THE JOHNS HOPKINS UNIVERSITY STUDIES IN ARCHAEOLOGY EDITED BY DAVID M. ROBINSON No.4 THE NEGRO IN GREEK AND ROMAN CIVILIZATION A STUDY OF THE ETHIOPIAN TYPE BY GRACE HADLEY BEARDSLEY, PH. D. INSTRUCTOR IN HISTORY AND LATIN IN GOUCHER COLLEGE. BALTIMORE: THE JOHN HOPKINS PRESS LOXDOX: HUMPHREY MILFORD OXFORD UNIVERSITY PRESS 1929 •• C OPYRIGHT 1929 BY T HE JOHNS HOPKINS PRESS J. H . roasT co., PIUNl'E8.S, BALnMORIf TO W. B. H. AND J. W. H. CONTENTS CHAPTER PAGE Preface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix I. The Ethiopian in Greek Literature. . . . . . . . . . 1 II. The Introduction of the Ethiopian into Greece 10 III. The Fifth Century-The Ethiopian Type on Plastic Vases........ . ................ . . 23 I V. The Fifth Century-The Ethiopian Type In Vase Paintings.......... . ....... . ...... 42 V. The Ethiopian Type ill the Fourth Century . . . 67 VI. The Ethiopian in the Hellenistic World. . . . . . 77 VII. Terra-Cottas..... . ............ . ......... . . 82 VIII. Hellenistic Bronzes . . . . . . . . . . . . . . . . . . . . . . . . 92 IX. New Hellenistic Experiments. . . . . . . . . . . . . .. 101 X. The Character of the Ethiopian .. . ......... , 111 XI. The Ethiopian in Roman Literature. . . . . . . . . 115 XII. The Ethiopian in Roman Art. . . . . . . . . .. . . .. 121 Bibliography. . . . . . . . . . . . . . . . . . . . . . . . . . . . .. l35 Index .. . ............ , .. . . . . . . . .. . . .. . . . . 143 TO FACE ILLUSTRATIONS PAGE Fig. 1. Hydria in Vienna ................ 15 Fig. 2. Pendant for Necklace ... . ... . . . ... . ... . . 19 Fig. 3. Earring from Cyprus . ... . .. . ...... . . . ... 19 Fig. 4. ..lttic Vase in Bo~on .................... 24 Fig. 5. Drinking Cup in Bo ton ............... . . 26 Fig. 6. JaniforID Yase in Princeton .... , ......... 26 Fig. 7. Cantharus III the Vatican ................ 28 vii viii CONTENTS TO FACE PAGE Fig. 8. N egress on Oenochoe in Baltimore. . . . . . . 28 Fig. 9. Crocodile and Negro................. .. . 38 Fig. 10. Negro Head from Olynthus... . . . . . . . .. . . 72 Fig. 11. Negro's Head from Olynthus. . . . . . . . . . . . . 72 Fig. 12. Side View of Figure 11. . . . . . . . . . . . . . . . . . 72 Fig. 13. Bronze Head of an African . . . . . . . . . . . . . . . 75 Fig. 14. Pitcher in Baltimore. . . . . . . . . . . . . . . . . . . . 88 Fig. 15. Negro in Munich.. .. ... . ............ . .. 88 Fig. 16. Vase in Munich . ....... . . . . . ........ . .. 91 Fig. 17. Vase in Munich........ .. .............. 91 Fig. 18. Bronze Statuette from Carnuntum.... .... 94 Fig. 19. Bronze Negro Boy . . . . . . . . . . . . . . . . . . . . . . 97 Fig. 20. Bronze Ethiopian Boy. . . . . . . . . . . . . . . . . . . 98 Fig. 21. Agate in Baltimore. . . . . . . . . . . . . . . . . . . . . . 109 Fig. 22. Clay Vase in Baltimore. . . . . . . . . . . . . . . . .. 109 Fig. 23. Ethiopian Slave Cleaning a Boot. . .. . . . .. . 109 Fig. 24. Marble Head in Berlin............. . . . .. 132 PREFACE No barbarian race held as continuous an interest for the Greek and Roman artist as the Ethiopian. Realistic portraits of other known races in the classical world are relatively few and belong usually to the RelleI\istic and Roman eras. The negro, on the other hand, was rendered with the utmost fidel- ity to the racial type during the most restrained and idealistic period of Greek art. Attic vase painters who were content to indicate Orientals by their dress with scarcely any distin- guishing marks of race, delineated with marked realism the woolly hair and thick lips of the Ethiopian. From its earliest appearance the popularity of the type never waned in any productive period of classical art. Due to the humble position of the Ethiopian in Greece and the fact that realism was usually confined to smaller objects the great sculptors did not consider him a sufficiently digni- fied or important subject, since life-sized heads and statues are comparatively few. But for smaller objects the popularity of the type was tremendous, and is attested by a wealth of statu- ettes, vases, engraved gems, coins, lamps, weights, finger- rings, ear-rings, necklaces and masks from classical sites. Literary evidence as to the status of the black race in Greek and Roman life is very slight and to supplement our knowl- edge one must turn to the art objects which show the type. Interest was drawn to this problem at the time when the excitement over the abolition of negro slavery was raging in the United States prior to the Civil War. The earliest im- portant work on the subject was a monograph entitled Die Aethiopen der altclassischen Kunst, by J. Loewenherz, pub- lished in an important year in negro history, 1861. This monograph does not fulfill the promise of its title, for the examples in art are subordinated to a study of the Memnon myth and a discussion of the real and mythical Ethiopian ]x PREFA.CE lands. In 1885 Von Schneider published an article 1 in which he classified chronologically the examples which he knew, and which he later supplemented by a list of examples brought to his attention in the interval.' The most important contri- bution to the subject has recently been made by Buschor in an article entitled Das Krokodil des Sotades,' which gives a very full account of the negro on vases of the fifth century. Other work on the question has been confined to the publi- cation of individual specimens which have come into museum or private collections. Sometimes this has been made the basis of a substantial article as in the case of Schrader' who compares at great length a head of a Libyan in the British Museum with a head of a negro in Berlin and who assembles some examples of Ethiopians relevant to his discussion. But in the main such articles have done no more than list a few unrelated examples of the type and make some inaccurate generalizations. This is probably due to the fact that only a few of the ancient negro portraits are well known, since only a few have been widely reproduced by illustration. The need for a new and more complete list has been frequently expressed. Wace expressed the hope that this would form a part of Bienkowski's Corpus Barbarorum." Von Schneider, who had great interest in the subject, announced his intention of supplementing his list by a more complete study but died without realizing this aim. At the suggestion of Professor David M. Robinson this study was undertaken. Representations of the negro type have proved to be so common that a complete list is an im- possibility, as practically every museum or private collection contains one or more examples. This forces us to depend on catalogues, and as many negro types occur on minor objects 1 Jb. Kunst. Samml., III, 1885, pp. 3 fI. t Jh.. Oest. Arch.. Inst., IX, 1906, pp. 321-324. t Mum. Jb. Bitd. Kunst, XI, 1919, pp. 1-43 . • Berlin Winckelmannsprogram, LX, 1900 . • B. S. A., X, 1903-4, p. 108. [ PREFA.CE they are not always illustrated. But the writer feels that the range of cases here given is sufficiently extended so that the principal types have all been included and she is encouraged by the very incomplete knowledge shown in previous refer- ences on the subject. She has visited many European and American museums in her study of the negro but lays no claim to a complete knowledge of all examples. The termi- nology has been a real difficulty, since the popular and the scientific understanding of the word" negro" are at variance. European usage in this matter is far from uniform and often careless. The German archaeologists use "Ne ger" and " Mohr" indiscriminately as synonymous, even Buschor in his excellent article employing them in the same sentence. Museum catalogues use one term as frequently as the other and a study of the objects shows that they are not employed to distinguish a Moor from a Sudanese but that the usage is very loose. The French archaeologists use "negre" to cover all variations of dark skin regardless of the features or hair. This is doubtless he cause of more frequent contact with France's North African colonies than with those south of the Great Desert. English scholars, more familiar with Egypt, frequently call these classical negroes N ubians, a usage which has considerable warrant in that many entered Greece by way of Egypt from Nubia. The English also employ the word " negro" but the longer term Ethiopian is generally avoided. Science limits the name" negro" to one group of African races, the IDotrichi, the determining factor being, not the skin, but the crisply curling so-called woolly hair. The principal representatives of this group are the stock of Senegambia Rnd Guinea, and its other outstanding characteristics are a short, broad nose, thick, projecting lips, a prominent jaw and abnormally long arms. So complicated are the racial and tribal divisions and subdivisions in Africa with their varying characteristics that the classification of the art types according to racial origins is too difficult for the archaeologist. America, with a delicate race problem on her hands, has long since dis- PRU'J.Clil regarded any scientific distinctions between the various Afri- can types, and the popular usage in this country defines a negro in the terms of the color line. Generally speaking racial feel- ing is directed against skin, and variations of the hair and fea- tures are not taken into account. The use of the word is further complicated by existing legal definitions suill as that of the State of North Carolina, which declares any person a negro who has in his veins one-sixteenth or more of African blood. Greek literature has no such confusion in nomenclature and gives very generally to any member of any dark-skinned tribe the name AUJio.p, which the Greek geographers derived from alB". and"", that is to say, a man with a (sun) burned face. It is not at all restricted to the kingdom of Meroe south of Egypt. The Greek use of Aithiops, therefore, closely parallels the popular use of negro and is quite at variance with its re- stricted scientific use. To use negro in its scientific sense in the present study would be to exclude many Ethiopians. To defer to popular usage would be unscientific and would cause frequent misunderstandings. Therefore it seems best to retain the Greek word in its English form, Ethiopian, and to indi- cate genuine negro types under the individual descriptions, particularly since this study limits its scope to Ethiopians in Greece and Rome and is not concerned with their original African homes. My heartiest thanks are due to Professor David M. Robin- son who has supervised and assisted in all stages of preparation with that generosity well known to all his students and to Professor Tenney Frank, who read a portion of the manu- script. I. THE NEGRO IN GREEK AND ROMAN CIVILIZATION CHAPTER I TIlE ETHIOPIAN IN GREEK LITERATURE The absence of exact geographical knowledge of A.frica and eastern Asia is the basic reason for the profound confusion in the Greek minu about the Ethiopians. Appearing in Homer as the comrades of the Olympic gods, interwoven with the myths of Memnon and Andromeda, emerging actually as persons of curious appearance from the lands south of Egypt, it is small wonder that writers like Strabo and Pausanias found it diffi- cult to reconcile them in geography and legend, and that in different periods they were identified with widely differing peoples. The confusion begins with Homer himself, to whom Ethi- opia was a land at the remotest border of the world beside the stream of Ocean. Here dwelt a blameless race of men who held sacrificial feasts which the gods attended; Zeus and the other gods in Il. I, 423-4: ZdJ~ yap €s 'OKEUVOV JUT' d.,u.up.ova~ AUhotrija~ X8,'O~ E/1YJ KQ'Ta calTa, BEof. c/afLO. ?raliTES £iiOVTO Iris in Il. XXIII, 205-7 : oux £00, . £1",., yap aun, £7r' , nKlaVOlO p£l()pa, At8,07rWV (1) yaiav, 08, pf.~ou(J" EKU'TOP./3os d.Oo.Vcf'T"OL'), tva o~ Kat iyw p.lTa8a.{(IOp.Clt tpWV and Poseidon in Od. I, 22-24: 'A AA' ;, p.f.V AUHorrar; fJ.£.Tf.KCaeE TTJXo8' i ovTar;, Al8{o7rur;, 'TOt SLXOa OlSu{UTClL, lCTxaTOt ctvopwv, ot p.lv OVCTOfLEVOV "Y hEptoVO':;, oi 8' o.V('OVTO,)- 1 2 THE NEGRO IN GREEK AND ROMAN CIVILIZATION In another passage the Ethiopians were visited by Menelaus, Gd. IV, 84: They were included in a list of places decidedly near-eastern ; and with Homer begins also the conception of the two-fold Ethiopians (cf. Gd. I, 24 as quoted above), those of the east and the west, of the rising and the setting sun. We are given no clue as to which group of Ethiopians was visited by Zeus in company with the other gods, but Poseidon seems to have visited the eastern Ethiopians, since he was in Asia Minor on his way home when he caught sight of Odysseus on his raft,' Gd. V, 282-3 : Tov S' E~ Al8U)7rWII aVLWV KPEtWV EVOr:rLX(}WV T1}AO(}W EK hOAV,u.WV OPEWV ;OEV' Iris must have been visiting the Ethiopians of the west since she stops at the palace of Zephyrus on her way. But the western Ethiopians playa minor part in Greek mythology for as the lvIemnon myth grew in importance, the son of the Dawn who was also king of the Ethiopians, fixed thBm in the East, where Eos and Tithonus dwelt Trap' 'ilKfaVoio pall' e".( ",{1, that is (sun) burnt faces. On the other hand we can not argue that Homer had never heard of dark men because he does not specifically mention them, and in his linking of the Ethiopians 60 closely with the rising and the setting of the sun he can not have 1 Cf. Wilamowitz, Homerische Untersuohungen, p. 17; Lea.f, Troy, a Stud1J in Homeric GeogrO-p/i,y, pp. 309-310. 'Cf. Stepbanus of Byzantium, Thesa.urus 8. ". AIOlof; Etym. Mag . •. ". Ale<07rla; Suida. 8. ". AlOia",. THE ETHIOPIAN IN GREEK LITERATURE 3 been entirely unmindful of the action of the sun's rays. It is not inconceivable to see in the western Ethiopians, who seem to have no other raison d' etre than to fill a geographical gap, a subconscious reasoning that the sun must color men dark in the region where it sets not less than where it riees. But they are entirely fabulous and any attempt to place them in a fixed geographical scheme is futile, since Homer himself says that we do not know the places where the sun rises and sets, Od. X, 190-192: 6J c/>L>"Ot, OU yap T'lop..fV 07r77 'OCPOi ovo' 07r7] ~w~, ovo' 07T'Y} -YJ(AWfi cpaf,ULp..{3poTos ErU' -inro yQiav ovO' 01T1] aVVEL'TQL. Only the Ethiopians visited by Menelaus have a faint ring of n·ality, as these are listed with actually existing peoples in- cluding Egyptians. If we wish to think that H'omer had heard vaguely of dark men in the south it proves nothing that Menelaus visited them by ship. Shakspere in an age of greater knowledge gave a sea-coast to Bohemia. References to Ethiopians in Hesiod are hardly more definite than in Homer. In a fragment quoted by Strabo VII, 3, 7, Hesiod lists Ethiopians with Ligurians and Scythians, people or whom Hesiod could have no very definite knowledge but who are not mythical. ' LOwenherz (p. 9) is wrong in saying that Hesiod has actual information about African Ethiopians since he names them together with the Libyans. There is no manuscript warrant for reading Libyans here nor any reason for substituting them unless H esiod shows elsewhere that he knows the reallocation of Ethiopia. This he does not, for in Theogony 984-5 the Ethiopians are without a definite home, and Memnon the son of Eos is their king. Hesiod in the fragment is apparently listing a few tribes who are to him extremely remote, the el..'1remes of north, west and south. Nor is there in Hesiod any specific reference to the Ethiopian • Cf. Rzach, Hesiodi Oarmina, p. 148, frag. 55 1..181.,..4, .,.. Al-yv, .,.. l:.v8a, 1.."..,,1'.~"Y.v,. The Straba ~SS. r ead A,-yv~.,.l ~ •. 4 THE NEGRO IN GREEK AND ROMAN CIVILIZATION color, though nameless dark men in the south are referred to for the first time in the Works and Days where (527) it is said that in winter the sun goes &r~ KVaVfWV av3pwv 8ij~v Tf ".aNV T<. In spite of the gloss, AU1u)1Twv-Maupwv-Kuavfwv, the reference here may be to Egyptians, though the adjective Kt"aVfOLCTt is later applied to Memnon's Ethiopians by Quintus of Smyrna, II, 101. In a fragment of Mimnermus (Bergk4 12; Diehl 10) the sun goes yaiav i. AWu),rwv 'va 8~ IIODV appo. Kat <1T1T0< I p' 'Hw. TJPLYfV<"" ~ATl' The Ethiopians are again in the East and the western Ethiopians have dis- appeared, at least for the time being, for Mimnermus evidently thinks of them as sufficiently fixed in the east to be synony- mous with it and sufficiently mythical to be contrasted with the' Hesperides. Aeschylus is the first Greek writer to place the Ethiopians definitely in Africa. Prometheus (Prom. 808-9) refers to a dark race, KvAov, who dwell near the springs of the sun where the Ethiopian river is, 1TOTa:p,O. AlIiIOl/t. Were it not for mention of the Nile River and the Egyptians this would sound like a complete return to the mythical Ethiopians near the stream of Ocean. The reference to the springs of the sun and the Ifact that in the Suppliants (280-2) they were neighbors of the Indians snow that Aeschylus' geography was very inexact. In fact the Ethiopians again recede into a mythical haze in a fragment (Nauck 192) from the Prome- theus Unbound of Aeschylus quoted by Strabo, I, 2, 27: CPOtVLK07T'£OOV ".' Ep1J8pas l.(POll X.vp.a. lIaAQgCT."., xaAKoKEpa.VVOV T£ -rrap' J OK(a.Vnon; LOwenherz, op. cit., pp. 24·9. 8 THE NEGRO IN GREEK ANn ROMA..,,< CIVILIZATION Memnon" or statue of Amenophis at Thebes transferred him to Africa and heightened the mystery of his origin. Asiatic also was the myth of Andromeda," whose parents Cepheus and Cassiopeia were rulers of Ethiopia. Through the command of A=on she was bound to a rock as a sacrifice to a sea monster and saved by Perseus, who was returning from his battle with Medusa. The myth is not an early one but was well known by the fifth century B. C., where it was a subject for vase painters and dramatic writers. Sophocles and Euripides each wrote an Andromeda." The Ethiopian country of the Andromeda legend was also in antiquity a debated point. The similarity between the names lope and Ethiopia IS caused the myth to be localized at Joppa, 14 the presence of a sea monster demanding a sea-coast country. Even in the time of Josephus the traces of Andromeda's fetters were pointed out at J oppa. lO On the other hand, later writers believed the scene to be African and Heliodorus ,. says that Perseus, Andromeda and Memnon were worshipped as heroes in African Ethiopia. As Memnon because of his great beauty was evidently white, and Andromeda is white in vase paintings, the ruling caste of Ethiopia must have been considered white. But what was the color of the people ruled over? Greek writers seem to have avoided this problem by silence and the purely formal mention as given above. But the vase painter wanting to portray Memnon or Andromeda was confronted with the necessity of selecting a physiognomy for their followers or servants. Hence on certain vases treated in another chapter negro types appear. And here lies the relevancy of this U Cf. Hyginus, Fab. 64; Apollodorus, Bib!iotheca, II, 4, 3. "Of. Nauck, op. oit., pp. 157 ff. and 392 ff.; Gruppe, op. cit., p. 161; J. H. S. XXIV, 1904, pp. 99 ff. 13 Paus. IV, 35, 9. H Et. Mag. s. 'V. 'Io7T't1 . 10 Cf. Josephus, Ben. Juri. III, 9, . U Aethiopicon, IV, 8. THE ETHIOPIAN IN GREEK LITERATURE 9 discussion to the problem of the Ethiopian type in art. For the painters did not create fanciful Ethiopians, but appar- ently reproduced negro types with which they were well acquainted. Negroes had appeared in Athens. Hence, if the legend specified Ethiopians these were the Ethiopians which the painter knew, and they are interesting more for what they can disclose of contemporary slave life ill Greece than for their connection with the myth. The accuracy of knowledge displayed in regard to the geo- graphical Ethiopia by Greek and Roman authors, their involved grouping of the Ethiopian according to habits of eating and living and their uncertain boundaries, is outside the present question. Some time has been given to the mythi- cal Ethiopians because in the first place they are really Greek, a product of the Greek imagination and a tradition of Greek literature. In the second place, Greek poets created the art interest in the Ethiopian type and gave it a legendary aura which can be held in large mea ure responsible for the curi- osity which prompted the reproduction of the type in Greek art. One can almost see the potter look at his model, as he created one of those joyously realistic plastic heads of negroes, and muse « Can these be the blameles Ethiopians of Homer? " OHAPTER II THE INTRODUCTION OF THE ETHIOPIAN INTO GREECE Greek literature gives but little information as to the pres- ence of Ethiopians on Greek soil. From Herodotus 1 we learn that they formed a part of the army of Xerxes which invaded Greece in the year 480 B. O. A casual reference in Theo- phrastus 2 tells us that it was fashionable to have Ethiopian siave characters in the third century B. O. But the evidence of excavations shows that they were known even in Minoan times. 