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Metal pins or staples can corrode and deteriorate. Plaster repairs may become unstable. In-painting may fade or discolor. Intentional over-painting from past conservation efforts is another form of damage. Scenes were sometimes altered in order to appeal to current tastes. A common example is a fig leaf being painted over a nude figure.
Terracotta flower pots with terracotta tiles in the background Due to its porosity, fired earthenware, with a water absorption of 5-8%, must be glazed to be watertight. [ 11 ] Earthenware has lower mechanical strength than bone china, porcelain or stoneware, and consequently articles are commonly made in thicker cross-section, although they are ...
Terracotta will also ring if lightly struck, as long as it is not cracked. [33] Painted (polychrome) terracotta is typically first covered with a thin coat of gesso, then painted. It is widely used, but only suitable for indoor positions and much less durable than fired colors in or under a ceramic glaze.
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Both forms are relatively common on painted vases until the Hellenistic period when the practice of inscribing pots seems to die out. They are by far most frequently found on Attic pottery. Signature (written retrograde) SOΦΙLOS MEΓΡΑΦSEN ("Sophilos megraphsen" – Sophilos drew me ), c. 570 BC, British Museum , GR 1971.11–1.1
The painted parallel-line decoration of Ayios Onouphrios I Ware was drawn with an iron-red clay slip that would fire red under oxidizing conditions in a clean kiln but under the reducing conditions of a smoky fire turn darker, without much control over color, which could range from red to brown. A dark-on-light painted pattern was then applied ...
Terracotta was occasionally employed, for large statuary. Few examples of this survived, at least partially due to the fragility of such statues. The best known exception to this is a statue of Zeus carrying Ganymede found at Olympia, executed around 470 BC. In this case, the terracotta is painted.
Vases in use are sometimes depicted in paintings on vases, which can help scholars interpret written descriptions. Much of our written information about Greek pots come from such late writers as Athenaios and Pollux and other lexicographers who described vases unknown to them, and their accounts are often contradictory or confused. With those ...
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