Small Vases Research Articles

Investigation of consumption practices in the early Mycenaean period through biomolecular analyses: The case of the Ayios Vasileios North Cemetery (Laconia)

The Early Mycenaean cemetery of Ayios Vasileios in Laconia offers unique insights into social practices at the dawn of the Late Bronze Age (ca. 1700 1500BCE). The North Cemetery consists mostly of large and carefully constructed cist tombs, but the majority of burials were unfurnished. Although a number of studies are engaged in the investigation of this formative period, integrated approaches which focus on the social practice of consumption and contextualised understanding of material culture are still scarce. In this paper we present the results of an integrated study of ceramic vessel use, implementing gas chromatography - mass spectrometry (GC–MS) and a detailed typological characterisation of the pottery recovered, as well as correlations drawn with the results from isotope analyses on the skeletons. Our aim is to explore the ways technological, ecological, and social factors affect consumption in the mortuary sphere. Ceramic offerings are few in number and consist only of one or two small vases per burial, usually a drinking cup and a small jar, but variety in style and fabric suggests increased interaction with areas further afield. Organic residue analysis shows that several of the vessels in the graves had been used before deposition and contained lipids from animal sources and plant lipids. Isotope analyses on bone collagen indicate the exploitation of similar types of food sources by the living community, with little observable variation.New perspectives are offered for better understanding of the social practices in Early Mycenaean Laconia, while reflecting on everyday life and subsistence by drawing together multiple lines of analysis.

Doença de Kawasaki atípica associada à síndrome colestática: relato de caso

OBJECTIVES: To report the case of a child with atipical Kawasaki disease associated with cholestatic syndrome. Kawasaki disease is an inflammatory syndrome that affects small and medium-sized vases, which cause is unknown. The diagnostic is clinical and based in classic criterions, which are commonly reported symptoms, does not including cholestatic jaundice nor hepatomegaly because they are un-usual findings. CASE REPORT: 6-year-old female presented persistent high fever, rash and gastrointes-tinal symptoms. She developed with conjunctival injection, strawberry tongue, and cracked lips, with-out improvement of the fever after the empiric antibiotic treatment. In elapsing of the disease, the rash got improvement and appeared cholestatic syndrome and classic symptoms of the disease of complete Kawasaki (unilateral cervical lymphadenopaty, conjunctival injection, and hand desquama-tion), that it made possible her diagnosis and treatment, with improvement of cholestatic syndrome, without aneurysm appearance. CONCLUSIONS: This paper shows the importance of including Kawasaki disease as differential diagnosis in cases of jaundice feverish syndromes, allowing their treatment in skilled time end prevent complications.

EVALUATION OF SMALL VASE AND Y-TRELLIS ORCHARD SYSTEMS FOR PEACH AND NECTARINE PRODUCTION IN MEDITERRANEAN REGIONS

Two peach planting systems, Small Vase (SV) and Y-trellis (Y), were evaluated and compared in the Mediterranean settings of Southern Italy. The two orchards were located next to each other on relatively uniform soil and terrain, and the observations included two peach (‘Rich May’ and ‘Summer Rich’) and two nectarine (‘Big Bang’ and ‘Nectaross’) cultivars. In the SV system, trees were spaced at 4.5 A— 2.5 m (888 trees/ha), whereas in the Y system, trees were spaced at 5.5 A— 2 m (909 trees/ha) and no canopy gap was left between rows. Yield per tree; fruit size grade; unit price of sold peaches for each size grade; materials, labor and associated costs for cultural management; fixed costs at planting and grower’s profit were quantified during the first six years from planting. Fixed costs at planting were twice as much in the Y system. No significant yield was recorded in the first two years in any of the two systems. Regardless of cultivar, the Y system had 20% higher yields, 31% greater amount of management labor and 10% lower labor efficiency (kg fruits/h) than the SV system. Fruit unit value (euro/kg) was similar in the two systems. Profit varied greatly depending on the cultivar. Only ‘Nectaross’ generated a greater profit in the Y than the SV system. For this cultivar, the pay-back period (years needed to pay off the additional investment of establishing a Y trellis by its additional profit) was 2.5 years, indicating an advantage of the Y system over the SV by the 4th year. The yield gap between the two systems tended to decrease after the 5th year. The latter trend, along with the high initial investment and management costs in the Y system, suggests better performance and more sustainable production in the SV than in the Y system.