1. Cf. Evans, B. S. A., VII, 1900·01, p. 26; K. Muller, Jb. Arch. I, XXX, 1915, p. 272; Evans, The Palace of Minos, I, p. 312, fig. 231; p. 526, fig. 383. A fragment of a painted stucco relief, found at Onossus, which shows a man's hand fingering a necklace which has pendants in the form of heads of Ethiopian type with large triple earrings, dates from the period of Middle Minoan III. The hair is black and curly, the eyes large, the noses short and the lips thick and red. The color of the skin is a tawny yellow. From the dull orange beads and yellow faces Evans suggests that the material was gold and believes that a man is putting a necklace about a woman's neck perhap in a wedding cere- mony. Evans says that" the golden material d the necklace, coupled with the negroes' heads, seems to point to Nubia- the Egyptian ( Eldorado' as the source of the precious metal," but he also thinks it possible that the gold may have corne from some other African source south of the desert by way of Libya, as there is other evidence that the Oretans had relations with the Libyans. 2. Cf. Palace of Minos, I, pp. 302, 310; figs. 228, C; 230, a, b, and C; II, p. 757, fig. 489. Faience fragments found with the so-called Town Mosaic, 1 Her. VII, 69, 70. 'Cf. Theophrastus, Characters, VII, Jebb., pp. 62·63. 10 THE INTRODUCTION OF THE ETHIOPIAN INTO GREECE 11 which date perhaps even earlier from Middle Minoan II times, show types which Evans considers negroid from the swarthy skin color, prognathism, and shape of the torso. He believes that they form part of a siege scene and that some are in the attitude of suppliants. To Late Minoan I b, the age of the great expansion overseas, belong the remains of a fresco on which the "Minoan Captain of the Blacks" is leading the negro troops. The employment of negro auxiliaries by Minoan lords is a historical fact of great significance. Perhaps they iudicate conquest in Africa where there were caravan routes to the interior of immemorial antiquity. Their employment as Palace Guards and auxiliaries on European soil is paralleled by the use of Senegalese troops in modem warfare. 3. Cf. Evans, Palace of MiRtos, II, pp. 756·7, pI. XIII. From these Minoan fragments it is evident that the Cretans had some knowledge of dark races in Africa. This knowl- edge does not seem to have been carried over to the mainland; Mycenean or Helladic art has not afforded any portraits of Ethiopians and it is difficult to believe with Evans that the Minoans made use of black regiments for their final conquest of a large part of the Peloponnese and Mainland Greece. In any case the art type would have died out with the Indo- European invasions. Beyond this Greek literature is silent and the many representations of the negro type in Greek art must furnish their own interpretation. The earliest appearance of the Ethiopian type in the art of the mainland is on a series of plastic vases in the form of heads, some single and some janiform. Schneider believed that negroes entered Greece for the first time in the army of Xerxes and that their sudden appearance in art is due to the deep impression left in the minds of those who saw them. A glance at these vases convinces one that here is no memory picture. The racial type is rendered with great fidelity. Here is the true negro type, woolly-haired, prognathous, with broad nose and large everted lips. There is no doubt that Ethiopians were actually on Greek soil and that they served as models for 12 THE NEGRO I N GREEK .1.1"1) ROMAN CIVILIZATION the potter. These vases from the evidence of their decoration and shape can now be dated in the latter part of the sixth century B. C. Consequently Ethiopians did not enter Greece for the first time in Xerxes' army, and we must look for an earlier link between Greece and Ethiopia. The most obvious connection between the two geographically is Egypt. E(ere the Ethiopian had been known for centuries, and had appeared upon Egyptian monuments since the second Dynasty, roughly corresponding to the Early Minoan period. There have recently come to the Boston Museum two excellent painted limestone portraits of an Egyptian Ethiopian prince and princess dating about 3000 B. C. Dr. Reisner calls these "the earliest known portraits of negroes," but it has been wrongly denied that these are negroes by P etrie in Ancient Egypt, 1916, p. 48. Prior to the founding of Alexandria, the strongest bond between Egypt and Greece was the city of N aucratis in the Nile delta. Flinders Petrie (Nau7cratis I, p. 5), and Prinz (Funde aus Nav.7cratis, pp. 1-6) place the date of its found- ing by Milesian colonists in the early half of t he seventh century B. C. from the evidence of its pottery and scarab industry, and from the testimony of Greek authors. By the middle of the sixth century it had achieved a marked com- mercial eminence. It was granted certain privileges and immunities by the government of Egypt. It was the gateway of Egypt for all foreigners, since it was the only port of the delta which foreign ships were permitted to enter. It was, therefore, the most logical place for Greeks to have their first contact with members of the Ethiopian race, and the first negroes to enter Greece were in all probability brought back by returning voyagers from Naucratis. Naucratis was important not only as a commercial but also as an artistic center, and if we are correct in assuming that Ethiopians became known to Greece by way of this city, we should expect them to appear in thee art of N aucratis before they occur in the art of the mainland. Excavations have THE INTRODUCTION OF THE ETHIOPIAN INTO GREEOE 13 proved this to be the case, and the popularity of the type to have lasted into later centuries. Furthermore the founders of N aucratis were I onic Greeks from the mainland of Asia Minor and the interrelation between the Ionian art centers in the early period is well established. There is, therefore, addit ional support for this conjecture in the fact that the Ethiopian type occurs on objects of the seventh and sixth centuries from Cyprus and Rhodes, two islands influenced by the art of N au- cratis. Furtwangler (GTiech. Vasenmalerei, text to pI. 51, pp. 255-260 ) assigns to an Ionian artist the well known Caeretan hydria depicting the myth of Heracles and Busiris in which Ethiopians are shown as attendants. Karo is of the opinion that the Busiris vase was made in North Africa. Buschor (Muen. Jb.·Bild. Kunst, XI, p. 36) remarks that the master who painted this hydria must have been familiar with the N aucratite fabric and types. Buschor, however, believes that Ionian artists introduced the negro type into Greek art. This does not contradict the idea that N aucratis played an important part. It only introduces an intermediary step. The following objects have been found at N aucratis and other places outside the Greek mainland with which Naucratis had trade relations: VASES 4. London- British Museum-from Naucratis-6th cent. Cf. Petrio, Xo!tkra 'tis, I, pI. V, fig. 41, p. 51 ; Dumont-Chaplain, Les Ceramiq1t .. de la Grece propr.; Walters, Catalogue of Vases, II, p. 83, B 102 (33); Buschor, Miln. Jb. Bild. Kunst, XI, 1919, p. 35. This vase fragment shows the figure of an Ethiopian from head to waist. 'l'he type is strongly marked; the lips are prominent and everted, the no e short and broad, the hair woolly. The head is in profile but the body and arms are full front. The right arm is held out from the body with the fore- arm extending downward. The left arm is missing above the elbow but was probably held up in the same posture as in the following figure. The shoulders are very broad and the waist narrow. Lines of white down the front of the chest and at 14 THE NEGRO IN GREEK AND ROMAN CIVILIZATION the right elbow seem to indicate that the figure is not nude but is wearing a close-fitting jacket with sleeves. Buschor suggests that this Ethiopian may be one of the attendants of Busiris running away before the attack of Heracles, since he considers that this story originated in N aucratis. It is equally probable that the pose, which recurs on the two following examples is a dancing one, since it is identical with the pose of a number of the revellers on the Fikelluraamphora from Samos now in Altenburg. The revellers although painted in solid black Bre not Ethiopian in feature. The design is in black on a drab ground, with details added in purple and white. Size 2i by 2-1 in. 5. London-British Museum-from Naucratis-6th cent. Cf. Petrie, Naukratis, I, pI. V, fig. 40; Blischor, Mii1t. Jb. BUd. Ku-nsf, XI, 1919, p. 35. This fragment of a vase shows a figure in black on a light ground similar in pose to the preceding. The face is smaller and the features are so conventionalized that it is not certain that an Ethiopian is meant, though the black paint and simi- larity of pose make it probable. 6. London-British Museum-from Naucratis-6th cent. Cf. Petrie, Naukratis, I, pI. V, fig. 42; Buschor, Miin. Jb. BUd. Kunst, XI, 1919, p. 35. This fragment of the same ware shows a figure similar to the foregoing except that the figure is preserved far enough below the knee to indicate the pose. The face also is conven- tiona.lized by the prominence of the jaw, and the black color indicates an Ethiopian. The figure is balanced on the right leg, and the left is held in the air as if dancing. White lines on the body probably indicate a garment. lit. 1-1 in. Fig. 40 on the same plate of the N aukratis publication has the same pose but a different profile and may not be meant for an Ethiopian. 7. Vienna-K. K. Oesterr. Museum-from Caere-6th cent. Cf. Manum""ti, VIII, pIs. XVI and XVII; Masner, Samm!ung I1"tiker Va ..." und T errl1katten, pp. 21·22, 217, pl.lI; F. R., pI. 51, pp. 255-261, a complete description and full bibliography_ This black-figured hydria depicts the myth of Heracles FIGURE l. HYDRIA IN VIENNA. Reproduced from Furtwangler-Reichhold, Griechi8che l'asenmalerei . • THE INTRODUCTION OF THE ETHIOPIAN INTO GREECE 15 and Busiris, an Egyptian king who made sacrificial victims of all strangers. According to the legend, Heracles permitted himself to be lead to the altar without any show of resistance, but just as the rites were about to co=ence, turned on Busiris and his priests and killed them with his club and his bare hands. The hydria represents on one side the scene at the altar, where Heracles is despatching Busiris and the Egyptian priests. The other side shows a body-guard of five Ethiopians marching to the assistance of the prostrate king_ The Ethiopians are strongly differentiated in type from the Egyptians. Their hair is very woolly and their jaw struc- ture prominent. They are nude except for loin-cloths about their waists, and they carry hooked clubs. They march for- ward with much spirit and the painter has succeeded in making them life-like and comic. There are no livelier Ethiopians in Greek art. Cf. Fig. 1. 8. Bel'lin-Antiquarium Inv. 3250-formerly from Cyprus. In Van Branteghem CoIl. Froehner, Gata!., no. 238; Ohnefalsch- Richter, Kypros, B'ibel und Homer, pI. XCIII, 3; p. 215 3; Furtwiingler, 11roh. Llnz., VIII, 1893, pp. 82-83; Prinz, Fwnde aus Naukratis, p. 105; Buschor, AIiin. Jb. B ild. Kwnst, XI, 1919, p. 34, fig. 49. This ointment vase of faience in the form of two conjoined heads represents ethnographic types, one a bearded barbarian and the other a negro with a smooth face. The latter has a broad flat nose and thick lips. His woolly hair is indicated by squares blocked out in the falence. The vase dates from the seventh century and was made at Naucratis, though found in the Larnaca district on Cyprus. 9. London--British Mu seum Inv. A 1233-from Cyprus. Cf. Buschor, Nun. Jb. Bild. K"nst, XI, 1919, p. 34, fig. 60. This janiform ointment vase is similar to the foregoing though differing in the treatment of the Ethiopian's hair. Instead of being blocked out in squares as on the Berlin vase, it is indicated by 107.enge-shapec1 inci ions with a dot in the center of each. From the same factory as Nos. 8 and 9 is 16 THE NEGRO IN GREEK AND ROMAN CIVILIZATION probably Arch. Anzeiger, 1928, pp . 77 ff. , figs. 1 and 2. Cf . below p. 38. Also to the sixth century belongs the oenochoe from Athens in the form of a single negro head with high handle in the Metropolitan Museum (G. R. 570). The hair is indicated by rough dots in light color , the rest black. T ERRA-COTTAS 10. London-British Museum-from Camirus, Rhodes. Cf. Synopsis of the Gontents of the B"itish Mu.seum, Guide to the 2nd Vase Room, pt. 2, 1878, p. 10, 68; Walters, Gatalogue of Terra· eottas, p. llS, B 269; Winter, Terrakotte1l, II, p. 449, 1 A. This figurine of terra-cotta is seated in a crouching posi- tion, his right leg drawn up in front of him and his left leg drawn under him. His hands clasp his right knee and his chin rests on them. He has thick, negro-like lips, but his ears are those of a satyr. Ht. 4i in. 11 . London-British Museum-from Cam irus. Cf. Synopsis, Guide to 2nd Vase Room, pt. 2, p. 10,63; Walters, Terraeottas, p. ll8, B. 270; Winter, Terrakotten, II, p. 449, I b. This terra-cotta figurine of an Ethiopian is seated in a similar position, except that both legs are drawn up 1ll front. Traces of red color remain. Ht. 4! in. 12. London-British Museum-from Camirus. Cf. Synopsis, Guide to 2nd Vase; Room, pt. 2, p. 10, 64; Winter, TerrakatLen, I I , p. 449, 1 b; Walters, Termeottas, p. llS, B 271. Similar figurine of an Ethiopian. Ht. 4! in. 13. London-British Museum-from Camirus. Cf. Synopsis, G"id. to 2nd Vase Room, pt. 2, p. 10,65; Walters, Terra-cottas, p. ll8; B 272; Winter, Termkot!en, II, p. 449, 1 b. Similar terra-cotta figurine of an Ethiopian. The right foot is broken off. Ht. 3f in. 14. London-British Museum-from Camirus. Cf. Synopsis, Guide to 2nd Vase Room, pt. 2, p. 10, 66; Walters, Terraeottas, p . ll8, B 273; Winter, Terra!;otten, II, p. 449, 1 b. Similar terra-cotta figurine. H t. 3f in. 15. London-British Museum-from Camirus. Cf. Synopsis, Guide to 2nd Vase Room, pt. 2, p. 10, 67 j Winter, Terrakotten, I I, p. 449, I B; Walters, Terraeottas, p. 118, B 274. Terra-cotta figurine of an Ethiopian, similar in pose to no. 10: Ht. 4t in. THE INTRODUCTION OF THE ETHIOPIAN INTO GREECE 17 16. New York-Metropolita.n Museum--Cesnolo. Coll.-fr om Cyprus. Cf. Atlas of the Oesnola Ooll ., pI. LXXXII, 739; Myres, Handbook of the Oesnola 0011., p. 362, no. 2320; Winter, Ter· mkotten, II, r. 449, 1 C. This terra-cotta figurine of an Ethiopian is seated with his right leg drawn up in front of him and his left leg drawn under him. The modelling is crude and the features are indistinct, ·but the broad nose and thick l1ps can be distin- guished. The eyes· are closed. There are remains of a red color on the surface. In type the figure belongs to the series found at Camirus. Bt. 0.09 m. 17. Paris-Louvre--from the Cyrenaica. Cf. Heuzey, Figurines Anti.ques de Terre Quite, p. 30, pI. 55, 6; Winter, Terrakotten, II, p. 449, 1. This is a terra-cotta figurine of an Ethiopian, similar to the figures from Camirus in the British Museum. The fore- head is low, the lips large. Though found in the Cyrenaica, it undoubtedly belongs to the same series. The face is ape- like in expression. lit. 0.09 m. MINOR OBJECTS 18. Berlin. Cf. Furtwtingler, Aigina, I, p . 433, no. 19; Buschor, MU". Jb . Bild. Ku"st, XI, 1919, p. 34. Paste scarabaeus of N aucratite fabric with an Ethiopian head in high relief. It is not unnatural to find an object imported from Naucratis in Aegina, a city of commercial enterprise in the early period. 19. London-Briti~h :Museum-from Naucratis. Cf. Petrie, Na1J- k'r",t;s, II, pI. XVIII, 35 ; Buschor, Miin. Jb·. Bild. Kwnst, Xl, 1919, p. 34. Scarabaeus of paste with a negro's head in high relief. The lips are very full, the nose short and flat. 20. London-British MII.eUlu-from Naucratis. Cf. Petrie, Nau- krati.s. II, pI. XVIII, no. 61; Buschor, Miln. J'b. Bild. Kunst, XI, 1919, p. 34. Paste scarabaeus similar to the foregoing. 18 THE NEGRO IN GREEK AND ROMAN CIVILIZATION 21. London- British Museum-from Naucratis. Cf. Petrie, Nau· kratis, I, pl. XXXVII, nos. 4, 9, 11, 26, 83, 133, 141, 142; pl. XXXVII, 8, 9, 10; II, pl. XVIII, 59, 60; Buschor, Mun. Jb . Bild. Kunst, XI, 1919, p. 34. Scarabaei of paste with the design of a human head. Buschor considers that they represent Ethiopians. This is probable, though the crudity of the work makes it hard to determine. The majority have the reverse design of a winged animal. 22. London- British Museum-from Naucratis. Cf. Walters, Terra- cottas, p. 443, E 91. Mould for the front of a paste scarab. The design is the head of a negro with a grinning expression. Diam. It in. 23. London-British Museum-from Tyre. Cf. Jb. Arch. I, II, 1887, p. 197. Steatite in the form of a scarabaeus, the convex side a negro's head. The fiat under-surface has a geometric pattern. 24. Munich-Arndt Coll.-from Cyp rus. Cf. Buschor, Mun. Jb. Bild. Kunst, XI, 1919, p. 34, fig. 51. Head of an Ethiopian carved from steatite, the features similar to those of a steatite pendant in the Metropolitan Museum. This head, however, is carved in high relief in the center of a fiat oval surface of steatite. The hair is indicated by raised dots. According to Buschor it was used as a seal. 25. Munich-Arndt Coll.-from Cyprus. Cf. Busehor, Mun. Jb. Bild. Ku"st, XI, 1919, p. 34, fig. 52. Steatite head of an Ethiopian, smaller than the foregoing. It is carved in high relief from a depression in the center of a fiat, round surface. The hair is shown by means of raised dots. The expression is similar to the Ethiopian head on the ear-ring in the Metropolitan Museum, though the features are not as coarse. 28. New York-Metropolitan Museum-Cesnola Coll.-from Cyprus. Ct. Myres, Handbook Of the Cesnola Call., p. 271, no. 1550; Atla8 of the Cesnola Call. III, CXV, 2. Head of a negro carved from steatite. It was intended to be worn as a pendant on a necklace, as it is pierced through above the ears and is fiat at the back where it would lie FIGURE 2. PENnANT FOR ~ECKLACE. SIXTH CF.N'l'URY B. C. IVl etropolitnn Museum of Art. FJOURE 3. SIXTH CENTURY EARRING FROM CYPRUS. Metropolitan Museum of Art. THE INTRODUCTION OF THE ETHIOPIAN INTO GREECE 19 against the neck. The profile is ape-like because of the promi- nence of the jaw and the low retreating forehead. The nose is very broad and fiat, and the lips wide. The hair is indi- cated as woolly by a series of drilled holes. Ht. Ii in. F ig. 2. 27. New York-Metropolitan Museum-Cesnola Coll.-from Cyprus. Cf. Myres, Hamdbook of the Oemola Ooll ., p. 380, no. 316!. Negro head, carved from steatite, as pendant on a gold ear- ring. It is similar in type to the foregoing, but resembles an animal in the exaggeration of the features. The curly hair is indicated by lozenge-shaped incisions similar to those on an ointment vase in the British Museum. A novel feature is that the eye-balls are painted red. Fig. 3. 28. Naucratis, Bulak Museum. Cf. Petrie, Naukratis, I, p. 43 . Small head of an Ethiopian of dark blue glass, found in the remains of a private house. 29. London-British Museum-from Cyprus. Cf. Marshall, Oata- logue of Jewellery, p. 14, 144, fig . 