ter but inferior to the 2nd-century
pottery of Lezoux. A mould from Rheinzabern is illustrated, Plate IV.
fig. 66.

[Illustration: FIG. 37.--Shapes used in Roman Pottery. 1-11, Arretine;
18-65, Gaulish and German.]

The ornamented vases produced in these potteries are, as we have said,
almost confined to two or three varieties, which follow one another
chronologically. A shape favoured at first is the _krater_, which has
been mentioned as one of the characteristic Arretine forms; but this
enjoyed but a short term of popularity. Early in the 1st century we find
a typical form of bowl in use, which, following the numeration of Dr
Dragendorff's treatise, is usually spoken of as No. 29. This is
characterized by its moulded rim engraved with finely incised hatchings,
and by the division of the body by a moulding into two separate friezes
for the designs (fig. 36). Its ornament is at first purely decorative,
consisting of scrolls and wreaths, then small animals and birds are
introduced, and finally figure subjects arranged in rectangular panels
or circular medallions. About the middle of the century a second variety
of bowl (known as No. 30; see fig. 37) was introduced; this is
cylindrical in form, and, being found both at Graufesenque and Lezoux,
may be regarded as transitional in character. In the latter half of this
century a new form arises (No. 37; fig. 37), a more or less
hemispherical bowl which holds the field exclusively on all sites down
to the termination of the potteries. In this form and in No. 30 a new
system of decoration is introduced, the upper edge being left quite
plain. The panels and medallions at first prevail, but are then
succeeded by arcading or inverted semicircles enclosing figures, and
finally after the end of the 1st century (and on form 37 only) we find
the whole surface covered with a single composition of figures
unconfined by borders or frames of any kind, but in a continuous frieze;
this is known as the "free" style (Plate IV. fig. 69).

As regards the figure subjects, it may be generally laid down that the
conceptions are good, but the execution poor. Many are obvious
imitations of well-known types or works of art, and the absence of
Gaulish subjects is remarkable. They include representations of gods and
heroes, warriors and gladiators, hunters and animals, the two latter
classes being pre-eminently popular.

The potters' names at Graufesenque are nearly all of a common Roman
type, suc