AB0260 Cutaneous rheumatoid vasculitis: still a challenge

BackgroundA decrease in rheumatoid vasculitis (RV) has been recently reported, particularly cutaneous vasculitis. However, we have observed otherwise: new cases, relapses and cases refractory to treatment, despite the use of...

Aclimatização de mudas micropropagadas de Bastão do Imperador em diferentes volumes de recipientes

É crescente o mercado de flores tropicais no Brasil. No nordeste, por causa do clima, torna-se difícil a aclimatização dessas plantas. Portanto, este trabalho tem por objetivo determinar o recipiente mais adequado para aclimatizar mudas micropropagadas de bastão do imperador cv. Porcelana, em ambiente protegido. O experimento foi realizado em estufa e as mudas utilizadas foram obtidas por micropropagação. O delineamento experimental utilizado foi de blocos ao acaso, com quatro tratamentos (volumes) e cinco repetições. Os volumes dos recipientes testados foram: V1 - 50 cm³ (Copo pequeno - CP); V2 - 150 cm³ (Tubete pequeno - TP); V3 - 300 cm³ (Tubete grande - TG); V4 - 450 cm³(Vaso pequeno - VP). Foram coletados dados correspondentes ao número de folhas (NF), altura da muda (AM), diâmetro do pseudocaule (DP), massa fresca da parte aérea (MFPA), massa fresca do sistema radicular (MFSR), massa seca da parte aérea (MSPA) e massa seca do sistema radicular (MSSR). Foi realizada a análise de variância e os resultados de natureza qualitativa foram submetidos ao teste de média. O vaso de 450 cm³ é o recipiente mais adequado para aclimatização de bastão do imperador, pois proporcionou melhor desenvolvimento das mudas.

Deepening the Heart of Wisdom: A Course in Buddhist and Christian Contemplative Practices and Dialogue