2. A thin strip of gold embossed with rosettes and conven- tionalized animal heads. In the center of the strip at the top is the mask of an Ethiopian on its side. The strip was found in a Bronze Age tomb in the Larnaca district where the janiiorm vase of fatence was found, and is probably one of the earliest instance outside of Egypt. Length 16.1 em. At first glance it seems difficult to generalize about objects which have so little uniformity. Naucratis may have intro- duced the type but its adaptations varied wiaely. A study of the objects reveals certain general facts. In the art of N IIU- Cl·atis the type occurs on vases and scarabaei. On the island of Rhodes it was adapted to small terra-cotta figurines. On Cyprus it was used a the subject of a series of black steatite heads. On Cyprus were found the two janiform ointment vases, but these belong to N allcratis, and the Caeretan hydrin is affiliated with Naucratis. The explanation seems to be that in this early art of Cyprus and Rhodes the Ethiopian was considered apotropaic, while in N aucratis his apotropaic £unc- 20 THE NEGRO IN GREEK AND ROMAN CIVILIZATION tion was giving way to interest in him as an ethnographic type. The small objects upon ,\"hich the negro type is fouud ha\"e long been recognized as prophylactic. Two of the steatite heads, and the pendants of the Minoan necklace were obviously intended to be worn as ornaments. Now the tend- ency to wear or carry about on the person some small object to counteract the evil eye, ward off harm or bring good luck to the wearer is universally found. The steatite and glass heads, paste scarabaei and the gold strip ornamented with the Ethiopian mask are undoubtedly apotropaic in function. This is the reason that the negro head is always in full front, never in profile. This is the reason that the ugliness of the features has 'beeen exaggerated. The red eye-balls of the small head on the earring are repulsive and the jaw is so prominent that it seems fairly to represent an animal. The recurrence of the type on later Greek jewelry has caused the frequent generalization that the negro in Greek art was always prophylactic. This is not true of all periods and types of objects. The Attic artists with characteristic delicacy invested the racial type with a spirit which amounts almost to charm. Ugliness of feature was never stressed. Rather they intrigued the Attic artist because of their strange and novel physiognomy, and their reminiscent association with legendary Ethiopia. But in these earlier centuries of greater superstition and lesser knowledge the small objects with the Ethiopian type are without question prophylactic. To ward off evil influences was probably also the purpose of the terra-cotta figurines from Camirus. These small figures were all found in graves possibly with the intention of providing dead men with a slave in the next world and were certainly to keep away all harm. All the figurines show practical!y the same pose. The slave crouches on the ground with one or both legs drawn up in front of him. He rests his head on his hands, which clasped about his knee, and his eyes are closed as if in sleep. Probably they do not simulate THE INTRODU CTION OF THE ETHIOPIAN INTO GREECE 21 death, as the pose recurs on objects of the fifth century and the H ellenistic period which have no funerary purpose. An inscribed gem of the fifth century, now in the Corneto Museum, shows a crouching Ethiopian as the attendant of a youth who is vigorously pouring oil upon himself after some gymnastic exercises. Several early gems show the sleeping slave alone. The pose is co=on in statuettes of bronze as well as of terra-cotta from the Alexandrian era, one example even showing an Ethiopian street-hawker asleep in this posi- tion, with a tray of fruit in front of him and a pet monkey on his shoulder. Schneider dismisses the question with the remark that the pose was a favorite one for slaves in antiquity. While this statement seems to have been deduced from the frequent occurrence of the figurines rather than to explain them, the pose of the Camirus figurines probably has no spe- cial significance. It is a posture regularly found among races accustomed to squatting down on the earth. It was also easier to model a terra-cotta figure seated on a somewhat triangular basc which supported the figure than to balance a standing figure in a fragile material. At Naucratis the Ethiopian slave was better known than on Cyprus or Rhodes. If the Greeks there found him suffi- ciently ugly to be prophylactic, as evidenced by the many scarabaei, they also found him interesting as a type. It would be absurd to call the Ethiopian of the vase fragments and the Caeretan hydria pTophylactic. They are the product of a joyous, almost child-like interest in a new race. The negro perhaps unfortunately has always appealed to the comic side of the Caucasian. The negro's propensity to quick lvughter, his feeling for music and the dramatic and his loose- jointed dancing have always made him a popular comedian. We know from Hellenistic objects with the negro type that these characteristics have changed no more than the physiog- nomy, and the Greeks of Naucmtis probably enjoyed them fully as much as we do. The figures on the fragments with their exaggerated eyes and queer jackets are undoubtedly 3 22 THE NEGRO IN GREEK AND ROMAN CIVILIZATION meant to be comic whether they are dancers or whether they are servants of Busiris running in terror from the onslaughts of Heracles. The artist of the Caeretan hydria is openly inviting laughter at his row of Ethiopian fighters marching with clumsy weapons to a contest already settled. An interest in the Ethiopian features more scientific than humorous is shown by the makers of the ointment vases in which an Ethiopian is contrasted with an Asiatic. Whether or not these faces were intended as an advertisement of the country from which the perfume came, the intention here was fairly serious and the matter of setting off one type against another presented a very neat problem to the potter. These vases are extremely significant in that they are the link between the art of Naucratis and that of the mainland. The Attic artist who was the fint to portray the Ethiopian type adopted the medium of the janiform ointment vase. CHA PTER III THE FIFTH C ENTURy -THE ETHIOPIAN TYPE ON PLASTIO V ASES The Ethiopian type in the art of the mainland first appears, as has been said, on plast ic ointment vases in the form of heads. These occur singly or conjoined and the type is not confined to ointment vases, being found on drinking cups and pitchers as well. OINTMENT VASES 30. Athens-National Museum 2056-from the Cabirium. Cf. Nicole, Oalalogue des Vases Peints, p. 283. P lastic ointment vase in the form of the conjoined heads of a cantharus (M,un. Jb. Bild. Kwnst, XI, 1919, p. 15), but the description given by Nicole, who calls it a balsamaire, specifies the spout and vertical hanc1les of an ointment vase. Nicole states that the type of the Ethiopian is identical with that of the following vase with the love name Leagrus. 31. Athens-National Museum 2160-ll'om Eretria. Cf. Hartwig, 'Apx. 'E. 1894, pp. 121-128, pI. 6; Klein, ariechischen Vasen mit Liebli1lysinschriften, p. 81, 45; Nicole, Oatalogue des Vases Peints. p. 283, 1227; Ducati, Sto1"ia della ceramica areca, II, p. 516, fig. 389. Ointment vase with cylindrical spout supported by vertical handles, in the form of a head. I erfectly preserved, it is one of the finest examples of the type. The inscription reads AiO-Ypo. Ka.A6. . The hair is indicated by raised dots of clay. H air, lips and eye-balls are in the color of the clay. The outlines of iris and pupil are indicated by incised lines. The nose is too sharp for the typical Ethiopian nose. Diameter of the base 0.04 m., Ht. 0.28 m. 32 . .Athens-National :Museum 11725. Cf. Nicol e~ Oatalogue des rases Pc;nts, p. 2 3, 1228. Ethiopian's heau of same type as above. There are traces of an illegible in cription at the top. The eyes are painted white and the iri red. Ht. 0.12 m. 23 24 THE NEGRO IN GREEK AND ROMAN CI VILIZATION 33. Berlin-Antiquarium-Sabouroff Coll.-from Attica. Cf. Furt- wangler. Beschreibung de1' rasensamml., II, p. 1027, no. 4049; Scbrader, Berl.iner Winckeln>. Prog,·am, VI, 1900, p. 11 and pp. 34·5. Ointment vase with a cylindrical mouth and two vertical handles above head. The hair is rendered by raised dots of clay, 'rhich are unpainted. The forehead is wrinkled. The skin was pa in ted black, leaving the lips in the red color of the clay. There are traces of white on the eye-ball. The face has a lively e)"-pression. Ht. 0.105 m. 34. Berlin-Antiquarium. Cf. Furtwangler, Besch,'eibung der Va-sen- samml ullg, II, p. 784, no. 2757. Vase with a lecythus mouth over an Ethiopian's head. The hair was indicated in the clay and painted. Lips and eyes were left unpainted. Furtwaengler assigns the vase to the latter half of the fifth century. Ht. 0.115 m. 35. Boston-Museum of Fine Arts, 97089. Cf. Arch. An• . , XIV, 1899, p. 145, no . 55; Buschor, Mibn. Jb. Bild. Kunst, XI, 1919, p. 10, pl. IV. J aniform ointment vase. Both heads are Ethiopians made from the same mould. The forehead is low and retreating, the nose short and flat and the lips thick and protruding. The hair is rendered by raised dots in the clay. The flesh is painted black, but the hair and lips are left in the original clay color for cono·ast. White paint is applied to the eyr- balls, and the pupils are painted black. The vase is referred to as having a " lecythus mouth" in the notice in the Arch. Anz. cited above. Figs. 4a and 4b. 36. London-British Museum. Cf. Walters, History of Ancient Pot· tm·y, I , pI. XLVI, 2; Buschor, Mun. Jb. Bild. Kunst, XI, 1919, p. 10. Janiform ointment va e combining the heads of an Ethio- pian and a Greek girl. The profile of the Ethiopian shows the sloping forehead, flat nose, thick lips and prominent jaw of the Boston vase. The Greek girl wears a cap upon which is painted a wreath of ivy leaves, and below it her hair is indi- cated by three rows of raised dots. The heads have been joined less gracefully than on the Boston vase or the Morgan THE ETHIOPI AN TYPE ON PLASTIC VASES 25 vase (45). They are telescoped so that they have a single ear between them and the propOI-tions are less pleasing. 37. Paris-Louvre. Of. Pottier, Mon. Piot, IX, 1903, pis. XI and XII; Herford, Handbook of Greek Vase Painting, pp. 10 and 80, pI. 2, fig. a; Buschor, Miln. Jb . Bild. Kunst, XI, 1919, p. 10. J aniform ointment vase combining the heads of a negro or negress and a Greek girl. The Ethiopian's profile is identi- cal with that of the Boston and London vases above. The Ethiopian's eyes are almond-shaped and set wide apart. The girl wears a cap painted black on which is a red-figured design of palmettes and cocks. On either side of the girl's neck, running from edge of cap to base, is the inscription Ka,\.6. written backward. 38. ?-from Calabria. Cf. Not. Scav., 1912, suppl. p. 16, fig. 20; BuscllOr, Mil". Jb. Bild. K,,,. .· t, XI, 1919, p. 10. Ointment vase with a cylindrical spout in the form of an Ethiopian's head. The profile is very different from the Bos- ton, London, and Paris vases. The nose is too long and pointed to be the characteristic Ethiopian's nose. The hair, however, is rendered similarly by raised dot; of clay and the flesh is painted black. The lips are thick and protruding. Very lifelike. Red lips and white eyeballs. DRINKING CUPS 39. Bologna Museum-from the Oarthu ian Monastery-Certosa. Ht.0.16m. Cf. Bul1etvno, 1872, p. 83, no. 36; Buschor, Mil". Jb. Hild . Ku n81, XI, 191 9, pp. 14·15; Seltman, A. J. A., XXIV, 1920, p. 15; Pellegrini, Musco Owico di Bologna, pp. 211, 466, figs. 131 and 132; Brunn, l1bh . Miln. rl karl .. XVIII, 1888, p. IG8; Zannoni, Scavi d. 0., p. 333, pI. LXXXX, n. 6, 14. J aniform vase, one head a white woman, the other an Ethiopian. The hair of the white woman is in rows of raised dots in the Procle technique. There is a wreath of ivy partly on her cap and partly on the mouth of the vase. The eyes arc long and narrow, the lips archaic. The Ethiopian is from the Charinus mould (p. 32). The hair wa left in the color of the clay. but there are traces of brown color on the lips and eye . 26 THE NEGRO I N GREEK AND ROMAN CIVILIZATION 40. Boston-Museum of Fine Arts. Of. A,·cli. A.nz., 1899, p. 144, no. 35; Buscbor, MUll . Jb . Bild. Kunst, XI, 1919, p. 14. Cantharus in the form of the conjoined heads of an Ethi- opian woman and a white girl. There is a band at the top decorated with palmettes in black on a white ground. Under it is the inscription" ?TaL' KaAo.. Ht. 0.192 m. 41. Boston-Museum of Fine Arts 9679. Of. Buschor, G,oeel" Vase Painting, p. 120, fig. 101; Buscbor, Hiin. Jb . Bild. Kunst, XI, 1919, p. 13, fig. 19; A,·cli. Anz. XVI, 1901, p. 166. Drinking cup with one handle in the form of a negro's head, surmounted by a large round vase mouth. The wide band is painted in the black-figured technique, showing the vase to be one of the earliest of the drinking-cup group. The single handle extends from the rim of the cup to the back of the plastic head. The hair is shown by the familiar raised dots which are left in the color of the clay. In the clay color also are the eye- brows and the thick, protruding lips. The details are painted in with elaborate care and give the combination (If black- figured and red-figured head a striking appearance. The wrinkles in the forehead have been incised in the clay and those in the corner of the eyes have been added in white paint. The eye-balls have been painted a staring white alld the pupils black. The surface of the skin is a glossy black. Fig. 5. 42. Fr,ankfurt-Hist. Mus., fo rmerly in Bourguignon 0011. Ht. 0.20 m., Di,am. 0.115 m. Of. Scbaal, GdeelL. Vasen a'us Frank- ,,,,rter Sammwngen, pI. 49; F. R. Text III, p. 93. Vase in the form of a negro's head with a cup mouth with a band of red-figured painting showing satyrs. Facial type quite distinct from other heads; Greek. more cylindrical and stiff. Outline of hair different, though left in the color of the clay and not indicated by clay dots or rings. The band of red-figured painting shows a satyr of heavier build than those of Sotades. Eyes and lips are unpainted, the rest is varnished black. One-handled drinking cup. Eyebrows raised, forehead concave and does not slope, nose longer, in line with eye. Flesh part black. Traces of red and whit~ ...; :i a 0 il .p6; r,;i §- ci ,~.'.". ~ ;g Oil [3 ;;1 .~ S 0i':" : ..~, '" z......, ti :;; '0 § ~ 8 .:; !! ;;: Q C ,,; ::> "'0 .,; t..J § ''::""> /':"i ~ S z~ ;< '" A" ~ ~. -= .:; THE ETHIOPIAN TYPE ON PLASTIC VASES 27 color on hair, lips, and eye-balls. Schaal thinks that this is an excellent portrait, but evidently does not know other good examples. . The Frankfurt vase has the peculiarity of a hole in the mouth through which wine could be poured. Schaal suggests that this may have been intended to create some sport. 43. Greau Collection. Cf. Buschor, Mii,n. Jb. B·ild. Kunst, XI, 1919, p. 13; Froehner, Terrescuites, 101, pI. V. Drinking cup with one handle in the form of an Ethi- opian's head, dated by Buschor at about the beginning of the fifth century. 44. Leningrad- Hermitage-no. 836. Cf. Buschor, Mii,n. Jb. Bild. Kunst, XI, 1919, p. 14. J aniform cantharus with the heads of an Ethiopian and a white girl. 45. Princeton-Mus. Coli. of Junius Morgan. Cf. Art and Archae· ology, XX, 1925, p. 120. Drinking cup in the form of the conjoined heads of a white girl and an Ethiopian, both from the Charinus mould. The white girl is identical with the signed vase of Charinus in the Corneto Museum. The negro profile is one of the series identified by the signed fragments in the Villa Giulia Museum. The white girl wears a cap decorated with an ivy pattern. The cup mouth is plain. This appears to be a replica of the vase in Bologna. Fig. 6. 46. Rome-ViIla Giulia Museum- from Vignarello. Cf. Della Seta, Mu sco eli Villa Giulia. 1. p. Ill , no. 26026; Hoppin, Hanel· book of Black'fi,u"rcel rases, pp. 72·3 . Fragments of a drinking cup in the form of an Ethiopian's head. They con i t of a part of the cup mouth, two pieces showing cars and two pieces of a black painted band, one of whieh bears the inscription. The decoration of the cup mouth is identical with that of the Charinus cup in the Corneto 1Iu seum. There is no question that these are fragments of a negro's head. Fragments of both ears show that they were painted black, and the hair around them is in raised dots 28 THE NEGRO I N GREEK AND ROMAN CIVILIZATION left in the color of the clay. Even the shape of the ear is identical with the Morgan Vijse. 47. Rome-Vatican-Museo Gregoriano Etrusco. Cf. Museo Greg., II, pI. LXXXIX; Helbig, Fuehrer, ed. 1912, I, p. 326, no. 532; Busehor, Mij". Jb. Bild. Kunst, XI , 1919, p. 15; Pot· tier, Monuments Piot, IX, pp. 138 if. Janiform cantharus which combines a head of Heracles with a negro's head. H elbig suggests that the Ethiopian may be intended for Busiris because he is contrasted with Heracles. This seems unlikely, since the head of Heracles is also found in combination with the girl who so often forms the other half of the janiform Ethiopian vases. As Ridder suggests, the other head is Omphale. Fig. 7. 48. St. Louis-Museum of Fine Arts. Cf. Furtwiingler, Sitz. Miin. Aka,d., 1905, p. 243, no. 8; Busehor, Mun . Jb. Bild. Kunst, XI, 1919, p. 14, n. 5. Cantharus in the form of the head of an Ethiopian woman. She wears a cap. The flesh is painted black, leaving the lips in the red color of the clay. The teeth are shown and are painted white, recalling the oenochoe in the collection of Prof. D. M. Robinson (189) . The hair is indicated by wavy, incised lines instead of the usual raised dots. Eyes aJ.1d eye-brows are painted. Myrtle branch on the cup mouth. 49. Vienna - K . K. Oest . Mus. - Castellani Coil. Cf. Brunn, Bullettino, 1865, p. 241; Schneider, Jb. Kurst. Samml., III, 1885, p. 7, n. 5; :A1asner, Sammlung Antiker Vasen, p. 55, DO. 347, pI. VIII. Cantharus with a band at the top ornamented with pal- mettes in the red-figured technique. The lower part is the head of a negress (Masner does not say a woman) wearing a ca p, under the front of which appear a few rows of raised dots to indicate hair (Procles technique) . Prominent jaw, broad nose, high cheek bones, thick lips. The work has been carefully done. The flesh is paintpd hlack, leaving hair, eye- brows and lips in the red color of the clay. The eye-balls are painted white and the teeth show white between the large, protruding lips. Pupil and iris are marked by incised circles. Behind the head is a broad red band decorated with white THE ETHIOPIAN TYPE ON P LASTIO VASES 29 borders and dots. The ear is modelled with a rosette ear- ring out of a lump of clay. Excellent and careful work of the severe style. Ht. 0.178 m. 50. -from Etruria. Cf. Bullettimo, 1866, p. 236; Seltman, A. J. A., XXIV, 1920, pp. 14-15. Janiform cantharus with the conjoined heads of a white girl and an Ethiopian woman. The face of the white girl is pale and somewhat archaic in type. Above both heads is the inscription 0 '7Tat~ Ka.'\O~ val. PITOHERS-SINGLE HEADS 5l. Berlin - Antiquarium - Sabouroff ColI. Cf. Furtwiingler, Besohreibung de,. Vasensa-mmlung, II, p. 515, no. 2203; BUBehor, MWn. Jb. Bild. K""",t, XI, 1919, p. 12 and p. 42, fi g. f) 9. Oenochoe in the form of a negro's head. The flesh is painted black. The lips and hair, which is indicated by raised dots, are left in the original color of the clay. H t. 0.17 m. 52. Berlin - Antiquarium - from Athens. Cf. Furtwiingler, Be- soMeibung dcr Vasensammwng, II, p. 515, no. 2204. Oenochoe similar to the above. The work is more careless. The mouth of the vase is broken off. Ht. 0.07 m. 53. BrusBels-Branteghem Coll. Cf. Pottier, Mon. Piot. IX, 1903, p. 153, n. 2; Buschor, Miin,. Jb. Bild. Kunst, XI, 1919, pp. 11-1 2, fig. 15. J aniform oenochoe with trefoil top showing the conjoined head of a girl and an Ethiopian. The latter seems in this instance intended to represent a woman since only a band of raised dots indicating hair is hown, back of which is a cap painted black and decorated by a wreath of ivy leaves. 54. Baltimore-ColI. of D. M. Robinson. Cf. Sel tman, A. J. A., XXIV, 19~0 , pp. 14-18. Oenochoe combining a bearded male head with the head of an Ethiopian woman. Most of the color is gone from the va e and the \York is poorer than that of the other k"Ilown vases of the type. The vase mouth is stocky and not graceful. Attic va e of fir t hali of fifth century B. C. Greatest height, 0.18 m.; of face, 0.o.