Dictionary of Greek and Roman antiquities. Ed. by William Smith. Illustrated by numerous engravings on wood.

FICTILE. FICTILE. 533
riving their efficiency altogether from the ability 20. 3; Piin. ES. N. xiv. 25, 27.) Hence a
and taste of the sculptor, would not only contri-' dolium picatum fictile " was used, as well as a
bute to the more exquisite decoration of earthen glass jar to hold pickles. (Colum. Re Rust. xii. 18,
vessels, but would be almost tile only tools appli- 54.) Also the year of the vintage was inscribed
cable for making " Dii fictiles," or gods of baked by the use of pitch, either upon the amphorae
earth, and other entire figures. (Propert. ii. 3. 25, themselves or upon the labels (pittacia, schedia),
iv 1. 51.; Plin. II. N. xxxv. 45, 46; Sen. Cons. ad which were tied round their necks. (Hor. Carna.
41b. 10; &aiyaXAara EKc 7rokoD, 0'7rirs yis, Paus. iii. 21. 1-5.) Although oily or bitumlinous subi. 2. ~ 4, i. 3. ~ 1, vii. 22. ~ 6.) These were stances were most commonly employed in pottery
among the earliest efforts of the plastic art, and to produce by the aid of fire (ed 6Be ieAeanOeue,;
even in times of the greatest refinement and Hom. Epig. xiv. 3) the various shades of black
luxury they continued to be regarded with reve- and brown, the vessels, before being sent for the
rence. last time to the furnace [FORNAX], were someVessels of all kinds were very frequently fur- times immersed in that finely prepared mud, now
nished with at least one handle (aersa, ocas, Us). technically called " slip," by which the surface is
The AMPHORA was called Diota, because it had both smoothed and glazed, and at the same time
two. The name of the potter was commonly receives a fresh colour. Ruddle, or red ochre
stamped upon the handle, the rim, or some other (/lArfos, subrica), was principally employed for
part. Of this we have an example in the amphora, this purpose. (Suidas, s. v. KAkntidos iceppaeuie.)
adapted for holding grain or fruits, oil or wine, To produce a further variety in the paintings upon
which is here introduced from the work of Seroux vases the artists employed a few brightly coloured
d'Agincourt. The figure on the right hand shows earths and metallic ores. [PIcTURA, No. 9.]
the name in the genitive case " Maturi," im- As we might expect concerning an art so indispressed on an oblong surface which is seen on the pensable as that of the potter, it was practised to
handle of the amphora. a great extent in every ancient nation; even the
most uncivilized not being strangers to it, and
sometimes displaying a surprising degree of dexterity. The remains of an ancient pottery have been
found in Britain, and some of the potters' names
preserved on their works, are probably British.
We are told of a place called the Potteries (Fig.
linae) in Gaul. Numa instituted a corporation of
potters at Rome. (Plin. H. N. xxxv. 46.) Mention has already been made of Egypt, and there
are frequent allusions to the art in the ancient
writings of the Jews. We also read of its pro400 Sductions in Tralles, Pergamnus, Cnidus, Chios,
Sicyon, Corinth, Cumae, Adria, Modena, and
Nola, from which city the exports of earthenware
were considerable, and where some of the most exquisite specimens are still discovered. But three
places were distinguished above all others for the
extent and excellence of this beautiful manufacture.
The earth used for making pottery (hrepCasIKn 1. Samos, to which the Romans resorted for the
ye,, Geopon. ii. 49) was commonly red, and often articles of earthenware necessary at meals, and
of so lively a colour as to resemble coral. Van- intended for use rather than display. (Plant.
quelin found, by analysis, that a piece of Etruscan Baccih. ii. 2. 24, Stich. v. 4. 12; Tibull. ii. 3. 51;
earthenware contained the following ingredients:- Cic. pro Aifo'renR. 36; Plin. II. NV. xxxv. 46;
Silica, 53; alumina, 15; lime, 8; oxide of iron, Tertull. Apol. 25.)
24. To the great abundance of the last constitu- 2. Athens, a considerable part of which was
ent the deep red colour is to be attributed. Other called Cerameicus, because it was inhabited by
pottery is brown or cream-coloured, and sometimes potters. In this quarter of the city were temples
white. The pipe-clay, which must have b'een used dedicated to Athena, as presiding over every kind
for white ware, is called " figlina creta." (Varro, of handicraft, and to the two fire-gods, Hephaestos
Re Rust. iii. 9.) Some of the ancient earthenware and Prometheus, the latter of whom was also the
is throughout its substance black, an effect pro- mythical inventor of the art of modelling. Various
duced by mixing the earth with comminuted as- traditions respecting Coroebus and others point to
phaltum (gagates), or with some other bituminous the early efforts of the Athenian potters (Plin. H. A.
or oleaginous substance. It appears also that as- vii. 57, xxxv. 45; Critias ap. Atilen. i. p. 28);
phaltum, with pitch and tar, both mineral and and it is a remarkable circumstance that the enemies
vegetable, was used to cover the surface like a var- of free trade, and especially of Athenian influence at
nish. In the finer kinds of earthenware this var- Aegina and Argos, imposed restrictions on the use
nish served as a black paint, and to its application of these productions. (Herod. v. 88.) The Athemany of the most beautiful vases owe the decora- nian ware was of the finest description; the mastertions which are now so highly admired. (Plin. H. pieces were publicly exhibited at the PANAAN. xxxvi. 34.) But the coarser vessels, designed THENAEA, and were given, filled with oil, to the
for common purposes, were also smeared with victors at the games; in consequence of which, we
pitch, and had it burnt into them, because by this now read on some of them, in the British Museum
kind of encaustic they became more impervious to and other collections, the inscription T&n'AOV/7O0ev
mloisture and less liable to decay. (Hor. Caen. i dHawn or other equivalent expressions. (Pind. NOn.
M o