of the Greeks to distinguish men from women, and it has often been thought that this distinction consisted in white colour for the flesh of women. But as this use of white had been traditional from very early times, possibly long before Eumaros, we may perhaps assume that his peculiar name had given rise to the story of his having first made the distinction in question.
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- Copyright © The Society for the Promotion of Hellenic Studies 1889
References
page 243 note 1 Bulletino dell' Inst. Arch. 1874 p. 128.
page 246 note 1 Mon. Ined. pl. 4.
page 247 note 1 Micali, , Mon. Ined. pl. 58, figs. 1–3Google Scholar; Helbig, , Annali dell' Inst. Arch. 1863 p. 337.Google Scholar
page 247 note 2 Mon. dell' Inst. Arch. vi.–vii. pl. 30; Annali, 1859 p. 325. See also a fragment from Caere in Berlin, Arch. Zeit. 1872, pl. 68 p. 96.
page 250 note 1 Zannoni, Scavi della Certosa di Bologna, pl. 35. The hat worn by the first figure on our slab No. 1, is the same as that worn by warriors on the situla, while the hat of the other figure is the same as that worn by civilians or perhaps priests.
page 250 note 2 Mon. dell' Inst. Arch. vi.–vii. pl. 77: Annali, 1863, p. 229, the subjects being Europa on the bull and the Hunt of the Calydonian boar.
page 250 note 3 See for example, Gazette Arch. vii. pls. 33–34.
page 251 note 1 Marquardt and Mommsen, , Handbuch Rö. Alt. i. p. 342.Google Scholar
page 251 note 2 Perrot, , Assyrie, p. 592.Google Scholar
page 252 note 1 Cinctus Gabinus est cum ita imponitur toga ut lacinia quae prostrinsecus reicitur attrahatur ad pectus ut ex utroque latere picturae (?) pendeant. Isidor, . Orig. xix, 24 quoted in Müller's Elrusker, ed. Deecke i. p. 252.Google Scholar