±5 m. Width of face, 0.04 m. Fig. 8. 30 THE NEGRO IN GREEK AND ROMAN OIVILIZATION 55. Naples-National Museum. Cf. Heydemann, Vas.nsammlu1Ige" des Museo ''."azional.e, p. 447, no. 2950 (Photo Sommer 11079); Buschor, Miln. Jb. Bild. KUlI.st, XI, 1919, p. 12. Oenochoe in the form of a negro's head. Ht. 0.15 m. 66. -from Svessola- Italian imitation 1 Cf. Not. Scav ., 1878, pI. V, no. 8, p. 397; Buschor, Mun. Jb . Bild. K., XI, 1919, p. 12. Vase in the fo rm of an Ethiopian's head. Enough of the mouth remains to show that it was probably an oenochoe. The head is covered by raised dots of clay. Forehead is slop- ing, eyebrows prominent, nose broad though pointed, lips thick and everted. It was on the ointment vase, as Buschor points out, that the Ethiopian first appeared conjoined with another head in the art of Naucratis in the 7th century. And it is on the oint- ment vase of the s0..-th that it was first shown by the Attic potters. This vase form a1 ways gave the potter the greatest opportunity for display of individuality in treatment. It needed only a narrow mouth and small handles and lent itself to variety and innovation. Since its shape was not prescribed it was the starting point for novelties of design which even- tually influenced other vase forms as welL The Attic ointment vases in the form of double heads show a profound advance over those of Naucratis. The funnel- shaped vase mouth and vertical handles, wh'le they are the same type, have been refined. The mouth rests on a more slender cylindrical neck and the handles which support its edge are less clumsy. They now rise from the side of the head instead of from the hair above the center of the fore- head. The ointment vase type from Naucratis had little grace, since the chins of the two heads were enlarged and extended to meet and form the oval base upon which the vase rested. In the Athenian vases the chins are normal in out- line, and the necks of the two heads are moulded together so that the vase rested upon the flat circular base at the bottom of the neck. But the similarity of the two types is so pro- nounced as to leave no doubt in regard to their relation. THE ETHIOPIAN TYPE ON PLASTIC VASES 31 From the ointment vase the type was soon adapted to pitchers and drinking cups with one or two handles. Some have single and some double heads. The foregoing twenty-six vases showing Ethiopian heads have many characteristics in common. Practically all show the hair by means of tiny lumps of clay. In the technique introduced by the vase of Procles the skin is varnished black, while hair and lips are left in the color of the clay. The eyes are painted and sometimes additional details are added. All the vases show a desire for efJ'ecti ve contrast. The hair was left dull in order to emphasize the shiny 'black skin. On the janiform vases the severe white face is introduced for sharp contrast. The white face and black cap are set over against the black face and dull hair, It is a type which recalls the archaic maidens from the acropolis. While the archaic smile is not pronounced, the large wide-open eyes recall the older technique. The greatest contrast between the Greek and Ethiopian types was in features and skin. The regular, somewhat archaic nose and lips of the Greek girl offset the snub nose and pro- truding lips of the Ethiopian, and the pale color of her skin emphasizes the shiny, black flesh. One suspects from the spirited expre sion of these Etl1iopian faces that the artist took the greatest pleasure in portraying them, and that the rather severe white face was introduced to contrast with the black, rather than the reverse. The potter is more important than the painter in the case of these plastic vases. He created the mould into which these faces were pressed. That the Athenian plastic vases were pressed into mould rather than poured can be seen from the fact that the inside of these vases are rough and show finger- marks. The points of the two parts are clearly visible on many examples. Often the lip was thrown separately on the wheel and attached. The role of the painter was secondary and consisted only of the painting of the features and head dress. 32 THE NEGRO I N GREEK AND ROMAN CIVILIZATION Once the master potter had made the mould it could easily be used again either by the potter himself or by others in his workshop. In a number of instances we have replicas of plastic ware showing that this was done. "The Greek potter did not use the mould as a labor-saving device. He employed it only where the work dema.nded it, as in the Athenian plas- tic ware. Here we sometimes find the same mould used sev- eral times ... but the number 0.1' such repetitions is not great, and certainly could not indicate mass production." 1 A hunt for replicas among the Ethiopian heads shows the single heads all to be distinct and individual types. But on the double heads the same mould is employed seven times- on the Boston, London, and Paris ointment vases, the Bologna and Princeton drinking cups and the Brussels pitcher. On the Boston vase two Eth iopians are conj oined. On the others the Ethiopian is combined with a white girl. Likewise this Ethiopian is more masterly than the others. Who made this splendid mould, used in at least seven surviving examples? Because the same mould of the white girl has been employed on another vase with the love-name Epilycus, these plastic vases have 'been attributed to Scythes, who employs the same name. On the face of it this seems slim evidence for assign- ing plastic vases to a man known only for painting. Perrot and Buschor come very close to the truth when they speak of these heads in conjunction with the beautiful head by Chari- nus in the Berlin Museum. No one seems, however, to have brought forward definite evidence connecting these double heads showing the negro type with Charin~, and the refer- ences have always avoided a definite assignment by references to the workshop or influence of Charinus or unknown artists of his circle. Even Buschor does not seem to know the signed fragments in the Villa Giulia Museum! To Charinus this finest of the negro heads can be assigned 1 Richter, The Oraft of At"e"""", Pottery, p. 28. 'Of. Not . d. Scavi, 1916, pp. 53 fr.; Hoppin, Hamdbook; Of Greek Black-figu'Ted Vases, pp. 72·73. THE ETHIOPIAN TYPE ON PLASTIC VASES 33 beyond possibility of doubt. The vase in Princeton and the fragments in the Villa Giulia complete the evidence. The white girl of the Princeton vase who is conjoined with the Ethiopian bead is identical with the single head in the Corneto Museum which is signed by Chari nus himself. The frag- ments of a negro head in the Villa Giulia Museum with a cup mouth, similarly decorated showing it to be a companion piece are also signed by Charinus. The fragments showing the ear, hair and a bit of the skin are identical with the Ethiopian mould used as the other half of the Princeton vase which we know to b~ a replica of Charinus' signed vase. The other vases are all replicas of this. It is not surprising that so excellent a head as our negro should be the work of a man whose skill as a potter is evident from the great beauty of his sign ed vases. But it is not necessary to suppose that Charinus always used his own mould. In fact this is not possible for two of the double heads are put together so badly that the adaptation can not be the work of his own hand. The ointment vase in the British Museum shows two heads put together entirely without grace, and the Brussels pitcher leans and is not well proportioned. The Boston, Paris, and Princeton vases are well put togethel'. It is likely that Charinus who made the mould, modelled and signed the two vases in the form of single heads with the cheese board pattern on the cup mouth, and that tbe other vases were made by artists of his worksbop who had greater or lesser skill. This is further borne out by the fact that the painted details differ greatly on the vases from the same mould. On the signed Corneto vase the paint- ing of the cap is very delicate and skilful, while on the Prince- ton vase it is very coarse. Charinu made va e on which the painting was both black- figured and red-figured. He is placed in the early fifth century by Della Seta, but Buschor rightly places the girls' heads by Charinus between the year 520 and 510 B. C. It was known that Charinus made both pitchers and drinking 34 THE NEGRO IN GREEK AND ROMAN OIVILIZATION cups. Now that the negro mould made by Charinus has been identified with him, it is evident that he-or his workshop- turned out ointment vases as well. As these are agreed to have had an earlier popularity than the pitcher and drinking cup styles, the dates 520-510 B. C. are not too early for Charinus. The single heads of Ethiopians, as we have said, so far present no replicas. There is no chain of evidence connecting any of them with known vase painters such as we have in the case of Charinus. The majority belong in the transition period between the two wares. The Boston cup with the single handle has an elaborate black-figured design. The Vienna cantharus is red-figured. Not many of the vases are inscribed. No information is to be gained from the Vienna cantharus. On the Athens vase the love-name Leagrus shows the vase to be from the transition period as Leagrus' name occurs on black-figured and red-figured ware alike. It can not, however, help in identifying anyone vase maker as it occurs on vases, the work of at least fourteen men and many others not yet identified. Calliades is known to be a maker of plastic vases and some of the unidentified heads may some time be brought into relation with him. Buschor believes the Leagrus head to be the last of the series of Ethiopian heads in Attic art. The interpretation of these Ethiopian heads depends in some measure on whether they are meant to represent men or women. There is great disparity about this in the museum catalogues. Even the Charinus mould is interpreted in both ways. All doubt is removed here by the fact that the Brussels pitcher shows the Ethiopian with a woman's cap of exactly the same type as that of the white woman on vases. And no one who is truly familiar with the negro type of our own Southern cities can fail to realize that there is something indefinably feminine about this head particularly when viewed full in front. The oenochoe in Dr. Robinson's Collection and the canthari in St. Louis and Vienna are clearly meant to be THE ETHIOPIAN TYPE ON PLASTIO VASES 35 women, since the hair is bound up in a cap or turban similar to that worn by the Ethiopian woman on the gem from the Lewes Collection now in Boston. Negresses in Greek art are not so rare as Dr. Seltman would have us believe when we have at least eight instances before the fifth century is well under way. On the other hand, the impression of certain heads is as definitely masculine as these are feminine-for instance, the Frankfurt and Boston cups with the single handle. The fact that the two sexes are shown on these vases pre- cludes their interpretation as anyone definite mythological figure. Memnon and Andromeda were not considered black in the sixth century before Christ. Dr. Seltman would like to follow Mayor and see in the female Ethiopians a representa- tion of the monster Lamia of Libyan origin, with whom Greek mothers frightened their children. It is true that Dr. Rob- inson's vase shows large teeth which do not appear in the otheTs. In spite of this, however, the face does not seem suffi- ciently hideous for the conception of Lamia. She is more probably a type which happened to interest the artist. The other vases certai nly aTe not meant to be Lamia. They are not grote ques or caricatures-they are simply naturalistic. Nor is there any basis for interpreting the off-set heads from the point of view of any allegorical contrast such as day and night. In such a case there would surely be some attri- bute such as sun's rays or stars to call attention to the mean- ing. It is true that Pausanias in describing the Chest of Cypselus relates that the woman who symbolizes Night holds in her arms the two children Sleep and Death, the former portrayed as white, the latter as black or dark (V, 18, 1), probably in the same way as a woman holds two children on a British Mll eum vase. However, the Greek word employed is /LiM', "'hich is nowhere a synonym for ALBia"'. Death is else- where portrayed as black. If Death had been rendered with the features of an Ethiopian, Pausanias would have specified as he did in the case of the nude Ethiopian boy standing 36 THE NEGRO IN GREEK AND ROMAN CIVILIZATION near Memnon in Polygnotus' painting of the lower world (X, 31, 7). It is improbable that the heads on these vases have any further significance than racial contrast for the sake of conviviality. Helbig suggested that the Ethiopian on one of the double· heads was Busiris since it was coupled with Heracles. In the first place the Ethiopian probably represents a woman. Hera- cles is as well known as a heavy drinker as for his Busiris episode as witnesses Euripides' Alcestis; and in the second place there could be little point in combining Busiris with a white girl as on most of the vases, or Busiris with Busiris as on the Boston vase with the two Ethiopians. The same applies to the suggested identification of the white girl with Omphale, when she appears conjoined with Heracles. It would have no point when the white girl is conjoined with the satyr or Ethiopian. In the third place Heracles' drinking gives a hint as to the reason for the type. The vases in the form of heads have certain fixed types used singly or in com- bination-white girls, satyrs, Heracles, Ethiopian". Perrot suggests that the white girl is a nymph or Maenad. This is probably right, for although her features are in the severe and expressionless technique of the early period, she has a vine or garland on her head-dress. All but the Ethiopian type-- nymphs, satyrs, the great drinker Heracles-are appropriate types for a revel or drinking bout. The Ethiopian-perhaps an echo of the N aucratis revellers-is a novelty, something to tickle the sense of humor and add to the gayety of the feast. Granted that these Ethiopians are taken from life, as the Charinus negro certainly is, there is much left to guesswork as to what part they played in Athenian life in the sixth century. Probably they were first brought from Naucratis whither they had been brought from some region of the upper Nile. That they were slaves is without question. They were also in- dubitably a great novelty in sixth century Athens and would therefore be reserved for entertainment rather than for menial work. They waited on their master's tables at banquets, as THE ETHIOPIAN TYPE ON PLASTIC VASES 37 their frequent presence on drinking cups would imply. As at least eight distinct types served as models there must have been at least eight, both men and women, in Athens. The others were probably sought as models after Charinus had popularized the type. There can be little doubt that he created a great demand for these Ethiopian vases when chance has preserved as Ulany as eight replicas, a large number for a work-shop in Athens where vases were so seldom dupli- cated. The presence of Ethiopian boys on gems of the late sixth and early fifth centuries, together with these Ethiopian men and women is clear evidence of an established slave life for the race at Athens. Everything, however, combines to show that they were never common in Athens and must have been rare in the sixth century. Theophrastus who wrote his Characters in the early third century has a man or "Petty Ambitions," who aims to do the fashionable thing at all times. This man is careful to have an Ethiopian for his attendant. Had Ethiopian slaves been common even in Theophrastus' time, it is not likely that the rich and fashionable would have atIected them. They must have been unusual and expen ive. From this it follows that they were even more rare at Athens two or three centuries before. One gets this feeling from the vases them- selves, where the artist seem to have experimented in the portrayal of a new and cUTious race. There is no race pre- judice even in the heads which offset the black type against the white. The contrast i shown in a spirit of sympathy which indicates that the artists saw in them comedy rather than homeliness. A keen sense of the comic interest of the Ethiopians is the predominating element in the next use of the type on vases, a fOfm which is the special study of Buschor in his flrticle on Sotades. There exists a small group of vases, of Attic fifth century workmanship, in which a drinking cup mouth with red-figured painting is combined at the base with a pIa tic group showing an Ethiopian boy seized by a croco- 4 38 THE NEGRO IN GREEK AND ROMAN CIVILIZATION dile. The two somewhat unrelated parts of the cup are unified by making the tail of the crocodile curl up to form the handle of the cup. The style of painting is different in each case but the design of the plastic group is the same. The crocodile has seized the Ethiopian's right arm in his jaws and grasps him around the waist with his left forepaw, pull- ing him down on his right knee. The pose of the boy gives the artist an opportunity to show his skill in modelling the muscular structure, and there is striking realism in the pain expressed by the wide open mouth and eyes. The conception of the boy struggling in the grasp of the river animal inevita- bly calls to mind the struggling Laocoon group, though the latter is morbidly tragic and the former comic in intent. The humol'ou effect is heightened by contrast with the gaiety of the scenes painted on the cup mouth above. As Buschor points out, the artist was familiar with the Ethiopian type but not with the crocodile, since the animal is far from true to life, particularly the head. He thinks it probable that the artist conceived the idea of this plastic group from stories of the Nile told by returned travellers. It seems more likely that Sotades must have seen crocodiles at some time and have attempted to reproduce them from memory. A vase signed by him was found at Meroe and is now in Boston. If he had never seen the animal it is improbable that the legs and claws would be as well rendered. The Egyptian origin of the sub- ject is now made certain by a faience representation of a crocodile with a severed negro's head by its side, recently acquired by the Egyptian section of the Berlin Staatliche Museum. It is published with illustrations in Archiiologischer Anzeiger, 1928, pp. 77-82. It resembles in style the faience ointment vases pictured by Buschor, op. cit., figs. 49 and 50, and is probably from the same factory, dating about 600 B. C. An Italic rhytum in Naples (H. 2958) with a severed negro's head, shows the continuance of the type (Arch. Anz., 1928, p. 81, figs. 3 and 4). The theory which Buschor sets forward in his article is FIGURE 9. CROCODILE ""D NEGRO. FIFTH CENTURY B. C. In Munich. THE ETHIOPIAN TYPE ON PLASTIC VASES 39 that this group of vases, together with others in the form of animal heads, can be assigned to Sotades, from the resem- blance between the bands of painting on the cup mouths and the painting on other vases which are signed works of Sotades. The article was worked out in such detail as to leave little room for doubt, but it has been confirmed beyond dispute by the finding of Sotades' signature upon the vase from Meroe in the form of a rhytum with a cup mouth, now in the Boston Museum of Fine Arts." The plastic group at the base is a horse and rider. Buschor is interested mainly in the animal and the band of painting; but he has also assembled many instances of the Ethiopian type in connection with the figure on these vases, and has made a classification of the vases in the form of plastic heads which paved the way for Sotades' crocodile group. As has been said, he failed to complete the identification with Charinus. These Attic fifth century vases are the earliest examples of the comic association of negro and crocodile, a motif very common in the magazines of humor a generation ago and still found in the souvenir statuettes sold at southern resorts. Buschor distinguishes between the crocodile vases which are of genuine Attic fifth century workmanship, and those of later Italian workman hip which were made to imitate them. The Attic examples are the following: 57. Boston-Museum of Fine Arts. 98, 881. Cf. Annual Report, 1898, p. 72. no. 48: Arcll. Allz. • 1899, p. 145, 48, Buschor, Afiin. Jb. Rild. Klmst, XI, 1919, p. 3, no. 3, pIs. 1 a nd 2, figs. 32 and 33. Drinking cup, the lower part a plastic group of an Ethio- pian boy struggling with a rrocodile. The cup mouth is ornamented by a band of red-figured painting showing two satyrs and tII'o Maenads. The crocodile wa painted green, with <'!etails aelded in black. The Ethiopian's flesh was painte<'! black. Eye-lids, eye-brows and hair were painted • Cf. Rostoll lfuscum R"llctill. April 1923: Hoppin, Handbook, of Greek Rla<:k·/igurcd Vases. p. 474. 