tes is found on one of his
finest vases, in the Boston Museum, the subject being the fall of
Phaethon. We may suppose that the stamps for the figures were designed
by the masters, but that the vases were actually moulded by the slaves.
Other important artists are Calidius Strigo, who had twenty slaves; P.
Cornelius, who had no less than forty; Aulus Titius, who signs himself
A.TITI.FIGVL.ARRET; the Annii and the Tetii; and L. Rasinius Pisanus, a
degenerate potter of the Flavian period, who imitated Gaulish wares.

The forms of the vases are all, without exception, borrowed from metal
shapes and are of marked simplicity (see fig. 37, Nos. 1, 8, 9, 11).
They are mostly of small size and devoid of handles, but a notable
exception is a bell-shaped _krater_ or mixing-bowl, of which there is a
very fine example in the British Museum, found at Capua and decorated
with the four seasons (Plate III. fig. 62). For the decoration and
subjects the potters undoubtedly drew their inspiration from the
"new-Attic" reliefs of the Hellenistic period, of which the _krater_
just cited is an example. So, too, are such subjects as the dancing
maenads or priestesses with wicker head-dresses, or the Dionysiac scenes
which are found, for instance, on the vases of Perennius. Others again
are distinguished by a free use of conventional ornament, figures when
they occur being merely decorative. There is throughout a remarkable
variety both in the ornamentation and in the methods of composition.

_Provincial Wares_.--The Arretine ware, as has been noted, steadily
degenerated during the 1st century of the Empire, and the manufacture of
ornamental pottery appears to have entirely died out in Italy by the
time of Trajan. Its place was taken by the pottery of the provinces,
especially by that of Gaul, where the transference of artistic
traditions led to the rise of new industrial centres in the country
bordering on the Rhone and the Rhine.

As to the general characteristics of the provincial wares, that is, of
the ornamented wares or _terra sigillata_, the clay is fine and
close-grained, harder than the Arretine, and when broken shows a light
red fracture; the surface is smooth and lustrous, of a brighter yet
darker red colour (i.e. less like coral) than that of Arretine ware, but
the tone varies with the degree of heat used. The most important feature
is the fine glaze with which it is coated, similar in composition to
that of the Arretine; it is exc