Deepening the Heart of Wisdom: A Course in Buddhist and Christian Contemplative Practices and Dialogue Wakoh Shannon Hickey and C. Denise Yarbrough A dozen seminarians and a professor file into a high-ceilinged, wood-paneled lounge in the main building of their campus. The left half of the room features a padded window seat beneath a bay of tall, leaded-glass windows, a coffee table, and a group of upholstered chairs around the table, facing the windows. On the right side of the room is a paneled wall, featuring painted portraits of white men in academic robes, hung well above eye level. On the floor, lining this wall, is a tidy row of rectangular black mats, each surmounted by round black zafu or a meditation bench. Nearest the double entry doors, two or three chairs face the wall. Opposite the door is a marble fireplace and mantle, also surmounted by a portrait. A few feet in front of this, in the center of the room, is a small wooden table, on which the most prominent object is a cube-shaped white pedestal. Upon the pedestal rests a miniature carved wooden chair, which is empty. To the viewer’s left of the chair is a small vase of flowers; to the right is a lit white candle. In front of the pedestal are a small, glass vessel of water and two censers: one a round ceramic bowl full of packed gray ash; the other a lacquer box with two compartments. The larger compartment is also full of packed ash; upon the ash rests a small, glowing charcoal. The smaller compartment contains a neat pile of incense composed of tiny wood chips and fragrant granules. As the students enter the room, each steps through the open left side of the doorway (the right side of the door is closed). They enter on the left foot, take two steps forward, press palms together in a prayer-like gesture called gasshō, and bow from the waist in the direction of the empty chair. Each then curls the fingers of the left hand around the thumb, places the hand against the solar plexus, rests the right palm on top of the left fist, and walks forward, keeping the row of upholstered chairs on the left and the altar table containing the empty chair on the right. Just beyond the table, each person turns right and passes behind it with a slight bow, then proceeds to one of the chairs or zafus along the wall on the right side of the room. Arriving at a seat, each [End Page 83] makes gasshō, bows to the seat, turns 180 degrees clockwise, bows in gasshō toward the windows on the opposite side of the room, sits on a zafu, and turns clockwise toward the wall or steps around the back of a chair to sit facing the wall. The people settle themselves into upright postures, hands folded in their laps in the “cosmic mudra,” the fingers of the left hand on top of the fingers of the right, with thumb-tips touching gently. They place the tips of their tongues on their upper palates, behind their front teeth, and direct their gazes downward toward a point on the wall in front of them. They then bring their attention to their breaths, as they flow in and out. A professor, wearing black robes, enters the room in a similar way but sidesteps to the right, in front of the altar, holding a burning stick of incense between the fingers of both hands. She bows again, sidesteps left, walks toward the altar, sidesteps to the right in front of it, touches the base of the incense stick to her forehead and places it upright in the round censer with the fingers of her right hand, making gasshō with her left. With her right hand she gathers a pinch of powdered incense, elevates it to her forehead, and sprinkles it on the burning coal in the rectangular censer, then adds a second pinch. Tendrils of fragrant smoke curl upward and dissipate. Making gasshō with both hands, she sidesteps again to the right, bows, turns clockwise toward the door, and walks...

Ebb and Flow

Ebb and Flow Deborah Cummins (bio) Summer days begin early on this island in Maine. Even when fog blankets the coast and coves, obscures the spruce tops and thumping lobster boats putting out from the harbor, I rise at dawn. I make coffee, feed the dog, linger a bit in the garden to deadhead and prune or to water the planted pots on the deck. Before embarking on the rest of my morning, the best of which include a few hours of writing, I put away last night's dishes, make the bed. I straighten. I descend from a long line of straighteners, women who daily aligned, put things right, performed what I presumed back in the '50s was a necessary housewifely art, like pressed handkerchiefs and Sunday pot roasts. Often, my mother's straightening took on a near Calvinistic zeal. It produced tangible results—a polished tabletop, a dusted Encyclopedia Brittanica bookshelf, a counter cleared of all but the percolator, cookie jar, and rotary phone. But other days, dust rag in hand, she moved through our red brick ranch on Oakdale Avenue in an almost aimless wander, as though with her attempts to straighten, something inside her was expanding, allowing for an un-straightening. By the time I took any notice of her ritual, I had begun to climb alone into my primitive backyard tree house and lose myself to daydreams and adolescent yearnings. I was still years away from understanding how in such housewifely gestures my mother found it possible to withdraw into herself, free there to contemplate whatever she wished, travel wherever consciousness might take her. To my mind, mothers and daydreamers were still worlds apart. I wasn't taught to straighten. Unlike other tasks—ironing blouses, for example, with her directive to always start with the collars—the command [End Page 99] "Go straighten your room" came with only vague instruction. In it, however, dwelled specific expectation, and the understanding the unlikely had occurred—a tornado had dropped down on our house and blown with singular mayhem through my room. Unenthused, I picked up, stashed, stacked, and stowed. I took none of the pleasure I now do in laying my hands on favorite objects—polished rocks from Boom Beach, a local potter's small vases glazed in that dusky sunset violet the sky takes on just before all light over the Camden Hills is extinguished. Now, in my own actions I recognize my mother's ritual, how she lingered before the open shelves of the dining room hutch, arranging her flow blue transferware and Old Willow-patterned plates. Some mornings, a bit like her, I drift. In a doorway, I pause to admire how the light, fixed in a particular moment—Octavio Paz's "time thinking about itself"—gilds the petals of a white rose in a glass on the sill. Straightening has, of course, its practical sides. Behind a framed photograph I find the lost earring. I discover while restacking magazines the mark a wet vase has made on a table. I renew my love of a forgotten object. I honor the beauty of a made thing. Striving for effects, I clear a space around a blue bowl of oranges and make them, to my eye, more appealing. I suppose I could worry that I'm succumbing to the tyranny of inanimate objects, but I prefer to believe straightening helps make the spaces I inhabit more beautiful, a not-so-unworthy result from what is largely seen as a mostly gender-specific pursuit. Or, as colorfully observed by writer John Fowles—with men, it's the "challenging of getting," with women "the elaboration of the got." No apologies. I'm neat. I need straightened surroundings. I require a tranquil place from which to leave and return, launch and retreat. I'm certainly mindful of the writing that doesn't get done when I spend time and energy attending to tasks lacking any real urgency. I don't thumb my nose at such a concern. But as I clear and open physical spaces in a drawer or on a shelf or desktop, it's as if physical and psychological spaces open up in me, places where...