40 THE NEGRO IN GREEK AND ROMAN CIVILIZATION brown, the lips red and the teeth white. Ht. 0.24 m., length of base 0.202 m. 5S. Van Branteghem Coll.-formerly Tyskiewisz Coll. Cf. J. H. S., I X, 1888, p. 220, fig. 2; Hoffman SaL. Cat. no. 99; Froehner, Coli. Branteghem, 291, pl. 48; BUBchor, Miln. Jb. BiLd. KWMt, XI, 1919, p. 3, no. 4, and p. 4, fig. 3. Vase similar to the foregoing. The band of painting on the cup mouth is different, but has the same subject, i. e., satyrs and Maenads. Ht. 0.255 m. 59. Dresden-Albertinum-from Nola. Cf. Buschor, Miln. Jb. Bild. Kunst, XI, 1919, p. 3, no. 2, figs. 2 and 34. Vase similar to the foregoing. The band of painting is poorly preserved, but the four figures on it were warriors and women. Ht. 0.225 m. 60. Munich-Museum Antiker Kleinkunst-from Italy. Cf. Buschor, Miln. Jb. BiLd. K"nst, I V, 1912, p. 74; Buschor, Miln. Jb. BiLd. Kunst, XI, 1919, p. 2, no. 1, figs. 1 and 35 ; Sieveking, Arch. Anz., L,,{VIII, 1913, p. 22, fig. 2, no. 12. Vase similar to the foregoing, but much restored. The band of painting shows two maidens, one in hunting garb and two draped figures. Ht. 0.235 m. Fig. 9. To these vases which are genuine Attic examples, Buschor adds another which probably belongs in this class: 61. Catania--Museo Biscari. Cf. F. de Roberto, Oa,taniar (BergameJ 1907) p. 122; Busch or, Mii.n. Jb. Bild. K UnJt, X I , 1919, p. 4, no. 5. Vase similar to the foregoing. It is decorated only with a lozenge pattern and branches, which are arranged over each other in the manner of a frieze. It is evident that there was slight use of the Ethiopian as a subject for archaic terra-cottas. One specimen is listed from Athens and the museum catalogue calls it a negro. No illustration is available by which to judge the racial type, though the catalogue calls the work crude. Since only one example seems to occur it is possible that the figurine is not intended for an Ethiopian, the crudity of the work having made this a plausible supposition. THE ETHIOPIAN TYPE ON PLASTIC VASES 41 62. London-British Museum-from Athens. Of. Walters, Terra· cotta., p. 75, B 27. Archaic terra-cotta figurine of an Ethiopian (?) on horse- back with a basket of fruit in front of him. The back of the figure is not modelled. There are only a few gems of the fifth century which rep- resent the negro. An agate scarab, dating from the fir t quar- ter of the fifth century, of excellent Etruscan workman- hip from Cometo, nolV in Bo ton, show a little negro attend- ant holding a sponge and squatting on the ground in front of Peleus (Beazley, The Lewes House Collection of Ancient Gems, pI. A, 16). A Greek intaglio of the free style of the end of the fifth century, now also in Boston, shows the head of a negress wi th an ample kerchief wound about it. The frizzled hair appears in front and behind. She wears ear- rings and a necklace. It is a wonderful head with warm, rich modelling, a real masterpiece (Beazley, 0p. cit., pI. 3, 52). The negro appears also for a brief period on the coin- age of Athens and Delphi (d. Seltman, Athens, Its History and Coinage, pp. 97, 200) . CHAPTER IV THE FIFTH CENTURy-THE ETHIOPIAN TYPE IN VASE PAINTINGS. In leaving the plastic vases and passing over to the Ethio- pian type in vase painting, the mythology surrounding Ethio- pia is again encountered. The myths of Greece and their representation in contemporary drama were a favorite subject of the vase painter. When the Attic artist undertook to re- produce a scene which involved characters connected with this legendary country, it was natural that he should give them the features of the Ethiopians whom he had seen, and who had already been established as an appropriate subject by the moulders of plastic vases. N one of the actual rulers of Ethiopia who appear as principals in these vase paintings are themselves portrayed as black, just as they are not black in the literature. It is only such attendants, soldiers and slaves as are introduced into the scene who are given the genuine Ethiopian physiognomy. The artists could not give the ruling caste the features which they associated with a group of slaves of their own time. There are four legends which involved the Ethiopians in their representations on Greek vases. The stories of Memnon and Andromeda, concern chiefly the mythical Ethiopia of the ea t; the Busiris legend is related to Egypt; and the story of Lamia is connected with Libya. 1lIemnon, hero of the A ithiopis and of Attic tragedy, ap- pears on many vases, the principal subjects being his victory over Antilochus, his fight with Achilles watched by the two goddess mothers, Eos and Thetis, and the grief of Eos at his death. In proportion to the many vases showing Memnon in battle, very few show Ethiopian attendants. None of the vases showing the mourning for lI1emnon show followers of the Ethiopian type. As in Greek literature, when the Dawn Goddess is the important figure the idea of dark Ethiopians 42 THE ETHIOPIAN TYPE I N VASE PAI NTINGS 43 is submerged. But when armed Ethiopians appear on vases they undoubtedly are connected with the Memnon myth, even when the principal character Memnon is absent. Only those vases showing Ethiopians will be given heTe: For the others see G. E . Lung, lYl emnon: Archaologische Studien zur Aithio- pis. The vases which portray Memnon with his E thiopian war- riors all show the same scene, Memnon standing between two Ethiopian warriors. 63. London-Br itish Museum. Cf. Gerhard, Auserles. Vasenb., III, pI. 207 and p . 117 ; Panotka, Arch. Zeit., 1846, pI. 39, figs. 2 .. nd 3; Loeschke, Arch. Z ..' t., 1881, p. 31, n. 9; Loesch ke, B onne)" StucU~n, p. 248; Schneider, J b. Kunst. SQITTI,.ml., Ill, 1885, p. 4, n . 5; Wiener Vorlegeb l., 1889, pI. III, 3 b a nd 3 C; Karo, J. H. S., XI, 1899, p. 140 ; Walters, Catalogue of Vases, II, p. 138, B 209; Buschor, Mitn. J b. Bild. K unst, XI, 1919, p. 36 ; Robinson, 11. J. A. . 1908, p. 433; Hoppin, Handbook of Greek Black-fiuured Vases, p. 110. This black-figured amphora in the style of Execias shows Memnon armed for battle and attended on either side by an Ethiopian. 'l'hese two attendants are given with great realism. Their hair is woolly, their foreheads sloping and wrinkled, their noses snub and broad. One wears a short chiton und curries a pelta, the other wears a cuirass and short chiton. Both carry clubs in thei r right hands. There is an inscription, Amasis, and some obscure letters which were at fir t read as broi-rJCF-racottas, p. 311, DO. D 85. Mate to the foregoing figure, with left foot advanced and right arm raised as if to strike. His face is more youth- ful than his companion's, and there are traces of dark color still visible on it. Height 9ft in. 172. London-British Museum-from Italy. Of. Walters, Oatalogue 0/ Terracottas, p. 365, DO. D 361. Life-sized mask of an Ethiopian evidently intended to be worn, as the mouth, nostrils, and pupils of the eyes are pierced through. Each ear has been pierced with a hole, which was probably intended for the cord which held the mask in place. The hair is in clusters of curls, the nose fiat, and the mouth grinning, with the upper row of teeth indicated. Height 8i in. 173. Naples-Museo Nazionale 6855 (4704)-from Oapua. Of. Winter, Terrakotten, II, p. 44.9, 8 c. Figure seated on a rock. Similar to that from Bari. His head is resting on his hand. Height 0.21 m. 174. Odessa Museum-from Olbia. b,ventarkatalog, IV, 39 ; Of. Von Stern, Jh. Oest . arch. Inst., VII, 1904, p. 201, no. 2. Unpublished terra-cotta head of an Ethiopian woman, painted glossy black. 175. Odessa Museum. Of. Von Stern, Jh. Oest. aroh. Inst., VII, 1904, p. 201, no. I. Fragment of a terra-cotta pendant in the form of an Ethio- pian's head. 7 86 THE NEGRO IN GREEK AND ROMAN CIVILIZATION 176. Paris-Louvre-from Aegae (Aeolis). Cf. Pottier-Reinach, Les Te,""tes Ouites de MY1'ina, no. 687.; 'Vinter, Te,'-rakotten, II, p. 448, no. 12. Head of an Ethiopian inclined toward the left shoulder. Ht. 0.035 m. 177. Paris-Louvre no. 335-from the necropolis of Myrina. Cf. Pottier·Reinach, Myrin,a, II, p. 473, pI. XLVI, no. 2; Winter, Ten'akatten, II, p. 448, 110. 12. An Ethiopian or barbarian slave, carrying a dish on his up-raised left hand (balanced as a modern waiter balances a tray), and an oenochoe in his right hand, which hangs by his side. He wears a loin cloth about his waist. His wavy hair is long and hangs a;bou t his neck, his eyes are set far apart, his nose is short and his thick lips protrude somewhat. Ht. 0.17 in. 178. Paris-Louvre-froru Smyrna. Cf. Winter, Terrakotten, II, p. 448, 5. Head of an Ethiopian with curly hair, the flesh painted black, similar to the head in the Central Museum, Athens (no. 157, above). 179. Leningrad- H erruitage-from Cirurueria. Cf. Stephani, Oampte Rend .., 1868, p. 61, no. 8; Atlas, pI. II, no. 3; Schneider, Jb. Kunst. Sam",l., III, 1885, p. 7, D. J. A nude Ethiopian youth, found with a group of the Niobids in terra-cotta. He has sunk to his knees and his head is thrown backwards. His right arm, \vhich was evidently up·raised, has been broken off. His left hand holds the remains of a sack which was thrown over his left shoulder. This hunting sack is evidence that the Ethiopian was intended as an attendant of the sons of Niobe who were killed while out hunting. This figurine is of especial interest because, although a genre type, it is connected with mythology. The portrayal of Ethiopians in connection with mythology is usually con- fined to vases. 180. Syracuse Museum-from Ortygia. Cf. Kekule von Stradonitz, 'l'errakotten 'Von Sicilien, pI. LI, no. l. Figurine with legs apart. The position is a seated one. TERRA-COTTAS 87 It has been put together from fragments. The hands on the knees. Figure hollow. Lower legs cast solid. Heads modeled separately and then fastened on. In this way one mould head could be used for several figures. The same mould is used for the heads of the other figmes. The head inclines forward. The hair is only moderately cmly. The forehead is excessively wrinkled between the eyes, which are wide open and rectangular in outline. The nose rises from a depression between the eyes, and is broad at the extremity. The lips are thick, protruding and tightly closed. The unusally large eyes are characteristic of the modern Nubian. Ht. 0.24 m. 181. Syracuse Museum. Cf. Keku1e, Terrakotten von Sicilien, pl. LI, no. 2, p. 80; Winter, 'llerrakotten, II, p. 449, no. 7. The hands are held in front of the breast. The legs are crossed at the ankles. Put together from fragments. Ht. 0.24m. 182. Syracuse Museum. Cf. Kekule, T errakotten von Sioilien, pI. LT, no. 3, p. 80. Figurine similar to the above except that the arms and a portion of the right brea t are broken off. A streak of black color is still visible in the face and hair, making the identifi- cation as an Ethiopian certain. Height 0.24 m. Put together from fragments. 183. Toronto--The Roy"l Ontario Museum of Archaeology-unpub· lished. Terra-cotta head of an Ethiopian with flat nose, thick parted lips and high cheek bones. The racial type is cari- catured. 184. Trieste-Museo Civico--from Tarentum. Cf. Winter, Terra· kotl.", II, p. 449. no. 2. Figure in the traditional crouching position, asleep. His thick lips are the only evidence of negro blood in his physiog- nomy, but the pose is the comentional one for the Ethiopian slave. Part of the right arm and right leg are missing. Ht. 0.09 in. 88 THE NEGRO IN GREEK AND ROMAN CIVILIZATION 185. Trieste-Museo Civico--from Tarentum. Cf. Winter, Terra- kolten, II, p. 449, no. 6. Standing figurine, wearing a loin-cloth and holding cas- tanets in his hand. His slightly parted, thick lips and his hair, in conventional rows of flat curls, indicate Ethiopian blood. Ht. 0.145. VASES 186. Athens-National Museum. Cf. Nicole, CataLogue des Vases Peints, p. 283, no. 229. Ointment vase in the form of an Ethiopian's head, from the H ellenistic period. In the hair is an ivy wreath. Green- ish clay with black glaze. 187. Athens-National Museum. Cf. Nicole, Co,taLogue des Vase. Pei"ts, p. 283, no. 1330. Similar vase in the form of an Ethiopian's head. 188. Athens-Nationa l Museum. Cf. Nicole, Catalogue des Vases Peints, p. 283, no. 1331. Similar vase in the form of an Ethiopian's head, slmilar to the preceding. 189. Baltimore-Coli. of Professor D. M. Robinson-bought in Tarentum. This is an unpublished drinking cup or pitcher in the form of an Ethiopian's head. His neck serves as a base, and a simple cylindrical spout with a trefoil opening inside rises from the top of his head. A flat channeled handle curves from the back of the spout to the back of his head. Only the face and front of the hair are modeled, the clay at the back of the head being left smooth. There is an incised inscription at the back of the Ethiopian's neck, near the bottom of the vase, AA. Po ibly this is only a decoration and not meant to be an inscription. The entire surface of the vase was covered with a black glaze, much of which still remains. The vase was made in two sections, the modelled front and plain back, and then joined together. The hair of the Ethiopian is in three rows of spiral curls over his forehead and ears, and fits like a cap about his fore- head, which is deeply wrinkled. The eyebrows are heavy, and .,; ,. " .S '" 'll Z" ~ til 0 i5 ~ p.:.i {i ~ g 'a ~ " ;;: ~ Po. S "Eo< .=; '0 R ~ 0 ~ 2 ~ 0 S U >. '"' ~ TERRA-OOTTAS 89 are rendered by means of incised lines, herring-bone pattern, in the clay. The eyes are wide open, the iris shown by an incised circle, with a raised dot in the center to represent the pupil. The nose, rising from a depression between the eyes, broadens at the base almost to the width of the mouth. The lips are very thick and protruding, and are parted to show the white teeth. There is a prominence about the jaw structure which renders the profile ape-like in effect. The ears are set very low in the head, in line with the mouth. The throat is drawn and tense, and the muscles stand out sharply. Height of entire vase 51 in. (0.135 m.); height from base to top of Ethiopian's head 4i in . (0.105 m.). Fig. 14. 190 London-British Museum-Castellani CoiL-from Capua. Cf. Walters, Catalogue of Vases, IV, p. 262, G 154 Ascus in the form of a cl'ouching Ethiopian boy, asleep. His right leg is drawn up in front of him, and his head rests on his hands, which cla p his right knee. He is nude except for a garment tied around his throat. An amphora at his back forms the spout of the vase. Early H ellenistic work, similar to the vase in the Ashmolean Museum, Oxford. 191. Naples-National Museum-Museo Borbonico. Cf. Heydemann, MtMElo Naziona16, p. 7, no. 185. Small black vase with the head of an Ethiopian in relief. 192. New Haven-Yale University-Stoddard Collection. Cf. Baur, Catalogue. p. 227, no. 455, fig. 102. Vase of light brown clay in the form of an Ethiopian, who crouches on all four , animal fashion, :filling a vase from a wine skin. Over his head and shoulders is a panther's skin fastened under his chin. The trumpet-shaped mouth of the vase projects from the middle of his back. Early H ellenistic period. Ht. 3! in. 193. New York-Metropolitan Museum-Morgan Callection-far- merely Grcau Collection. Cf. Froehoer, Verrerie Antique, p. 267, 00. 56, YOI. V, pI. 335. Fragment of a vase in the form of a grotesque Ethiopian's head. The hair is indicated by three rows of conventional curls. The forehead is low and wrinkled, and the eye-brows, 90 THE NEGRO IN GREEK AND ROMAN CIVILIZATION modelled in the clay, are heavy and close together. The nose is short, broad and fiat, and the lower lip thick and protrud- ing, disclosing a row of teeth. The beard is indicated by crescent-shaped incisions in the clay. 194. Odessa Museum. Invelltarkatalog, IV, 243; Cf. Stern, Jh . Oest. Arch. Inst., VII, 1904, p. 201, no. 3. Unpublished vase in the form of a crouching Ethiopian painted black. The expres ion of the face is sad, like that of a bronze statuette from Chalon-sur-Sa6ne in the Bibliotheque Nationale (below, no. 214) . 195. Odessa Museum. Cf. Te,'racotten des Odessaer Museums, II, pI. XlI, I ; Stern, JI! . Oest. A,·ch. Inst., VII, 1904, p. 201, no. 4. Vase in the form of a negro's head, of red clay. 196. Odessa Museum-from Olbia. Ointment vase in the form of a negro's head. 197. Oxford-Ashmolean Museum-from Tarentum. Cf. Evans, J. H. S., 1886, pp. 37-38, pI. LXIV; Lawrence, Laler Greek Sculpture, pI. 3. " A little negro slave boy coiled up fast asleep under an amphora against which he huddles as if for shelter from the Bora. The characteristic features of the race are admirably rendered, including the woolly hair, protuberant forehead, thick lips and indescribable nigger grin. The backbone, ribs and muscles of the half-starved little form are indicated with anatomic precision and even the dolichocephalic skull and disproportionately long arms of the negroid type are faithfully reproduced. This surprising accuracy of detail, however, is not won at the expense of the general effect of the figure, which for life-like realism and true pathos is probably with- out a rival among t Greek terra-cottas" (Evans) . Ht. 2.5 in. The vase is similar to the ascus in the British Museum and Evans says that a figure of black stone spotted with green, identical in attitude except that the child was crying, was sold in Paris, the present ownership being unknown. Also in the Ashmolean Museum (1922.205) is an ascus from Boeotian FIGUHE 16. FIGURE 17. TUlRo CENTURY B. C. V ABE. PROFILE OF FIGURE 16. In Munich. By Courtesy of Profe.,..;,sor Sieveking. TERRA-OOTTAS 91 Thebes in the form of a negro boy bent over to the ground. We reproduce in Fig. 15 an unpublished example in Munich in the Pinakothek dating from the third century B. C. 198. Pourtales Coll ection. Cf. Panofka, Cabinet Powrtales, p_ 115, pI. XXX. Vase in the fol1JXl of an Ethiopian boyan his knees, bend- ing forward as if washing some object in a stream. The vase mouth projects from the lower part of his back, and a handle connects it with the middle of hi spine. His nose is snub, his lips thick, his hair moderately curly and his whole face childish. Possibly he is grinding corn. 199. Rome-Villa Giulia Museum. Cf. Della Seta, Museo di Villa GiuUa, p. 336, no. 25876. Guttus decorated with the head of an Ethiopian in relief on the top. 200. Vienna-Ku nsthistorisches Museum-from Anthedon (1). Cf. Schneider, Jh . Oest . Aroh. lnst ., IX, 1906, p. 321, fig. 75, pI. II; Schneider, Arch. A ..... , VII, 1892, p. 118, no. 142. Ducati, StoTia della Oeramica Greca, II, p. 527, fig. 402. Vase in the form of an Ethiopian's head, the features caricatured. The forehead is low and wrinkled, the nose snub and the lips exaggeratedly thick. The woolly hair is sur- mounted by an ivy wreath. Hair in rows of conventional spiral curls in the Egyptian fashion. In it is a taenia which lies over the forehead bow-shaped and falls behind the ears on either side. Scanty trace of white on teeth and of blue on the wreath and of pink on lips and cheeks. There is a simple cylindrical spout at the top of the head, a twisting handle connecting its brim with the back of the Ethiopian's head. In comparison with the life-like heads of the sixth and fifth centuries thi- i an asymmetrical monstrosity. Third Century Work. Ht. 0.15 m. In Munich is a very similar unpublished vase which we reproduce in Fig. 16 and 17. 