In Table Case H we have objects illustrating the craft of the metal worker, the potter, the turner, and the woodworker.

Towards one end of the case are objects illustrating the processes of metal work. A Greek vase of the sixth century B.C. depicts a man in the act of thrusting a mass of metal into a blazing furnace. Anvil, tongs, and hammers are visible (No. 526). Beside it is a reproduction of a Vase in the Ashmolean Museum at Oxford, showing an armourer at work on a helmet (No. 527). Two limestone moulds of a very early period are for casting primitive implements (No. 528). Note also a mould (No. 529) for a metal weight of a type similar to that with the head of Herakles in Case 41. The mould shows a female head with a cornucopia before it, apparently a personification of Profit (Κέρδος), whose name appears above the head. Another mould (No. 530) is intended for a series of lead weights of values αʹ to ηʹ, that is, 1 to 8. (Compare a similar set in Case 42.) It should be observed that the moulds seen here are, for the most part, only half-moulds, or in some cases even less. A corresponding half-mould had to be placed in position before casting could be effected. This is well shown by a limestone half-mould from Rome (No. 531; fig. 214) for casting lead counters, with designs representing Victory, Fortune, and Athena. Here can be seen the channels by which the molten metal was introduced, and the holes for the studs joining the two half-moulds together. In one of these a lead stud still remains.

The steatite mould for a ring of the Mycenaean period (No. 532; Fig. 215) required a counterpart piece, and a third piece at the bottom to complete it. Some of the steatite moulds which have no channels for the molten metal, were probably used for the production of ornaments by pressing and rubbing thin foil into the forms.

The Potter.—At the end of the case are exhibits connected with potters and pottery. Here is seen the limestone figure of a Greek potter from Cyprus (No. 533; fig. 216), seated and modelling clay on the wheel. He reminds us of Homer's description of the potter's action when he compares the whirling motion of dancers to the revolving of a potter's wheel—"a motion exceeding light, as when a potter sits and makes trial of a wheel fitted to his hands, to see whether it will run."⁶⁴ Immediately behind is a potter's wheel in terracotta (No. 534; fig. 217), which has in the centre a depression for the insertion of the pivot on which it turned. It was found on a primitive site at Gournià in Crete. As the clay spun round on the wheel the potter moulded it into shape inside and outside with his hands. The foot, the handles, and the neck of the vase were moulded separately as a rule and attached afterwards to the body. A design on a sixth century Greek vase here exhibited (No. 535; fig. 218), depicts a Greek potter in the act of attaching a handle to a cup which rests upon a wheel. When the vase or other object had been modelled in clay, it then had to be fired. For this purpose a kiln was required, such as one (probably Roman) excavated at Shoeburyness, a model of which is here exhibited (No. 536). It consists of a barrel-shaped chamber, at about half the height of which is a horizontal table on a conical support, with eight round openings pierced in its circumference to allow the heat to penetrate above. Fuel was introduced below through a small fire-chamber constructed at the side (fig. 219). The packing of the objects to be fired required considerable care. For this purpose the so-called "cockspurs" (No. 537) were used for the larger pieces. But sometimes there were failures, such as the two batches of Roman lamps seen in this Case, which have become fused together in the baking (No. 538; fig. 220). If it survived the risks of manufacture, the pot often needed repair when in use, and several examples are shown of rivets, large and small, employed for this purpose (No. 539). The cover of a toilet-box (No. 540) shows the method of painting employed in the Greek red-figured vases; here the grotesque head has been outlined in black, but the background has not been filled in with black in the usual way. Two terracotta heads with projecting stumps (No. 541) show the manner in which the terracotta figurines were built up of several parts. The heads were inserted into holes in the trunks, and were then fastened in position with clay. An unfinished clay relief (No. 542) of a man with his dog, shows the first process in the production of modelled relief, such as those in the Room of Terracottas, Case 8.

A mould (No. 543) for making a bowl of the ware called Arretine from its place of manufacture, Arretium in Central Italy, is shown, with a cast from the mould beside it. An impression is also shown of the mark of M. Perennius, the most noted of the Arretine potters, in combination with his slave Bargates (No. 544). Near the mould are stamps, one with a design of a slave heating some fluid in a caldron, and others of a bear and lion (No. 545; fig. 221). These stamps were used for producing the designs in the moulds, being impressed in the clay while it was soft. Several specimens of these moulds and bowls, which are of about the first century B.C., will be seen in Cases 39-40 of the Fourth Vase Room.

The moulds for parts of Roman lamps, show the way in which these objects were produced. The clay was pressed into the lower mould (such as No. 546; fig. 222) and also into a corresponding upper mould (compare No. 547), and then the two halves were joined together and ready for baking.

(526) Cat. of Vases, II., B 507; (528) Excavations in Cyprus, p. 26, fig. 50; (531) Cf. Bull. della Comm. Arch. xxxiii. (1905), p. 146 ff; (532) Cat. of Jewellery, No. 609; (533) Excavations in Cyprus, p. 93, fig. 145; (535) Cat. of Vases II., B 432; (536) Proc. of Soc. of Ant., Ser. II., xvi., p. 40; (542) Cat. of Terracottas, B 376. pl. 20; (545) Cat. of Roman Pottery, M 82, 83; (546) Cat. of Lamps, 1401.

Gems and Pastes.—In the next division of Case H are objects illustrating the processes of producing Gems and Pastes. These include a series of scarabs, scarabaeoids, and other beads at various stages of manufacture (No. 548); a series of clay moulds for Graeco-Egyptian porcelain scarabs from Naukratis (No. 549) and a fine specimen of a paste cameo head of Silenos (No. 550). Here also are examples of stone socket-handles for a bow-drill (No. 551). In this and the next compartment several pieces of work are incised with designs intended to be filled in with inlay (No. 552). See also a series of fragments of an acanthus pattern in ivory, evidently intended to be inlaid. A piece of rock crystal is carved with ears of corn in intaglio, gilded (No. 553). See also examples of enamel work, of the period of the Roman empire, on studs, seal boxes, etc. (cf. p. 135, 155).

Woodworking, etc.—An interesting wooden box of Roman date is derived from Panticapaeum, in the Crimea (No. 554). This has two sliding lids, above and below respectively, each furnished with two catches. The interior was divided by a horizontal partition, and was again subdivided into numerous small divisions. An inlaid pattern decorates the border of the box. Another box of simpler construction (No. 555) was found in a grave in Bulgaria. Various specimens of fretwork in jet and ivory are shown, and two pieces of an egg and tongue moulding, carved in wood, and coloured with scarlet and gilding, from a sarcophagus, also found at Panticapaeum (No. 555*).

The Lathe.—In the next division are examples of work finished on the lathe, in a variety of materials, as marble, alabaster, coloured stones, crystal, bronze, ivory, bone, and wood; also a rough piece of alabaster from Cyprus, derived from a lathe mandrel.

64: Il. xviii. 600 ff.