Chikungunya Fever, Mauritius, 2006

To the Editor: When an outbreak of chikungunya fever swept across several Indian Ocean islands in 2005 and 2006, the international public health community’s attention was drawn to chikungunya virus (genus Alphavirus, family Togaviridae). Among those areas affected was the Republic of Mauritius, located ≈900 km east of Madagascar, which has an estimated population of 1,250,000 and comprises the main island of Mauritius (area ≈1,865 km2) and several outlying islands including Rodrigues (≈180 km2). Mauritius Island had an initial outbreak of ≈3,500 suspected cases of chikungunya fever from April through June 2005 (1). With the onset of the drier season of winter, transmission of the virus subsided, but increased again during 2006. An outbreak began on Rodrigues Island in February 2006. The intensity of chikungunya fever outbreaks on Mauritius and Rodrigues Islands led us to explore the extent to which these outbreaks might have contributed to overall death rates. Chikungunya virus is transmitted to humans primarily by the bite of infected Aedes spp. mosquitoes. Aedes aegypti was effectively eliminated from the island of Mauritius during a malaria control campaign from 1949 through 1951 (2). However, A. albopictus is widely distributed on the island in rural and urban habitats (3); thus, A. albopictus may be the most likely vector for chikungunya virus. Common peridomestic breeding places in Mauritius include small pots and vases (used to decorate the outside of homes) and discarded rubber tires (3). Chikungunya fever was first recognized in 1952 after an outbreak on the Makonde Plateau of Tanganyika Territory (4), currently part of Tanzania. The word chikungunya is from a local dialect that translates to “that which bends up” in reference to the stooped posture often seen in patients with severe arthralgia (5). Human infections with chikungunya virus are associated with sudden onset of symptoms including headache, fever, rash, and muscle and joint pain (5). Before the outbreak in the Indian Ocean islands, deaths had not been associated with infections. However, Reunion Island reported >200 deaths during the 2006 chikungunya epidemic (January–April 2006) (6), and India conservatively estimated 1,194 deaths since the virus reemerged in December 2005 (7). To determine whether a similar situation occurred in Mauritius, we compared expected number of deaths with observed number of deaths and estimated number of chikungunya cases from January through December 2006. Crude death rates (CDRs) and number of deaths were obtained from the Annual Digest of Statistics 2005 and 2006 (8). We calculated expected number of deaths for each month in 2006 by multiplying mean CDR (per 1,000 midyear population) of each month for the previous 10 years (1996–2005) by midyear population for 2006. Estimated number of cases of chikungunya fever in 2006 for the Island of Mauritius was obtained from the Chikungunya Unit of the Ministry of Health and Quality of Life and includes both suspected and confirmed cases. A case was considered suspected if the patient had >2 of the following 3 symptoms: fever, rash, and joint pain. Cases were confirmed by cell culture. CDRs for the Republic of Mauritius ranged from 6.7 to 7.0 during 1996–2005 (mean 6.8) but increased to 7.3 in 2006, which represented a 4.3% (95% confidence interval [CI] 2.2%–8.5%) increase from 2005 (CDR 7.0). According to the 2006 midyear Population and Vital Statistics Report for the Republic of Mauritius (8), the number of deaths from January through June 2006 increased by 16.7% (95% CI 11.0%–23.5%) over the number of deaths in 2005, and 19.8% (95% CI 13.5%–26.9%) more deaths occurred among elderly persons (age >60 years). These numbers include all potential causes of deaths. However, increased CDRs occurred only during the months of the chikungunya fever epidemic on Rodgrigues and Mauritius Islands. CDRs on the Island of Mauritius in March, April, and May 2006 were significantly greater than expected (p 80 in May (9). Figure Expected and observed numbers of deaths and estimated number of chikungunya cases on Mauritius Island. Asterisks indicate a statistically significant (p<0.01) difference between expected and observed number of deaths for the specified months. ... The increase in CDRs reported for the Republic of Mauritius during the chikungunya epidemic is similar to the findings reported for the neighboring island of Reunion (10). Excess deaths in Reunion and the Republic of Mauritius coincided with the epidemic curve of the chikungunya fever outbreak, which suggested an association between these 2 factors. No other events that may have negatively affected the health of persons living in the Republic of Mauritius in 2006 were reported. However, because information on cause of death is unavailable, studies are needed to confirm that the chikungunya fever outbreak contributed to increased CDRs in 2006.