201. Sold in New York-Chinielowski CoIL-from Olbia. Cf. Sale Catalogue, Auction Feb. 20, 1922. Vase shaped like an Ethiopian's head, painted black. Ht. 'I} in. CHAPTER VIII HELLENISTIC BRONZES Individually more artistic than the terra-cottas are the bronze statuettes which found their inspiration in Alexandria. This guarded expression is used inasmuch as it seems inad- visable to attempt a more subtle classification into Greek, Graeco-Roman or Roman. It is possible that some are Roman -indeed their provenance places them clearly in the Roman era-but such are either Alexandrian in spirit or can be shown to be excellent copies of Greek originality. Certain types of objects can be shown to be Roman work, as they all betray a certain attitude toward the Ethiopian type which will be shown to be the psychology of Rome and not of Greece. Such objects will be treated separately under Rome. But the statuettes are definitely Greek in spiri t. Their realism is softened with Greek charm or spiced with Alexandrian in- solence; it is not the photographic and often inert realism of Rome. This chapter, then, covers statuettes definitely Alex- andrian, others whose Greek or Roman origin is disputed by authorities equally worthy of consideration, a few from Roman times and places but with Greek parallels or ancestry and one or two for which the ex cathedra pronouncement of museum catalogues must be accepted. Many more of these bronzes come from Egypt than d9 the terra-cottas. A few are mastedy and all deserve fuller men- tion . • They are as follows: BRONZE STATUETTES 202. Arolsen Museum. Cf. Gaedechens, Die Antiken Museum zu ArolsenJ p. 108, no. 444 j Friederichs-Wolters, Gipsobgues8e am.tiker BiUwe,·k.e, p. 698, no. 1785. Statuette of an Ethiopian boy seated on the ground with his left leg drawn close to him and his right drawn up in front. His head rests on his hands which clasp his right knee. 92 HELLli:NISTIO BRONZES 93 His eyes are closed as if in sleep. The pose is traditional and occurs on terra-cottas and gems from the sixth century on. 203. Athens-Polytech nikon-Demetriou Collection-from Alexan- dria. Cf. Puchstein, Ath. Mitth., VII, 1882, p. 14, no. 332; Schreiber, ilth. Mitth., X, 1885, p. 383, pI. XI, 2; Reinach, lUpertoire de StatuaMe, II, p. 562, no. 4; Wace, B. S . A., X, 1903·4, p. 107, E 5. Statuette of an Ethiopian seated on the ground, asleep, a tray of fruit in front of him and a tiny monkey on his right shoulder. He is probably, as Schreiber suggests, an Alex- andrian fruit vender taking his siesta by going to sleep at his post, with his wares in front of him. He is treated in strong caricature. His position is the traditional crouching one, his head resting on his hands, which clasp his right knee. His body is miserably thin, and the bony structure of his face stands out prominently. The hair is in rows of conventional locks like flower petals, the nose is short and broad and the thick lips are slightly parted. Height 0.05 m. 204. Berlin-Konigliche Muscen-Antiquarium DO. 7456-from Egypt. Cf. Arch. Zeit., XXXVIII, 1880, p. 39; Wace, B. S. A., X, 1903-4, p. 107, E 1. Young Ethiopian wearing trousers, his hands behind his back. 205. Bologna Museum . Cf. Gozz.dini, Di Ulteriore Scoperte nell' an,ti.ca -necropoli a Ma;rza botto ')tel Bolognese, p1. XII, 6 c, compo 38; Schneider, JD. Kunst. Sarrvrnl., III, 1885, p. 7, n . 8. Bronze statuette of an Ethiopian youth carrying an am- phora on his shoulder. 206. Courtot Collection. Of. Reinach, Rtpertoire de Statuaw-e, IV, p. 353. no. 5. Statuette of a standing Ethiopian who holds a bird ih his right hand. His hair is in wavy locks, his nose broad and his lips thick. H e is heavy in build, and does not show the emaciated thinness characteri tic of most negro portraits. 207. DeutSCh-Altenburg lIluseum- from Carnuntum. Cf. Schneider, vI>. Oest. Aroh. Inst., IX, 1906, pp. 323·4, pl. III ; Kubitschek, Fuhrer durch Carnuntu.nt. p. 54j Bulle, Der Schoene Mensch, p. 673, 145; Reinnch, R, w"" ~ 8 "' :=. z Ji 0 0"": -" 0 .5 ~ r=l ''"" 0"' - ~ d g :;"; 0 ~ c-i "" "'" ~ .", ;."..' ci ::> ,., .<.,: '0 ~" c 0 0 ~ ;3 .5 d d E ~ .z., :g 0; ~" ;i ~ :"' g ci £ ,. '0 c 0 f; -: -"1 ;3 z c -"1 NEW HELLENISTIC EXPERIMENTS 109 opian mask may belong in this period, since garnet heads appear on the necklaces and negro masks serve as pendants. 241. London-British Museum-Castellani Collection. Cf. Smith, Engraved Gems, p. 188, no. 1767. Garnet carved in cameo with the design of a negro mask in front view. 242. Baltimore Collection of Professor D. M. Robinson-formerly in Collection of Charles T. Seltman. Cf . A. J. A., XXIV, 1920, pp. 18·26. An interesting example of Greek work from Alexandria, which Seltman believes to be connected with the ruling family of Meroe and perhaps portrays them, is an agate carved to represent three conjoined heads. Part of the stone is black and this has been carved with the features of an Ethiopian woman. The artist has shown geat skill in adapting a white band in the stone so that it appears to be the edge of her veil. The other two heads in lighter stone are a bearded man and a yO}lth with Ethiopian features. Seltman suggests that this is either the handle of the lid of a casket or the head of a small sceptre, since a small vertical shaft has been drilled in the center of the stone. Height 1.25 m. Fig. 21. The conception and the style are unique in the history of the Ethiopian type in art. This tricephalic agate appears to be genuine, and may serve to establish the authenticity of the following gem in the British Museum now listed as doubtful, since the subject is evidently the same: 243. London-British Museum-Castellani Collection. Cf. C. Smith, Engraved Gems, p. 181, no. 1663. Agate cut in cameo with the head of a veiled negress in full front. Authenticity doubtful. The device of u ing the black part of the stone evid~ntly anticipates the process described by King to fit the design, in connection with Renaissance cameos dating a little later than 1500 A. D. He stated that this age was" extremely fruitful in heads of negroe and also of negresses, the latter often in the character of Cleopatra holding to her breast the asp. 110 THE NEGRO IN GREEK AND ROMAN CIVILIZATION There is reason to believe that some of the latter are intended to commemorate the renowned black concubine of Clement VII, the mother of Alessandra dei Medici. Another reason, besides the celebrity of the sable beauty, that prompted the Florentine school to produce such swarms of miniature Ethi- opians, was their discovery of the secret of staining black one of the layers of the common agate-onyx and obtaining thus the contrast, so great a desideratum in this style." Of. O. W. King, Antique Gems and Rings, p. 326. CHAPTER X THE CHARAOTER OF THE ETHIOPIAN It is from the Hellenistic :figurines that we can draw our clearest picture of Ethiopian slave life in the Greek world, depicted with a realism which the most accurate literary account could not match. Mythology is forgotten, the legendary Ethiopian of Homer has disappeared in an age of skepticism. There is no illusion about his origin, and there- fore no mystery about his features. While his features were never idealized, they were in the :fifth century invested with a certain charm. His features are now a study in ethno- graphy, an exercise in skill at delineating odd type. The Ethiopian is a vogue, a fashion and a subject to be seized and made to pose as he goes about his daily work. The artists have caught him in varied attitudes and occupations; but all seem to have in common that they are not menial. The Ethiopian slave is sufficiently rare and fashionable so that he is reserved for personal service or for entertainment.' Not until there was no longer a scarcity of Ethiopians were they assigned to heavier and more degrading tasks. Their Greek masters evidently appreciated what are now considered to be among the best of the negro qualities-personal loyalty, ready laughter and a gift for song and dance. Boys were the favor- ite slaves with Ethiopian women apparently second in favor. The little slave boys, a vogue with the rich, run about waiting on their masters, carrying dishes and amphoras, :filling vases for the banquet from wine skins. In the Ashmolean Museum is a terra-cotta negro boy (no. 197) from Tarentum, asleep beside an amphora, and an ascu in the form of a negro ~oy 1 There is no doubt that they were slaves. A lecythus (G. 168) in the Briti sh Museum of Italic fabric of about 200 B. C. is in the form of an Ethiopian with hands crossed over his knees. On his breast is a placard showing that he is exposed for sale. 111 112 THE NEGRO IN GREEK AND ROMAN CIVILIZATION bent over to the ground (1922. 205; from Thebes, third c~ntury B. C.). In the British Museum Life room is a bronze negro slave cleaning a boot, illustrated in Guide to the Exhi- bition Illustrating Greek and Roman Life, 1920, fig. 142 (no. 266, Fig. 23). A small bronze statuette of Hellenistic times from Perugia acquired for the British Museum in 1908 shows a negro slave with curly hair with his right hand on his hip but his left hand raised high as if it originally carried a lamp. If entertainment is required as well as butler service, they sing songs which, to judge from the plaintive expression of their faces, were the ancestors of the present-day negro spirituals, and perhaps accompany themselves on the trigonon (nos. 214, 223) in lieu of a banjo. If a more exciting offer- ing is required, they dance a furious, barbaric dance, a tribal dance of Africa, or perhaps a gentler measure more adapted to Greek restraint (nos. 211, 212, Fig. 18). Perhaps they hold boxing matches (no. 170) or even give an acrobatic perform- ance with a tame crocodile (no. 229). And when tLeir part of the entertaining is over, they drop off to sleep in the usual hunched-up crouching attitude (nos. 202, 220). They still accompany their masters to the palaestra (no. 228) and some- times go on a hunting expedition with him to carry his equip- ment (no. 179). Perhaps they gain a meagre living by hawk- ing fruit on the streets of Alexandria with a pet monkey to attract trade (no. 203), and their acrobatic stunts may have been street performances. Possibly they entertained travellers by diving for coins, a co=on sight in modern harbors (no. 209). The only hint of education is the Ethiopian seated on a rock, writing on a scroll (no. 169). Was he some special slat"3, sufficiently valued by his owner so that it was con- sidered worth while to train his intelligence? It is in these figurines also that we first find in Greek art any sense of the pathos of the Ethiopian's lot, though com- passion for the life of a slave is found in Greek tragedies. Heretofore the only emotional element present has been that THE OHARAOTER OF THE ETHIOPIAN 113 of humor and caricature; but among these terra-cottas and bronzes are a few which seem to show a consciousness of another mood. The artists regarded for an instant, not the strangeness which made the Ethiopian an object of enter- tainment to them, but the pathos of an exile from his own land (nos. 158, 159). This sentimentality is very fleeting and is nowhere met in the later and more matter-of-fact Roman art. The distinction between a naturalistic representation and caricature is hard to make without having seen the original. This is no doubt the reason that in many museum catalogues heads and statuettes of Ethiopians are often wrongly called grotesques. From this the impression seems to have grown that the greater number of all ancient negro representations are grotesques, and their popularity has been explained from this standpoint. In reality we find among these figurines of Ethiopians very few of the distorted bodies and hideous faces which make the Alexandrian grotesques so distasteful, nearly all of them being simply cases of extreme naturalism. The few actual grotesques, and some of the realistic figurines, may perhaps be accounted for by the theory which Miss Richter advances, namely, that the grotesques represented stock char- acters in the mimes which had such an enormous popularity throughout the Hellenistic and Roman eras, and about the nature of which we have such scanty knowledge. Euripides wrote a satyr play on the Busiris story in which he probably brought Ethiopians upon the stage, and both the Busiris and Andromeda myths were subsequently used by comedy writers. From the evidence of the vases, which often have comedy scenes and which frequently introduce Ethi- opians, it is reasonable to suppose that the type becalfle a familiar one on the comic stage. Certainly the evidence is circuitous and not direct, but it would be entirely natural that a race familiar in comedy and treated in caricature in art should develop into a stock character in the mime, perhaps the Aithiops. This would account for the masks of Ethi- 114 THE NEGRO IN GREl'lK AND ROMAN CIVILIZATION opians used as pendants on necklaces, and particularly for the life-sized mask of terra-cotta which was evidently intended to be worn in some play, procession or ritual, since eyes, nose and mouth are pierced through, and there are holes above the ears for the cord which held it in place. An Ethiopian girl is introduced upon the stage in the Eunuchus of Terence which had a Greek comedy original. She has no part in the plot but undoubtedly added to the humor. If the Aithiops was actually a stock buffoon in comedies or mimes, the number of figurines and gems which show him crouching down on the ground and peacefully sleeping may mean that tbis charac- teristic inactivity was the laugh-producing role by which he entertained Greek audiences. t CH APTER XI THE ETHIOPIAN IN ROM,AN LITERATURE H owever great the variations between the objects which display the Ethiopian type in the different periods of Greek art, all had one feature in common. Whether they were jewelry for the adornment of the person or statuettes to orna- ment the house, the motif may be said to occur almost entirely on objects intended solely for decoration. The only exceptions to this classification are the vases, some of which were un- doubtedly used though they are at the same time highly decorative. The Roman usage, on the other hand, is as generally utili- tarian as the Greek is decorative, and the type is principally found on objects which have a definite useful function in addition to their attractive appearance. An artistic usage so markedly different in two nationalities presupposes not only a different artistic spirit but a difference of attitude toward the race portrayed. The paucity of references to actual (not mythical) Ethi- opians in Greek literature and the spirit in which they are shown in Attic art make it safe to believe that in Greece proper, negroes in the flesh were comparatively rare, until the Alexandrian period at least, and that the impression they made was due to their rarity and unu ual appearance. In the Hellenistic era their popularity is due to the opportunities which their physiognomy gave for the expression of the ex- treme naturalism of the day, and does not necessarily show that great numbers of them were at large in the Greek ~orld. The evidence of Theophrastus (cf. p. 10) would indicate the contrary. The first Ethiopians filtered into the Greek world by way of the Greek colonies in Africa or were brought there by the Persian inva ion, and we have no evidence that the Greeks imported any black slaves through military aggression. 115 • 116 THE NEGRO IN GREEK AND ROMAN CIVILIZATION The Romans on the other hand built up important colonies in Africa. The period of their establishment involved many military campaigns, and they were subsequently held by military rule. There can be no doubt that African tribes furnished the Romans with vast numbers of slaves and that in the Empire the dark races were a vastly more common sight at Rome than at Athens. The Romans would naturally be far more familiar with the Moor or Berber type of the Medi- terranean colonies than with the South African. A more extensive knowledge of the latter races doubtless came when Rome took over the control of Egypt, where the type had been established for centuries. In this respect Roman literature gives scarcely more help than Greek in adding to our knowl- edge of the status of the Ethiopian at Rome. A study of the few references throws some light on the nomenclature em- ployed to designate the dark-skinned races of the Roman world. The earliest mention of Ethiopians occurs in the " Eunuchus" of Terence, where Parmeno has brought Thals what he considers two valuable gifts, a euuuch and an Ethi- opian girl, and he complains of her indifference to his presents. Nanne ubi mi dixti cup ere te ex Aetbiapia. ancillulam, relictis rebus omnibus, quaesivi" 1 ll . 165-7. This is obviously a Greek and not a Roman scene and re- flects the Greek attitude already mentioned that an Ethiopian was an exceedingly choice slave to possess. The entrance of the Ethiopian girl must have been a great novelty upon the Roman stage at this time and probably produced an incidental bit~of hilarious comedy which delighted Roman audiences. The features were probably exaggerated and the whole appear- ance of the girl made as comic as possible. Probably she was the counterpart of the slave woman owned by the impover- ished farmer Linylus, described in the pseudo-Vergilian Moretum (11. 