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Vases from Calymnos and Carpathos

Published online by Cambridge University Press:  23 December 2013

Extract

Of the vases figured on Pl. LXXXIII. nos. 1, 2, 4, and 5 come from the island of Calymnos. Nos. 1, 4, 5, and the large amphora of which a cut (Figs. 1, 2) is given below, belong to a series which has been described by Cecil Smith in the Classical Review, i. p. 80. The Bügelkanne (no. 2), was obtained by me subsequently, and was found on another site. The sponge-fishers of Calymnos have, by little and little in the last hundred years or so, come to regard the probability of invasion as more remote, and have consequently devoted their spare time and money to bringing their houses nearer the sea, until they have at length taken their lives in their hands and established themselves close to their native element. When Ross visited the island the only town was that which is still known as ‘ἡ χώρα.’ It is situated about two miles from the harbour and immediately underneath the still older medieval fortified town, now quite deserted. There is no evidence that there was an ancient city on this site, but the chief sanctuary of the island, the temple of Apollo, was in the immediate neighbourhood, on a ridge which overlooks two of the most productive valleys in this barren island. Most of the inhabitants have now moved down to the modern town which is close to the harbour and which bears the name of an ancient deme—Pothia. This name is probably genuine, as that tender regard for antiquity which finds a home for an outcast ancient name in the face of inseparable difficulties is not so developed here as in the kingdom of Greece.

Type
Research Article
Copyright
Copyright © The Society for the Promotion of Hellenic Studies 1887

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References

page 449 note 1 Furtwängler conjectures that the difference in the birds' tails on this vase is a distinction of sex. We certainly find this distinction in two otherwise similar animals on the reverse of our amphora (Fig. 2), one of which has a beard while the other has none.

page 450 note 1 I think the Italian origin of the vase is indicated by its subject. Another monument, which gives us also one of the earliest representations of Greek myths, in point of style, which we possess, the carved tusk from Chiusi (Mon. x. pl. xxxviiia) relates to the same story, that of Polyphemus; a story localised in the West. That this carving is not Phoenician work is shown by the type of the griffin, which is Greek, and by the lotus pattern which resembles that on the Rhodian vases, but the style of the figures is Phoenician, and the tomb in which it was found must belong to the same period as the Regulini-Galassi tomb at Caere (cp. the pattern on the bronze fragment Mon. x. pl. xxxviiia with Mus. Etr. pl. xxxii.), where many objects in metal and ivory were found which we know to be Phoenician in style. Although these two works are executed under different influences, the identical form of the ships on both is a sign of common origin.

page 455 note 1 For the characteristic use of white on later Asiatic pottery, see Smith, , J.H.S. vi. p. 185.Google Scholar

page 458 note 1 Even the envelopment of the cinerary urn in a linen cloth has been illustrated by a discovery at Corneto (Bull. 1884, p. 13).