有声音と無声音を大小に対応づける感覚の起源―擬音語理解の日中比較―

Do non-native speakers of the Japanese language understand the symbolic values of Japanese onomatopoeia matching a voiced/unvoiced consonant with a big/small sound made by a big/small object? In three experiments, participants who were native speakers of Japanese, Japanese-learning Chinese, or Chinese without knowledge of the Japanese language were shown two pictures. One picture was of a small object making a small sound, such as a small vase being broken, and the other was of a big object making a big sound, such as a big vase being broken. Participants were presented with two novel onomatopoetic words with voicing contrasts, e.g.,/dachan/vs./tachan/, and were told that each word corresponded to one of the two pictures. They were then asked to match the words to the corresponding pictures. Chinese without knowledge of Japanese performed only at chance level, whereas Japanese and Japanese-learning Chinese successfully matched a voiced/unvoiced consonant with a big/small object respectively. The results suggest that the key to understanding the symbolic values of voicing contrasts in Japanese onomatopoeia is some basic knowledge that is intrinsic to the Japanese language.

Impacts of otter trawling on colonial epifaunal assemblages on a cobble bottom ecosystem on Western Bank (northwest Atlantic)

Colonial epifauna are an important component of benthic communities, providing structural complexity at scales of millimetres to metres. Many are sessile, emergent and fragile — characteristics which render them vulnerable to disturbances associated with bottom fishing. Many also have impressive abilities to rapidly regenerate both sexually and asexually and, consequently, the ultimate results of impacts of physical disturbance are difficult to predict. We analysed the effects of 3 yr of pulsed experimental otter trawling, following an asymmetrical before-after-control-impact design, on grab-sampled colonial epifauna. Our study site was on a cobble seabed on the Scotian Shelf in a formerly important fishing ground which had seen no disturbance by mobile fishing gears for 10 yr. The number of taxa, total biomass, the biomass of component major taxa (hydroids, bryo- zoans, sponges, tunicates, soft corals) and the community composition were analysed for single-year and cumulative effects. The study site had a rich colonial fauna containing at least 53 taxa, the major- ity of which were hydroids. The small vase sponge Scypha ciliata, the leafy bryozoans Dendrobeania spp. and the hydroids Symplectoscyphus spp. were the most frequent, occurring in >70% of the samples. Significant inter-annual differences at control sites were observed. The number of taxa, total biomass and hydroid biomass increased over the study period, with associated changes in community composition. Short-term effects of trawling were detected as decreases in the number of taxa per sample, total biomass and total hydroid biomass across the trawling events, although these trends were non-significant after Bonferroni adjustment. No cumulative effects from the pulsed trawling were detected, and colonial species assemblages on control and impacted lines were similar at the end of the experiment. While some of the tests for trawling effects were statistically weak, it is certain that any effects were small relative to natural inter-annual change.