31 ff.) : THE ETHIOPIAN I N ROMAN LITERATURE 117 erat unica custos Mra genus, tota patriam testante figura torta cornam, labroque t umens et fusen colore pectore lata, iacens mammi s, compressior alvQ, cruribus exi Jis, spatiosa prodiga planta. This poem also is not Roman but is generally felt to be a translation of a Greek original, probably Alexandrian. Its minute realism is surely in the spirit of the Alexandrian art which produced the negro figurines. A certain vogue at Rome for Ethiopian attendants probably in imitation of the Greek custom is implied. The bath slave so frequently met in Greek art is recalled in the Auctor ad B,erennium, IV, 50, 63 "ab avunculo rogetur Aethiops qui ad balneas veniat." That dark slaves were choice is shown by the fact that the Nemesis of Tibullus, II, 3, 55 is sur- rounded by dark slaves from India and places exposed to the sun's fire, though Ethiopians are not specified by name: il1i siDt comites fuaci quos India torret, soli s et admotis inficit ignis equis. To this passage Kirby Flower Smith gives the following note: "Colored attendants were a luxury specially affected by women like Nemesis largely because, as in England and France during the seventeenth and eighteenth centuries, they suggested the fortune and position of foreign potentates, nabobs etc." It is the foregoing Latin passages which Melville-Whi te, author of "The Gladiators," probably had in mind when he describes the lady Valeria as attended by a negro boy who held her mirror (opening of Chapter II). The influence of the Greek attitude in the earlier literary passage is proved by the fact that the Greek word Aithiops is transliterated into Latin and that the relationship bet. een dark skin and the sun persists in the Roman mind. As in Greek it seems to be a generic term for any dark-skinned man without regard to the finer distinctions of origin as it is considered synonymous with Maurus. Nig er, the adjective from which are derived words used in 9 118 THE NEGRO IN GREEK AND ROMAN CIVILIZATION so many modern languages to designate the blacks, seems not to have been used substantively for this purpose in antiquity. As an adjective definitely connected with a dark-skinned race it occurs once in Juvenal, who refers to the bony hand of a black Moor (nigri manus ossea Mauri, V. 53), and a Moor is not a negro. As an adjective denoting complexion it appears in Martial's unpleasant epigram listing half-breed children where it undoubtedly means black-skinned, Duae sorores iela nigra et haec rufa VI 39, 18. It is unlikely that an Ethiopian is meant in Vergil's second eclogue II. 16-18: quamvis HIe niger, quamvis tu candidus esses o formose puer, nimium ne crede COlOTi: alba ligustra cadunt, vaccinia nigra leguntur. Conington considers that the passage simply IDeans a swarthy complexion. The same meaning may attach to fuscus as used by Ovid to describe Andromeda (Heroides XV, 36-7) candida si non sum, placuit Cepheia Perseo Andromede, patriae fusca colore suae as here fuscus is again contrasted with candidus. Andromeda though never dark in Greek art nevertheless was a princess of Ethiopia and from Roman literature went down in French literary tradition as black. In Tibullus, II, 3, 55 quoted above fuscus was used of the dark races of Asia. For the people of India is used also the word de co lor : compare Ovid, Tristia, V, 324--et quascumque bibit decolor Indus aquas; Metamorph. {, 21--decolor extremo qua tinguitur India Gange; Propertius, IV, 3, 10-tunsus et Eoa decolor Indus aqua. That it was not always reserved for the people of India is shown by Juvenal who makes it synonymous with Aithiops, addiponal proof of the loose usage of this latter term in antiquity- Esse Aethiopis fortasse pater mox decolor beres impleret tabulas, VI, 600. The similarity of coloring between the people of India and Mauretania is observed by Lucan, IV, 678-tum concolor Indo Mauro. The more restricted name Maurus is not often used with ! THE ETHIOPIAN IN ROMAN LITERATURE 119 reference to black slaves at Rome. Martial writes with unmistakable contempt of the woolly hair of a Moor, VI 39, Hic qui retorte crine Maums incedit. The Roman attitude toward the Ethiopian as expressed in scattered passages is far less kindly than the Greek. The usage in T erence and the Auctor ad Herennium which imply a vogue for Ethiopians is probably in imitation of Greek usage. How early the Roman attitude crystalized into racial feeling it is hard to say, and as those who express it are chiefly satirists one must be careful in drawing conclusions. N ever- theless in the absence of any expressed good will and in the face of references which have a superior or contemptuous tone it is evident that the Romans had no special affection for Ethiopians at Rome, however romantically they may have spoken of the races of distant India. The earliest passage in which they are spoken of slightingly seems to be in Cicero-cum hoc homine an cum stipite Ae- thiope, Cicero, De Sen., 6. The word does not occur in all the manuscripts and the OAiord and Teubner texts omit it en- tirely. In notes it is translated "blockhead" and the statement made that in antiquity the Ethiopians were synonymous with stupidity, a conclusion obviously drawn from the passage and the modern attitude toward them. Even if the word was actually used by Cicero, this passage alone is basis for such a theory. That it was thought dangerous or at least bad luck to meet them is reflected in Juvenal, V, 54-5, et cui per mediam nolis occurrere noctem, clivosae veheris dum per monumenta Latinae. Cf. also Florus, IV, 7, et in aciem prodeuntibus obvius Aethiops minis aperte ferale signum fuit. The physical characteristics of the Ethiopian were put for- ward with brutal reali~m in the Moretum, which undoubtMly had it influence whether it was original or a translation. J uvenal illustrates clearly that they had gone out of favor at Rome when he relates how a black Moor is delegated to serve the poor guests, while a more choice Asiatic slave waits on the patron and host. It is true that" duo Aethiopes capil- • 120 THE NEGRO IN GREEK AND ROMAN CIVILIZATION lati" carried wine between two of the countless courses of Trimalchio's feast (d. p. 79). Trimalchio's main object was to show off the extent and variety of his retinue though per- haps P etronius is giving an additional example of a provincial who brings Ethiopians into his dining-room when they had gone out of favor as table attendants at Rome. At Carthage Ethiopians were more highly esteemed proba- bly than at Rome, as two Latin epigrams praise the Egyptian hunter Olympius, who had undoubtedly given many a per- formance in the amphitheater. Cf. Anthologia Latina (Riese) I, Nos. 353, 354: Nil tibi forma nocet nigro IU8cata colore Vivet lama tui post te longaeva decori. Atque tuum nomen semper Karthago loquetur. Certainly Martial has only scorn for them in VI, 36 and VII, 87 and Juvenal sums up the racial feeling in the words derideat Aethiopem al'bu , II, 23. The Elder Pliny deals at some length with Ethiopia itself but mentions no Ethiopians at Rome. The Ethiopians of Greek mythology and poetry, burned by the sun, are recalled in Macrobius (Somn. Scip., 2, 10, ll-Aethiopes ... quos vicinia solis usque ad speciem nigri coloris exurit. The immoral relations with them implied in Martial, VI, 39 and J uvenal, VI, 559-600 recall certain passages in the Arabian Nights and doubtless had some basis in fact, though they are probably the exaggeration of isolated incidents into an accusation against the times after the manner of all satirists. Nevertheless the evidence of literature would not lead one to a'nticipate any idealizing of the type in Roman art, and a study of the objects shows a complete disillusionment in re- gard to the Ethiopians. Excessive propinquity has banished the last traces of mythical Ethiopia. ! CH APTER XII THE ETHIOPLAN IN ROMAN ART The use most co=only made of the Ethiopian head at Rome was its adaptation to small lamps, both of bronze and t&rra-cotta. In these the head rests in a horizontal position, and the hole for the wick is either the open mouth of the Ethiopian or a nozzle projecting from his mouth. The following is a partial list of such lamps: BRONZE 244. London-British Museum-Towneley Collection. Cf. Walters, OeLteLlogue of LeL-mps, p. 4, no. 17. Lamp in the form of an Ethiopian's head, face up. The hair is indicated as thick and closely curling by means of incised rings in the metal with a dot in the center of each. A nozzle with a trefoil termination projects from the Ethiopian's open mouth. Ht. 4! in. 245. London- British Museum-Payne·Knight Collection. Cf. Wal- terB, OeLteLlog"e of Bronzes, p. 328, no. 2531; Walters, Oata- logue of Lamps, p. 4 , no. 18. Head of an Ethiopian, face up, with thick, woolly hair, a plait of which forms the handle, and which is modelled even on the cover of the filling-hole at the top of the head. He holds the long nozzle in his open mouth. Length 3! in. Also in the Parthian room of the British Museum are bronze lamps of the Hellenistic period in the form of a negro's head with open mouth. 246. Paris-Bibliotheque Nationale--Caylus Collection. Cf. Caylus, Recue,l, vol. V, p. 252, pI. XC, no. 2, Babelon·Blanchet,tOata- logue des Bronzes, p. 444. uo. 1020. Lamp in the form of an Ethiopian's head, face up, the hair quilled in rows. The face is unpleasantly elongated. A curved piece projects from the mouth to form the spout, and the hole for filling is in the hair above the forehead. The 121 \• 122 THli: NEGRO IN GREEK AND ROMAN CIVILIZATION cover, on which the hair was probably modelled also, is missing. The eyes are wide open. Length 0.105 m. 247. Paris-BibliotMque Nationale-Collection de Luynes. Cf. Gaz. Arch., V, 1879, p. 209, (illustrated in life size); Babelon, Le Cabinet des Antiques, pp. 153 and 172 ; Babelon-Blanchet, Catalogue des Bronzes, p. 444, no. 1019. Lamp in the form of an Ethiopian's head, face up, with hair in long curls standing out irregularly from his head. All the features are exaggerated- the wide open eyes, high cheek bones, short, flat nose, and huge, gaping mouth. Tire forehead is long and retreating, the cover for the filling-hole forming the upper part of the forehead. This lamp is one of the most realistic of the series, and the best from an artistic point of view. 247a. Helbig, Bullettin.o, 1874, p. 84. Half of a bronze lamp from Alexandria in the form of an Ethiopian's head. According to Helbig it has the peculiarity that this half can function independently of the oth r half. It is impossible to give a complete list of the many bronze lamps with negro heads. There are good examples from Aquileia, several in Trieste (Alinari photograph 3207). Cf. also Loeschcke, Lampen aus Vindonissa, p. 480 (292), n. 457. CLAY 248. London-British Museum-from Naucratis. Cf. Walters, Cata- logue of Lamps, p. 60, no. 41l. Lamp in the form of an Ethiopian's head, with the filling- hole in the forehead. The nozzle is missing. The hair is thick and curly, the eye-brows are raised and the teeth indi- cated. Work of the Roman Period according to Walters. Lenl1'th 21 in. 249. London-British Museum- from Armento. Cf. Walters, Cata- logue of Lamps, p. 60, no. 412. Lamp in the form of an Ethiopian's head, face up. The mouth of the Ethiopian forms the wick-hole, and the lower lip and chin are modelled below it. The eyes are half closed / THE ETHIOPIAN IN ROMAN ART 123 and the cheek-bones prominent. The lamp is glazed black. Height 2'; in. 250. London-British Museum-Hamilton Collection. Cf. Walters, C<>ta/ogue of Lamps, p. 60, no. 414. Lamp, glazed dark brown, the top in the form of an Ethi- opian's head with grotesque features. The mouth is grinning widely, exposing the teeth, and the hair is closely curled. Length 5! in. 251. London-British Museum-from Alexandria. Cf. Walters, Oata· logue of La.mps, p. 6 0, no. 415. Unglazed clay lamp in the form of an Ethiopian's head, with the spout below his chin. His hair is in three rows of thick curls, his eyes are wide open and his nose is short and broad. Underneath the base is inscribed. Length 3i in. 252. London-British Museum-from Egypt. Cf. Walters, Catalogue of Lamps, p. 60, no. 416, pI. XI. Lamp with black glaze, in the shape of an Ethiopian's head, the nozzle projecting from the wide open mouth. The curly hair is indicated by rings raised in the clay, set close together. '['he eyes are wide open, the nose broad and flat. The upper row of teeth is indicated. Height 4! in. 253. London-British Museum-Towneley ColI. Cf. Walters, Cata- logue of Lamps, p. 148, no. 984. Lamp with plain handle and nozzle, the circular space be- tween them containing the design of the head of a boy or an Ethiopian. The lamp has a dull red glaze. Roman work of the second century A. D. Length 4 in., diam. 2£ in. 254. New Haven-Yale University-Stoddard ColI. Cf. Banr, Cata- logue, p. 290, no. 656. Lamp in the form of an Ethiopian's head, the open mouth forming the nozzle. The clay is light brown, with a red~laze. The hair i indicated by raised rings in the clay. Ht. 2* in. 255. rew Hayen-Yale University-Stoddard Coll.-from Tarentum. Cf. BRur. Catnlogue, p. 291, no. 662. Fragment of a lamp from Tarentum, showing the head of an Ethiopian in relief. The clay is light brown, with a glaze • 124 THE NEGRO IN GREEK AND ROMAN CIVILIZATION shading from red to dark brown. The lips are thick, the nose short and the hair indicated by raised dots. 256. Toronto--Royal Ontario Museum or Archaeology, Inv. no. G 207 -Found at Fayum. Unpublished lamp in the form of an Ethiopian's head. The nozzle is formed by his open mouth and his teeth are shown. The nose is fiat and broad at the nostrils. He has high cheek- bones and a high forehead. Purely Roman are the bronze vases in the form of figurines or heads of Ethiopians, which probably served as receptacles for perfumes: 257. Paris-Bibliotbeque Nationale. cr. Du lIfersan, Histoire du Cabinet des Medailles, p. 62, no. 127; Babelon-Blanchet, Catalogue des Bronzes, p. 441, no. 1011. Bronze vase in the form of a crouching Ethiopian, asleep, his head between his knees and his fists pressed against either cheek. His nose is fiat, his mouth is open, and his hair is arranged in symmetrical, flat locks against his head. A circu- lar opening at the top of his head seems to indicate that he served as a perfume vase. Ht. 0.08 m. 258. Paris-Bibliotbeque Nationale. cr. Babelon-Blanchet, Cata- logue des Bronzes, p. 4421 no. 1014. Bronze vase in the form of a sleeping Ethiopian, draped in a mantle, seated upon some object which he seems to guard. His head is WTea thed in a garland, in grotesque contrast to his squat nose, thick protruding lips and fast-closed eyes. He probably served as a perfume vase. Ht. 0.114 m. 259 . Paris-Bibliotbeque Nationale--Collection de Ja.nze. cr. Babe- lon, (}az. A.rch., 1884, pp. 204-206; Babelon, Le Cab""et des A.ntiques, pp. 51-3, pI. XVI ; Babelon·Blanchet, Catalogue des Bronzes, p. 443, no. 1018. Brunze head of an Ethiopian in the form of a vase. Parts of rings for a handle still remain in the hair. This is a striking portrait of a fine type of African. The hair is thick, and arranged in long rows of curls about his head, and the beard also is rolled into eight separate curls which hang from his cheeks. The eyes are wide open and / THE ETHIOPIAN IN ROMAN ART 125 alert in expression. The cheek-bones are prominent, the nose short and broad, the mouth large and slightly open. Yet in spite of the faithful rendering of racial detail, there is a certain power in the expression of the face. H t. 0.158 m. 260. Paris-Bibliotheque Nationale-Collection de J anze. Ct . Babe· 10n·Blanchet, Gatalogue des Bronzes, p. 442, no. 101 5. Bronze vase, probably a receptacle for perfume, in the form of the bust of an Ethiopian slave. His head is turned to the right, and his eyes are closed as if asleep. His hair is in formal curls. Ht. 0.057 m. 261. Odessa Museum- from Akkerman (ancient Tyras). Ct. Stern, Jh . Oe81. il.roh. Insl., VII, 1904, pp. 187-203; Seltman, il. . J.A., XXIV, 1920, p. 14. Bronze vase in the form of a bust of a young girl. An elaborate handle passes through two rings at the top of 'her head. She is called a negress by Stern, but Seltman is correct in failing to see any negro characteristics in the physiognomy beyond a suggestion of thickness in the lips. The coiffure in three tiers of soft curls is an example of the elaborate hair- dressing of the Roman empire, rather than the woolly hair of an Ethiopian. . Not unlike the figurines in the form of vases are two ink-wells of bronze: 262. Paris-Bibliotheque Nationale-Collection de Janze. Cf. Babe· 10n·Blanchet, Gala/ou"e des Bronzes, p. 441, no. 1012. A receptacle in the form of an Ethiopian slave, crouching on a cone-shaped eminence, with an oval opening between his feet which indicates that he served as an atramentarium. Both his knees are drawn up ; his face rests on the palm of his left hand, with his elbow supported on his left knee, ..,bile his right hand rests on his right knee. SOIDe drapery, tied about his waist, falls down in back of him. His hair is in rows of long curls. and his features are coarse. The eyes are staring in expression and the mouth is half open. Ht. 0.088 ID. • 126 THE NEGRO IN GRElilK AND ROMAN CIVILIZATION 268. Paris-BibliotMque Nationale-Caylus Collection. Cf. Bab.· 10n·Blanchet, Gatalogue des B"onzes, p. 441, no. 1013; Caylus, Recueil, vol. III, p. 212, pI. LIV, 4; Creuzer·Guigniaut, Re· ligion. de I' Antiquite, pI. CLI, no. 581. Receptacle in the form of a negro slave crouching on an eminence, with both knees drawn up and chin resting between them. He clasps with both hands a goatskin sack, which he supports on his back. His hair is in regular rows of curls, his eyes staring, his nose flat and his large mouth partly open. At the left of his feet is the repository for ink, a small vase with a conical cover. Ht. 0.069 m. Even more utilitarian than lamps, perfume vases and ink- wells are the small bronze busts of Ethiopians used as weights on steel-yards. Some are solid. Others are hollow, perhaps as a device for adjustment of the weight by filling them with some substance. 264. Fouquet Collection-from Tell-Moqdam (Leontopolis) , Egypt. Cf. Perdrizet, GoUection Fouquet, p. 57, no. 94, p'. XXV. Bust of an Ethiopian boy, his head coiffed with a four- petalled flower upside down, through the stem of which is pierced the hole for suspension. His hair is in short curls ai-ranged in rows ; his forehead is concave above the temples; his eyes were originally inset with some substance which has fallen away, probably silver; his nose is short; his lips thick and slightly parted. Ht. 0.085 m. 265. Leipzig-Stiidtische Museum-Theodor Graf Collection. Cf. Schreiber, Arch. Anz., V, 1890, p. 157, no. 7. Bust of a negro with a round face, his hair falling about his head in long spiral curls. His forehead is concave and heavily wrinkled ; his eyes are inset with silver; his nose is short and broad; and his thick Ii ps are parted to show the upp~r row of teeth. On either side, at the top of his head, is a ring through which passed the handle by which he was suspended. Ht. 0.145 m. Schreiber calls it a vase and suggests that it was used as a weight by filling it. Perhaps it served as a perfume vase. Neck and head are hollow. THE ETHIOPIAN IN ROMAN ART 127 285a. Vase in Tubingen in form of negro bust. Ht. 0.06 m. From Egypt. Cf . Goessler in Antike Plastik, Ametung zum seoh· zigsten Geburtstag, p. 80, fig. 5, p. 86. 265b. Baltimore--Coll. of David M. Robinson. Bought in Cairo. Clay bust of negro with chain about the front of his neck only, perfectly preserved, covered with black glaze. The Hel- lenistic prototype was of metal. Sad, almost weeping expres· sion. Flat nose, two wrinkles in forehead. Hair arranged like the Egyptian royal wig, in rectangles behind as well as in front. On either side of opening suspension hole. Ht. 0.11 m. W. 0.08 m. Fig. 22. A replica of that in Tiibingen. Cf. Pagenstecher, Expedition E. v. Sieglin, II, 3, p. 205, pI. 29; Antike Plastik Amelung, 1928, p. 80, fig. 6. 266. London-British Museum-Hertz Coil. Cf. Aroh. Zeit., 1843, p. 203; Hertz Coli. Sale Catalogue, 1859, no. 587; Smith, Guide IlluBtrating Greek and Roman Life, 1920, fig. 142 ; Walters, Catalogue of BronzeB, p. 269, no. 1876, fig. 27; Reinach, R~peTtoire de S tatuaj,re, III, p. 158, no. 3. Bronze figurine of an Ethiopian slave cleaning a boot (calceus) , crouching down and supporting himself on his right knee. Re holds the boot in his left hand and applies the sponge to it with his right. His woolly hair, indicated by rows of raised dots, is bound with a fillet. From the top of his head rises a cylindrical eminence pierced through with a hole. This was probably for a ring by means of which the figure could be suspended. Ht. 4 In. Fig. 23. 267. London-British Museum-Castellani Collection. Cf. Walters, Catalogue of Bronzes, p. 269, no. 1677 Bust of an Ethiopian, with a suspension ring at the back of his neck. He wears a conical cap, and his eyes are inset with garnets. Ht. 6 in. 268. Paris-Bih1iotheque Nationale--Caylus Collection. Cf. CIlYlus, Recueil, Vol. IV. p. 316. pI. XCVII, nos. 3 and 4; Ball'elon· Blanchet, Catalogue des Bronzes, p. 446, no. 1025. Bu t of an Ethiopian set in a three· petalled flower which covers part of his chest. The hair is in three rows of flat curls, but the features are not negroid. Babelon and Blanchet consider the bust a negro, but Caylus makes no mention of 128 THE NEGRO IN GREEK AND ROMAN CIVILIZATION the possibility of negro blood and thinks it represents a woman. The ring for suspension is at the top of the head. Ht. 0.1 m. 269. Zurich-Sammlung der Universitiit. Cf. Bliimner, Fuhrer, p. 119, no. 2073. Head of an Ethiopian, used as a weight, from lower Italy. There is a group of four small bronze busts of Ethiopians, the purpose of which is obscure. They represent the upper part of divers, with arms stretched out in front and with a flat metal extension at their backs. If they were uniform in weight, their flat bases might mean that they were balance weights. From their general shape they might have been handles on the lid of some bronze receptacle. 270. l ena-Schott Collection. Cf. Ooll. Schott a lena, A 1475; Reinach, R epertoire de Statuaire, III, p. 158, no. 6. Head and arms of an Ethiopian, of bronze, with thick lips and hair in spiral curls. He holds some objects (?robably a shell-fish) between his out-stretched hands. There IS a short metal extension from his back. The position of his head, which is thrust back as if being held out of water, and the object in his hands, show that he is a diver. 271. London-British Museum-Fayne-Knight Collection. Cf. Walters, Oatalogue of B,-onzes, p. 269, no. 1674. Upper part of a diver with woolly hair and Ethiopian features. His arms are extended in front of him and he holds between his hands a shell-fish which he has just brought up. At his back is a flat metal extension. Length 5t in. 272. London-Briti sh Museum. Cf. Walters, Oatalogue of BronzeB, p. 269, no. 1675. BJonze bust of an Ethiopian diver similar to the foregoing, but without the metal extension. The hair is more sym- metrically arranged. Length, 4i in.; ht. lei in. 273. Bibliotheque Nationale. Cf. Babelon-Blanchet, Oatalogue des Bronzes, p. 443, no. 1017. Bronze bust of an Ethiopian diver, similar to the foregoing. THE ETHIOPIAN IN ROMAN ART 129 He has the long metal extension at his back. Ht. 0.042 m. ; length, 0.091 m. The Bibliotheque' Nationale has two bronze nails which terminate in the head of an Ethiopian: 274. Paris-Bibliothllque Nationa le. Cf. Babelon-Blanchet, OGta- logue de~ Br07tZeS, p. 445, no. 1023. Bronze nail with the head of an Ethiopian in semi-round relief style, at the top. Roman work. Ht. 0.034 m. 275. PaTis-Bibliothilque Nationale. CI. Babelon-Blanchet, Oata- logue des Bronzes, p. 445, no. 1024. Bronze nail with head similar to the foregoing. Hx. 0.025 m. There is a single instance of a bronze terminal figure with an Ethiopian's head, which probably marked the boundary of some Roman gentleman's property: 276. Oxford-Ashmolean Museum-Fortnum Collection. CI. Mich- aelis, Ancient Mwrbles in Great BritaVn, p. 661, no. 18; Schneider, Jb. Kunst. SiJlmml., III, 1885, p_ 7, n. 6. This completes the list of adaptations of the motif to utilitarian objects. Most of them are co=onplace, and only a few are of value from the artist's standpoint. More care has been expended in the workmanship of two bronze pend- ants, which seem to be the sole survivals of the Greek and Etruscan use of the type on jewelry, since a gold mask of the Roman period from Egypt is too large to be an ornament. 277. Paris-BibliotMque Nationale. Cf. Babelon-Blanchet, Oata- logu. des Bronzes, p. 445, no. 1021. Bronze pendant in the form of the head of an Ethiopian boy. His hair is in three rows of spiral curls, radiating from the top of his head, where the ring for suspension is fastened. His eyes are wide open, his nose snub, and his lips ~ick. On his neck is a collar ornamented with a bulla. Height 0.062 m. 278. Paris-Bibliothllque Nationale. Ct. Babelon-Blanchet, Oata- logu. d.s Brollzes, p. 445, no. 1022. Circular bronze pendant, the border encrusted with silver. 130 THE NEGRO IN GREEK AND ROMAN CIVILIZATION The center has an ornamentation, applied on it, the head of an Ethiopian modelled in bronze, in high relief. His hair is in spiral curls, his nose is snub and his lips are thick. The hole for suspension is in the border above the head. Diam. 0.04 m. 279. London-British Museum. Cf. Marshall, Oatalogue of Jewel- lery, p. 369, no. 3094. Gold mask of a negro, his hair indicated by raised dots. Work of the Roman period, from excavations at Benghazi and Teuchira. Ht. 0.14 m. Among the purely decorative bronzes are two busts pub- lished by Bienkowski, in which a woman of Moorish type is used as a personification of Africa; coins of Mauretania and Numidia display a similar type. 281>. Algiers-in a private collection-from Berroughia. Cf. Rev. Arch., 1891, pp. 380-384; Bienkowski, Oorporis Barbarorum Prodromus, p. 94. Bronze bust similar to the foregoing but of poorer work- manship. 281. Constantine Museum-from Thibilis (Announa) . Cf. Doublet· Gaukler, Muscle de Oonstantint, pI. IX; Bienkowski, op. cit., p.94. Bronze bust of a woman personifying Africa, with round fiat face, full cheeks and thick lips. Her hair falls in three rows of spiral curls. 282. Coins of Mauretania and Numidia. Cf. L. MUlier, Monnaies de l'ancien"e Afrique, III, p. 43, no. 58; 100, 15, 107, 1; Bienkowski, Corporis BarbaroTum Prodromus, p. 94. Coins with the type of a female head personifying Africa, her hair in long spiral curls. T-e.ere remain to be described only a few decorative bronzes and marbles. Most of these are of as fine workmanship as any portraits of Ethiopians which Greece produced. They may be the work of Greek artists at Rome. The last of them, a marble head in life size, is from every standpoint the finest portrait of a man with Ethiopian blood. Fig. 24. THE ETHIOPIAN IN ROMAN ART 131 283. Rome-Villa Albani-Galleria de Canopo. Cf. Brunn-Arndt· Bruckmann, lhiechiBche und RomiBche Portrats, piB. 729·730; Helbig, Fuebrer', II, p. 456, no. 1926. Life-sized marble bust assigned to the Flavian period from the cutting of the hair, which is similar to that of female portraits of the period. The man is called a barbarian with negro blood. Before deciding as to his race, one must imagine away the restorations, which include: most of the nose; part of the ears; most of the bust and part of the panther skin which hangs over his shoulder. The nose has been restored as long and pointed, and there is no clue as to its original outlines. When the nose is covered over the effect of the face is more negroid. The hair is tightly curling all over the head, and the lips are fairly thick, although the mouth is not large. The panther skin would seem to point to an African origin. 284. SouBse-Tunis. Cf. Muste de Sou88e, pI. 13; Reinach, R~per· toin'e de 8tatuaire, III, p. 273, no. 5. Black marble head and torso of an Ethiopian 'boy, who holds a pigeon in his left hand. His hair is short and thickly curling, his nose snub and his lips thick. His head bends toward the bird in his hand. The right arm below the elbow is mi sing, and the legs below the knee. The work is prob- ably of the Roman period, since Susa was a Roman colony. 285. Fould Collection. Cf. Chabouillet, DeBc>ription deB il.ntiquit~B de M. L . Fould, no. 875; Schneider, Jb. Kunst. Samml., III, 1885, p. 7, n. 6. Head of an Ethiopian of serpentine marble. It is prob- ably a work of the Roman period, because of the use of col- ored marble. 286. Baltimore-Walters Gallery-from Rome. Of. M~l. d'il.rch. et Hist., 1888, pI. 12; Reinach, R~pertoire de ReliefB, II, p. 196, _1. • In the" Triumph of Dionysus," principal relief on a mar- ble sarcophagus from the burial ground of the Licinii Crassi on the Via Salaria, two Ethiopian children are shown riding each on the back of one of the two panthers who draw the triumphal cur of the god. 132 THE NEGRO IN GREEK AND ROMAN CIVILIZA.TION 287. Ostia. Cf. Calza, J. R. S., V, 1915, pp. 164·169; Ostia, His· torical Guide to the Monum.ents (trans. hy Weeden·Cooke), p. 189, fig. 53; A. de Ridder, Revue des .etudes Grecques, XXX, 1917, p. 199. Small bronze bust of an Ethiopian boy wearing a tunic, a sleeved cloak, (paenula) and a hood (cucullus) which is drawn over his shoulder and held by his left hand. The hair is a mass of short curls, the nose snub, the lips thick and parted. The work is excellent in the rendering of detaiL The individual and racial characteristics are rendered in a most lifelike manner, even to a bump on the forehead above the right eye. It was found in the house of a baker adjoining his bakeshop. 288. Paris-Bihliotheque Nationale. Of. Bahelon·Blanchet, Cata· logue des Bronzes, p. 442, no. 1016. Small bronze bust of an Ethiopian boy, his hair in curls, his lips thick, protruding and partly open. A strap is slung over his shoulder and hangs down his chest to the left, as if he were carrying some object suspended by it on that side. Ht. 0.045 m. 289. Berlin-Koenigliche Museen-from Thyreatis. Of. Schrader, Berlin Winckelmannspr., LX, 1900 ; Jb. der Koenigl. Preuss. Kunstsu,mm.l. XXI, 1900, p. I; Hekler, Bildniskunst, p. 281 ; Kekule von Stradonitz, Grieoh. Skulptur, p. 370 ; Brunn· Arndt·Bruckmann, fo lio 69, pIs. 689·690; F. von BisBing, Ath. Mitth., XXXIV, 1909, p. 31; Bull. AG. Danemark, 1913, pp. 418 and 427; Dickins, Hellenistic Sculpture, p. 28; Graindor, B. C. H., XXXIX, 1915, pp. 402·412. Life-sized marble head of a man with unmistakable Ethi- opian blood. His woolly hair, cut close to his head, is won- derfully rendered in the marble. He is markedly dolicho- cephalic and his forehead is low and retreating. The eyes are large, prominent and set wide apart, and the pupils are indicated by small round hollows in the surface. The nose is 1:h-oken off, but enough remains to show that it must have been fairly short and broad at the nostrils. The lips are thick, though the mouth is not large. The hair of the growing beard is skilfully indicated on the cheeks, chin and upper lip. The ears are small and set low in the head below the line of the eyes. The marble has taken on a patina which creates the THE ETHIOPIAN IN ROMAN ART 133 illusion of dark skin, though the marble was originally white. There is no prominence of the jaw structure and consequently no trace of savagery in the effect. The intelligent expression of the eyes offsets the low forehead. Schrader in his original publication of the head concludes that the technique is that of the second or possibly third cen- tury A. D. This was a period of realism in portraiture and it is safe to assume that we have here a fair likeness which is reliable evidence in identifying him. Both the unusual facial type ,and the date assigned to the workmanship favor the theory offered by Graindor that this splendid work of art represents a certain Memnon, one of the three 7",,0isohen Muswms. Berlin, 1908. 2 vols. 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P aris, 1911. ---, translated by Baumgarten, Fritz, GeschioMe der griechischen Plastik. Strassburg, 1898. Corey, Arthur D., De Amazonum Antiquissimis Figuris. (Diss.) Berlin, 189l. Corpus Vasorum Antiquorum. Published by Union Academique Internationale. Paris. Cultrera, G., Vasi DipvnU del Museo di Villa Giulia. Monument. Antichi, XXIV, pp. 396-7. Delbriick, Richard, Antike Portrats. Bonn, 1912. Dickins, Guy, Helleni·stic Sculpture. Oxford, 1920. Dumont, Albert, and Chaplain, Jules, Les Ctlramiques de 10, Grece propre. Paris, 1888. Evans, Sir Arthur, The Palace of Minos. London, 1921. Two vol- umes have so far appeared. Fairbanks, Arthur, Athenian Lekythoi with Outline Drawing of Glaze Varnish on a White Ground. New York, 1907. Uni- versity of Miohigan Studies, Humanistic Series, vol. VI. ---, Athenian L ekythoi with Outline Drawi,ng Vn Matt Color On a White Ground, New York, 1914. University af Michigan Studies, Humanistic SeNes, vol. VII. Fontenay, Eugene, Les Bijottt» anciens et modernes. Paris, 1887. Friederiche, Carl, and Wolters, Paul, Die Gipsabguesse antiker Bild- werke-KonigUche Museen zu BerlVn. Berlin, 1885. Froehner, Wilhelm, Collecticn Julien GrelWr-Verrerie, EmaillerVre et Poterie appartenant a M. John Pierpcmt Morgan. Paris, 1903. - - - , Deu,(J) Peintures de Vases grees de la Necropole de OameiroB. Paris, 1~7l. - - - , Terres Cuites d' Asie de 10, Collection Julien Greau. Paris, 1886. Furtwiingler, Adolf, AigVnIJr-Das Heiligtum der Aphaia. Munich, 1906. ---, Beschreibung dey geschnUtenen Stemen im A.ntiquarium-- KonigUche Museen zu Berlin. Berlin, 1896. ---, Beschreibung der Vasensamml-wng im A.ntiquarium--Konig. ~ liohe Museen zu Berlin. Berlin, 1885. - - - , La O'ollection Sabou'T'off-Mo1tuments de l'A.rt greo. Berlin, 1887. Furtwlingler und Reichhold, Griecl>isohe Vasenmalerei. Munich, 1904-. Gardner, Ernest A., A Catalogue of the Greek VaseB Vn the Fitz- william Museum, Cambridge, Cambridge, 1897. BIBLIOGRAPHY 137 Gardner, Percy, Catalogue of the Greek Vases in the Ashmolean Muswm, OlDford. Oxford, 1893. ---, Th.e Types of Greek Coins. Cambridge, 1883. Grundy, G. B., The (heat Persian War and its PreUmimaries. Lon- don, 1901. Gruppe, 0., Griechische Mythologie und Religionsgeschiekte. Munich, 1906. Hadaczek, Karl, De-r Ohrsohrrvuck der Grieohe-n una Etr'Usker. Vienna, 1903. Hartwig, Paul, D'ie griechischen Meisterschalen dCT Bl-uethezeit des strengen rothfigurigen Stiles . Berlin, 1893. Hekler, Anton, Die Bildniskunst Ifer Griechen 'lmd Romer. Stutt- gart, 1912. Helbig, Wolfgang, Fuhrer durch die offenUiehen Sammlungen klas- sischer Alterturne". in Rom. Leipzig, 1912. Herford, Mary A. B., A Handbook of Greek Vase Painting. Man- chester, 1919. Heuzey J Leon, Les Figurines antiques de terre ouite d-u .M us~e au Louvre. Paris, 1883. Heydemann, Heinrich, Die Vasensammtungen des Museo Nazionale zu Neapel. Berlin, 1909. Hoppin, Joseph Clark, A Handbook of Greek Black-Figured Vases. Paris, 1924. ---, A Handb ook of Attic Red-Figured Vases. 2 vols. Paris, 1919. Roeber, Fritz, arieckische Vasen. Munich, 1909. Kekul. >ApX. 1894, pp. 121·128. Helbig, Wolfgang, Vasi di Busiri. A.maii, 1865, pp. 296·307. Heydemann, Heinrich, Mittheilungen nus den Antikensammlungen in Ober· und Mittelitalien. Halle W ·'nckelmannspr., III, 1878. ---, Pariser Antiken. Ha!!e Wi·nokelmamnspr. , Y.rI, 1887. ---, Terracotten nus dem MuseD Nazionale zu Neapel. Halle Winckelmannspr., VII, 1882. Mayer, Maximilian, Lamia. Aroh. Zeit., 1885, pp. 119·130. ---, Noch eiumal Lamia. Ath. Mitth., XVI, 1891, pp. 300·312. Milliet, J. Paul, Les yeux hagards. Note sur une mode artistique de I'epoque alexandrienne. MelM.ges Nioole, pp. 357.3661 Pagenstecher, R, Calena. Jb. , XXVII, 1912, pp. 146·173. Po.nofka, Theodor, Delphi und :h-Ielaine. De,"Zin, Wincke:ZmGnnspT., IX, 1849. Perrot, Georges, Le Triomphe d'Hercule. Monument. publi. . par l' Association pour l'encouragement des 6tudes grecques en France. PariSI 1876. Potersen, E., Andromeda. J. H . S., XXIV, 1904, pp. 99·112. J 142 THE NEGRO IN GREEK AND ROMAN CIVILIZATION Petrie, Flinders W. M., Naukratis-Part I, 1884·5-Thira Memair a! the Egypt E"'plaratian Fund, with chapters by Cecil Smith, Ernest Gardner and Barclay V. Head. London, 1886. ---, Naukratis-Part II, by Ernest Gardner. London, 1888. Prinz, Hugo, Die Funde aus Naukratis. Beitriige zur Archiiologie und Wirtscbaftgescbicbte des VII. und VI. Jahrhunderts v. Cbr. Leb. Klia ·Beitriige zU'r alten Geschichte, Beihe!t, VII, 1908. von Prokesch-Osten, Anton, Inedita meiner Sammlung autonomer altgriechischer Munzen. Denkschri!ten der Kaiserl. Akaae- mie der Wissensch",!ten, Wien, IX, 1859, pp. 302-334. Puchstein, Otto, Die Sammlung Demetriou in Atben. Ath. Mitth., VII, 1882, pp. 8-21. Reisch, Emil, Vasen in Corneto-Kopfgefliss des Charinos. Rom. Mitth., V, 1890, pp. 313-322. Reisner, George A., The Pyramids of Meroe and the Caudaces of Ethiopia. B. Mus. F. A., XXI, 1923, pp. 12-27. Ricbter, Gisela M. A., Grotesques and the Mime. A. J. A., XVII, 1913, pp. 149-156. Robert C., Maskengruppen. Arch. Zeit., XXXVI, 1878, pp. 13·24. Seltman, Charles A., Two Heads of Negresses. A. J. A., 2..XIV, 1920, pp. 14-26. von Scbneider, Robert, Neger. Jh. Oest. Aroh. InsP., IX, 1906, pp. 321-324. ---, Schlafender Neger. Jb. Kwnst. Sam",". . , III, 1885, p. 3 if. Scbrader, Hans, tiber den Marmorkopf eines Negers in den Konig- lichen Museen. Berlin Win.ckelmannspr., LX, 1900. Schreiber, Th., Alexandrinische Skulpturen in Athen. Ath. Mitth., X, 1885, pp. 380-400. von Stern, E., toEin Bronzegefiiss in Bustenform. Jh. Oest. Arok. Inst., VII, 1904, pp. 197-203. Trendelenburg, A., Anfora rappresentante Perseo ed Andromeda. Annali, 1872, pp. 108-130. Tr.ivi er, S., Tete de Chef Libyen-Bronze de Cyrene. Gazette ArcMo-logique, IV, 1878, pp. 60-62. :1oel, Karl, Die Aithiopenllinder des Andromedamythos. Jb. Phil . . Paea., Supplementbana, XVI, 1888, pp. 129-216. Wac, Alan J. B., Grotesques and the Evil Eye. B. 8. A., X, 1903-4, pp. 103-114. Walters, H. B., Odysseus and Kirke on a Boeotian Vase. J. II. 8., XlII, 1893, pp. 77·87. Winnefeld, H., Alabastra mit Negerdarstellungen. Ath. Mitth., XIV, 1889, pp. 41-50. ---, Das Kabirenheiligtum bei Theben III-Die Vasenfunde. Ath. Mitth., XIII, 1888, pp. 412·428. INDEX Achilles, 7, 42, 45, 48. Charon, 64. Acrobat, 104, 105. Chest of Cypsel us, 35. Aegina, 17. Cicero, 11 9. Aeschylus, 4, 5, 6, 53. Circe, 59, 60, 61. African Chieftain, 73, 75, 76, 78. Cnossus, 10. AlOlo"", IX, 2, 35, !l7. Comic Interest, 37, 39, 44, 47, 56, Ajax, 45. 65, 81. Alexandria, 12, 77, 78, 79, 92. Cretans, 10, II. A lexandrian ha.ir arrangement, Crocodile, 37, 38, 39, 40, 67, 69, 79. 70, 81, 94, 104, !l2. Amasios, 45. Cyprus, 13, 15, 19, 21. Amasis, 43, 45, 46, 48. Cyrene, 75, 78. Amazons, 51, 53, 55. Dancers, 94, 96. Amenoph is, S. Delphi, 75. Ammon, 8. Divers, 95, 126, 128. Andromeda, 1, 6, 8, 42, 54. 55, Dolichocephalic, 58, 90, 132. 56, 62, !l3, !l8. Double axe, 48-51, 57. Antilochus, 6, 7, 42, 46. Ear·ring, 18, 19, 20, 58, 73. Antioch, 78, 80. Egypt, 1, 7, 12, 42, 51, 52. Aphrodite, 2, 54. Eos, 2, ~, 7, 42. Apollo, 75 . Epi lycus, 32. Apollouius Rhodius, 5, 6. Ethiop Pelike, 64, 65. Apotropaic, 19, 20, 47. Ethiopia, 7, 8, 9, !l, 20, 42, 54, Arctinus of Miletus, 7. 55, !l8, 120, 133. Asiatic Ethiopians, 5, 61. Etb iopian as an advertisement, Attic, 30, 34, 37, 42, 56, 67, 51, 52. 68, 70, 115. Ethiopian river, 4. Auctor ad Herenniulll , 117, 119. Ethiopian t r umpeters, 46, 47. Basalt, 101. Euripides, 5, 6, 8, 36, 55, 57, !l3. Bath slave, 103, !l7. Execias, 43, 46, 65 . Boxer. 85, 112. Fikellura, 14. • Busiris, 13, 14, 15, 21. 28, 36, Filigree work, 106. 42, 56, 57, 58, 103, 113. Florus, 119. Cabiric, 59, 60. Fountain figure, 104, 105. Caeretan, 13. 19, 21, 22, 56. 64. Funerary, 21, 80, 83. Calliades, 34. Fu"eus, 118. Camel, 64. Genre, 62, 72. 78, 80. Camirus, 16, 17, 20, 81. Grotesque, 35, 44, 57, 60,)62, Campanian. 78. 77 , 78, 79 , 84, 113, 124. Caricatul·e. 15, 35, 59, 60. 61. Hadrian, 133. 62, 77 , 78, 80, 81, 93, 08, 113. Heliodorus, 6, 8. Carnuntum. 94. H ellenistic period, i7-Il4. Carthage, 120. Hera, 59. C.'siopeia, 6. 8. 54. Herarles, 13. 14, 15, 21, 28, 36, Cepheus, 6, 8. 54. 56, 57, 58, 103. Chari nus, 25, 27, 32, 33, 34, 36, Hermes, 54. 37, 39. .. Herodes Atticus, 133. Charioteer, 103. Herodotus, 5, 6, 10, 51. 143 I 144 THE NEGRO IN GREEK AND ROMAN OIVILIZATION Hesiod, 3, 6. Nestor, 7. Hesperides, 4. Niger, 117, 118. Homer, 1, 2, 3, 4, 6, 7, 9. Nile, 4, 12, 36, 38. Hunchback, 78. Niobid, 86. India, 4, 117, 119. Nubia, 10. Ink·wells, 125, 126. N ubian, 87. Ionic, 13. N umidia, 130. lope, 8. Nymph,36. Iris, 2. Odysseus, 2, 60. Italian imitation, 67. Olyntbus, 72. Janiform, II , 15, 22, 24, 25, 28, Om ph a le, 36. 29. Ovid, 54, 118. J oppa, 8. Pathos, 80, 90, 98, 112, 113. Josephus, 8. Pausanins, 1, 7, 35, 59. Juvenal, 118, 119, 120. Pendant, 18, 20, 86, 106, 114, 129. Lamia, 35, 42, 59. Pergamene School, 80. Lamps, 121 ·124. Pergarnum, 78. Laocoon, 38. Perseus, 8, 54, 55. Leagrus, 23, 34. Persia, 7. Libya, 42, 58, 75. Persian Wars, 53, 11 5. Libyan, 3, 10, 35, 59, 76. Personification, 55, 130. Ligurians, 3. Petroni us, 79, 120. Literary tradition of Ethiopians, Phineus, 54, 56. 6. Phrygian, 51 .. 58. Lysippan, 75. Pliny, The Elder, 6, 120. Maenad, 36, 39, 40. Polygnotus, 36. Macrobius, 120. Poseidon, 2, 54. Magna Graecia, 67. Priene, 80, 83. Marathon, 51. Proeles, 25, 31. Martial, 118, 120. Prognathous, II. Mask, 85. Prometheus, 4. Mauretania, 130. Prophylactic, 20, 21, 81 , 106. Maurus, 118. Quintus of Smyrna, 4, 7. Medus., 8, 54. Race prejudi e, 37, 119, 120. Memnon, IX, 1, 2, 4, 6, 7, 8, 36, Realism, 77, 79, 80, 81, Ill, 133. 42, 43, 44, 46, 47, 48, 52, 53, Rhodes, 13, 19, 21, 78. 54, 103, 133. < Roman attitude toward The Menelaus 2, 3, 45, 46. Ethiopian, 119. Merae, XlI, 38, 39, 109. Russ ia, 80, 107. Miletus, 12. Sardinian gems, 73·75. Mime, 113, 114. Satyr, 26, 36, 40, 59, 63. Mimnermus, 4, 6. Scarabaeus, 17, 18, 19. Minoan, 10, 12. Scylla, 68. Mor~~um, 116, 119. Scythes, 32. Nat;\alistic treatment, 35, 78, Scythians, 3, 51. 79, 83, 113, 115. Seal, 18. Naucratis, 12, 13, 14, 19, 21, 30, Senegalese, 11. 36. Silver inlay, 94, 97, 99. Negresses, 25, 28, 29, 34, 35, Singer, 97·98. 59, 60, 62, 70, 71, 72, 83, 84, Slavery, IX, 9, 21, 36, 37, 55, 62, 85, 96, 106, 107, 109, 111, 125. 63, 64, Ill, 11 5, 116. Nereids, 54. Sophocles, 8, 56. INDEX 145 Sotades, 26, 37, 39, 67, 81. Tithonus, 2. Spain, 52. Town Mosaic, 10. Status of Ethiopian, 36, 37, 65, Tricephalic Agate, 109. Ill, 119, 120. Trojan War, 45. Steatite, 18, 19, 20. Troy, 7, 53. Strabo, 1, 3, 4, 6. Success of portrayal, 64, 65. Two-fold Ethiopians, 1, 6. Susa,7. Use of Mould, 32, 33, 34. Table aUendants, 119, 120. Utilitarian attitude of Romans, Tanagra, 79. 115. Terence, 114, 116. Vase in form ' of Ethiopian's heaq, Terminal figure, 129. 15, 23-37, 70-72, 81, 88. Thebes (Egypt) , 8. Vergil, 118. Thebes (Greece), 69. Vocal Memnon, 7-8. Theophrastus, 10, 37. Weights, 126, 128. Theseus, 63. Xerxes, 5, 10, 11, 12, 51. Thetis, 42. Zephyrus, 2. Tibullus, 117, 118. Zeus, 2, 59. J J