’HΔI∑TO∑ ΔAIMΩN

A curious scene (fig. 1) decorates the Attic lekythos BS 423 in the Antikenmuseum at Basel. It was drawn not long before 480 B.C. by the Diosphos Painter, a fairly prolific craftsman who rarely devoted to his pictures as much care and imagination as he did in this case. Specializing in the decoration of small vases such as lekythoi, alabastra and small neck-amphorae he is among those conservative painters in Athens’ Kerameikos of the earlier fifth century who continued to use the old black-figure technique which most workshops had by then abandoned in favour of the new red-figure technique invented around 530 B.C. But while the bulk of his work is in black-figure, most of his better pieces are in so-called Six’s technique. This technique is named after the Dutch scholar Jan Six who first studied it and involves drawing the figures on an all-black background by combining incised lines and added colours (mostly white, but for more elaborate scenes also pink and red). Of East Greek origin it came to Athens at the same time red-figure was invented, probably introduced by Nikosthenes whose workshop appears to have been instrumental in its promotion during the last decades of the sixth century. To take full advantage of the possibilities offered by it was, however, left to the Sappho and above all to his colleague, the Diosphos Painter, who improved its decorative appeal by achieving a more balanced distribution between added colours and incised lines. Substantial parts of his pictures are left in incised outline, without any colour added, and he is particularly fond of compositions in which an all-black figure drawn in pure outline contrasts with one that is painted in added white.

On the Creative Experiences of Beholders of Visual Art

The terms 'creative' and 'to create' have become highly controversial as to their meaning [1-6]. Whereas to some of the act of 'creating' means an act of significant unique achievement in whatever field of endeavor it was performed (I regard this as 'social' creativity), to others it is synonymous for an act of understanding, appreciation or simply making an art object (I regard this as 'individual' creativity). In my discussion I shall use the terms in the latter fashion. More people have an opportunity for beholder creative experiences as a result of an increase in the democratization of art and, particularly, because of the spread of education. Artists increasingly engage beholders' attention, stimulate them and draw them into aspects of their modes of work. Today, the challenge that faces individuals in the process of beholding is to exercise effort and imagination in order to gain understanding and appreciation of that which is unfamiliar to them. I met this problem in the course of my work at the Museum Haaretz at Tel Aviv, Israel, while attempting to explain exhibits to people of different cultural backgrounds. For example, I showed to a group of women of Yemenite origin an Egyptian amphorisca (small vase or bottle) of the 12th century B.C. When I found that I could not get them to appreciate the beauty of its shape and of the colors of the composition on its surface, I decided to give an explanation of the functional aspect of the object. I began by discussing lipstick used by women today and pointed out that the bottle served for the storage of the material used to paint lips in antiquity. But they gave no response, since they did not use lipstick, nor did they like their daughters to use it. I thought that, as they belong to a patriarchal society, I might be able to gain a response if I told them that in those days in Egypt men, as well as women, used makeup and stored it in this kind of container. There still was no response. I then said that, after all, they are mothers and Egyptian mothers

A Sam Wide Group Cup in Oxford

Mrs Ure has recalled attention in recent JHS Notes (lxxxviii [1968] 140 f.; lxxxix [1969] 120 f.) to the class of fifth-century Corinthian cups and other small vases studied formerly by Sam Wide (in AM xxvi [1901] 143 ff.) and her (in JHS lxix [1949] 18 ff.). It is surely time the class had a name and, with Mrs Ure's approval, I suggest ‘The Sam Wide Group’. Mrs Ure mentions a cup of the group in Oxford and I take this opportunity to publish it. It is in private possession but at present exhibited in the Ashmolean museum, whose photographs of it are shown here (Plate II 1–2). The fabric and the outside decoration (partly painted handles, tongues on the lip, a band within the concave foot) are wholly normal for this group. The cup interior, which carries the figure decoration, measures 9.2 cm across. The paint is a reddish brown, used with varying intensity from the pale wash for hatching to heavy stippling over painted areas (as the cloak). The scene is of Oedipus and the Sphinx—with a difference which is easier to describe than explain. Oedipus sits at the left, his petasos slung behind his neck, his sword drawn and held upright over his knees. A chlamys fastened round his neck appears to be raised in a protective gesture over his head. Passing from the ridiculous to the sublime we might compare the gesture of a Niobe protecting her child. The left arm holding the drapery is not shown, but this explanation seems the most plausible. The only alternative is that this is the rock on which we might expect the Sphinx otherwise to be sitting, and which can be shown in this form. The monster is perched on a column with a volute capital which is not strictly Ionic but of the type commonly seen on vases for structures or furniture. A high plinth over the volutes serves as base for the creature, rocking back on its haunches, balancing, it seems, on a springy tail.

Small vases from Euboean workshops

Perhaps the most popular vase shape in Euboea in the fourth century was the lidded lekanis. A number of specimens, decorated with floral motives on the lid and simple leaves or linear patterns on the receptacles, may be seen in BSA lv, pls. 54–57 passim. They show considerable variety in the shape of the knobs and in the treatment of the handles, but the receptacles remain fundamentally the same. Akin to these are little bowls of similar shape, lidded, but without handles. Such are the vases of a kernos of unknown provenience in Athens with a vaguely anthropomorphic central handle consisting of a long loop surmounted by a moulded head and with small arm-like projections recalling those of a herm (Plate 1, 1). The lids of three of the four little vases are preserved, the two nearest the handle having horizontal rims, while the two outer vases both had lids with rims turning vertically down, as is shown by the one extant lid and by the flanges on both the receptacles. The knobs of the two lids with horizontal rims are of a shape similar to the stemmed foot of a cup or dish; the surviving lid with down-turned rim has a ring like the footring of a stemless cup to serve as a knob. Each kind of knob, stemmed or stemless, functioned as a foot when the lid was set upside down on the table and became a dish. The low footring knobs were not unknown in Athens, but they were commoner in Euboea. One was noticed in BSA lv. 212, no. 8 on a lid, not figured, belonging to the Bonn group of floral black-figure, which is undoubtedly of Euboean, and very probably of Chalcidian manufacture. We shall see more of them later on.

Gravrøser på Umm en-Nar

Gravrøser på Umm en-Nar

Three Vases from the Dutuit Collection

The Accademia dei Lincei in Rome (Palazzo Corsini) is in possession of a considerable quantity of old china, bronzes, terracottas, and other works of art bequeathed to it by Teresa Celli, widow of Dutuit, in the year 1912. I was unable to establish, on the strength of the archives, the Christian name of the donor' husband, but I have ascertained from the Register Office of the city of Rome that his name was Augusto. He can, then, be none other than the owner of the Collection Dutuit, bequeathed by him to the city of Paris in 1902, and now preserved at the Petit Palais. Among the few ancient works of art there are also fourteen small Greek vases: Protocorinthian, Attic B.F. and R.F., South Italian and Gnathia ware. They do not present special interest except three small Attic R.F. vases which do not figure in Prof. Beazley's Attic Red-figured Vase Painters and which can be attributed to definite master.

Boeotian Haloa

Reading University has recently acquired two fresh examples of the group of small vases with outline drawing first discussed by Wide, who tentatively connected them with Mykalessos. One is a kylix, formerly in the possession of Mr. John Fothergill and most generously presented by him to the University, showing Herakles with his club (Figs, 1 and 2b). The second is a pyxis, damaged somewhat in an air raid of 1945, with a subject on the lid that is less easy to recognise (Figs. 2a and 3). Reading has also a third vase, belonging to this series but standing rather apart from the rest. It is a kylix of the same kind as the first, but decorated inside with a rosebud between sprays (Fig. 4). These three vases with Wide's original five and one other kylix published in the Russian Compte Rendu de la Commission Impériale Archéologique 1901 (1903) p. 131 Fig. 229 (reproduced here in Fig. 5) bring the total of vases of this class up to nine. Nothing is known of the provenance of any of the three vases in Reading and the kylix in Russia is published in a list of chance finds and acquisitions in the government of Cherson with no information as to how it was acquired.Wide associated his group with the cult of Demeter of Mykalessos whose temple, according to Pausanias, was shut every night and opened again by Herakles.

Ku Yüeh Hsüan

AT SOME TIME not before the early part of the Ch'ien Lung period in China (1736–1795), a number of small vases and snuff bottles of opaque glass decorated with enamel colours were made. Some of these bore the mark: Ku Yüeh Hsüan chih, which can be translated: “Made in (or for) the Ancient Moon Pavilion” or “Made by Ku Yüeh-Hsüan.” The workmanship was excellent, and they were similar to other glass objects made for imperial use which bore the marks usual to porcelain of the period. The decoration was related also to a larger group of imperial porcelain which began towards the end of the K'ang Hsi period (1662–1722) and continued to some undetermined point in the reign of Ch'ien Lung. In spite of the fineness of their workmanship, the objects bearing the mark of Ku Yüeh Hsüan were not made for imperial use, and the Peking Palace collection contained no specimen with such a mark. The imperial glass and porcelain objects which they resembled were for palace use only, but owing to the similarity of decoration to the Ku Yüeh Hsüan group, such pieces have since become known as being “Ku Yüeh Hsüan” type of porcelain.

COSMETICS — PAST AND PRESENT

Cosmetics and vanity are twins and can be traced by the most ancient historical documents to the earliest records of which burials have been found; from the Egyptian tombs there is evidence that the ancients used eye and face paints, oils, solid fats and perfumes. The two most common eye paints were malachite (a green ore of copper) and galena (a dark gray ore of lead), the latter ultimately replacing the former as the principal eye paint of the country. These substances were placed in graves in small linen or leather bags in the crude form. The prepared form, called kohl, has been found in shells, in segments of hollow reeds, wrapped in leaves of plants, and in small vases. 1 Kohl was found either as a paste (now dried) or as a powder, and analyses by Barthoux 2 and Lucas 3 showed that the material in 64 per cent

A Silver Dish from the Tyne

In the Journal of Roman Studies for last year Professor Haverfield gives an account of certain silver vessels of the late Roman age found on the banks of the Tyne, near Corbridge, in the eighteenth century. I wish to discuss in some detail one of these vessels, which has great importance for the history of late Greek art. This is the remarkable dish or lanx found in 1735 on the north bank of the Tyne, now belonging to the Duke of Northumberland, and kept at his castle of Alnwick.Other vessels of silver were found, not with it, but near the same spot: a two-handled cup, a bowl bearing the Christ monogram, a silver basin, a small silver vase. Professor Haverfield has figured these, so far as he could. That all these vases belonged together is probable though not certain. Only one of them bears a clear indication of date, the Christian monogram, in the form which it takes on coins of the Constantine period. This particular vessel one would naturally give to the time of Constantine, that is, to the earlier part of the fourth century. It does not follow that all the vessels are of this date: but as we shall see presently, it is a date not unsuitable for the dish which we are considering.