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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..2bf2370 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #61986 (https://www.gutenberg.org/ebooks/61986) diff --git a/old/61986-0.txt b/old/61986-0.txt deleted file mode 100644 index 7938e0e..0000000 --- a/old/61986-0.txt +++ /dev/null @@ -1,7578 +0,0 @@ -The Project Gutenberg EBook of Greek vase-painting, by Ernst Buschor - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Greek vase-painting - -Author: Ernst Buschor - -Contributor: Percy Gardner - -Translator: George Chatterton Richards - -Release Date: May 1, 2020 [EBook #61986] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK GREEK VASE-PAINTING *** - - - - -Produced by Turgut Dincer, Chuck Greif and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - - - - GREEK VASE-PAINTING - - [Illustration: PLATE I. - -Frontispiece: THESEUS, ATHENA AND AMPHITRITE: KYLIX WITH THE SIGNATURE - OF THE POTTER EUPHRONIOS - - _From Furtwängler-Reichhold, Griechische Vasenmalerei._] - - - - - GREEK - VASE-PAINTING - by ERNST BUSCHOR - - WITH C·L·X ILLUSTRATIONS - - TRANSLATED BY G. C. RICHARDS - M.A., F.S.A., FELLOW OF ORIEL - COLLEGE OXFORD & WITH A - PREFACE BY PERCY GARDNER - LITT.D., F.B.A., PROFESSOR OF - CLASSICAL ARCHÆOLOGY - IN THE UNIVERSITY - OF OXFORD - - - LONDON - CHATTO & WINDUS - 1921 - - - - -CONTENTS - - - Page - -Preface vii - -Chapter I. The Stone and Bronze Ages 1 - - ” II. The Geometric Style 18 - - ” III. The Seventh Century 29 - - ” IV. The Black-Figured Style 63 - - ” V. The Red-Figured Style in the Archaic Period 111 - - ” VI. The Style of Polygnotos and Pheidias 133 - - ” VII. Late Offshoots 155 - -Index of Illustrations 161 - -Index of Names 174 - - - - -PREFACE - - -A history of Greek vase-painting has been for a long time a desideratum -of students of Greek art and antiquity. Many years ago I planned such a -work, but the difficulty of the necessary illustration caused the plan -to break down. In the meantime an extensive literature has grown up on -the subject, mainly in German, but with contributions from other -countries. In his first chapter Dr. Buschor has shewn how the result of -excavation in Greece and Italy has been to throw our starting-point -further and further back, until it lies in the Neolithic age. But it is -not only in regard to the earlier phases of Greek vase-painting that -research has brought light: the red-figured vase-painting which is one -of the most perfect fruits of Greek art in the fifth century has been -far more minutely and intensively studied. The result has been to fix -the outlines, and more than the outlines, of the history of a fourth -great branch of Greek artistic activity; the history of architecture, of -sculpture and of coinage having been already thoroughly investigated. -And this fourth branch is not merely vase-painting; but since the fresco -and other paintings of the great age of Greece have almost entirely -perished, we may fairly say that it includes almost all that we can ever -know of the history of early Greek painting. Vase-paintings can but -feebly image the colouring of the great painters of Greece; but they can -give us invaluable information as to the principles of grouping and -perspective adopted by them; they can reflect the extreme beauty of -their figure-drawing; and they can shew us how they treated subjects -from the vast repertory of Greek mythology and poetry. - -Most of those who take up the study of Greek art are strongly attracted -by vases, the subjects of which are more varied, and the treatment freer -than is the case with sculpture. For mythology, religion, athletics, -daily life, they are first-hand authorities. Yet one may fairly say -that, until a few years ago, satisfactory study of them was impossible. -Vase-paintings, in consequence of the shape of the vessels themselves, -can very seldom be adequately reproduced by photography. And the -published drawings of them, until about 1880, were quite untrustworthy; -partly because the draughtsmen had insufficient sense of style, partly -because most of the vases in the great museums were more or less -restored, often in a most misleading way. - -Thus merely to reproduce published engravings of the vases was quite -misleading. The truth about them could only be known from a technical -examination of the originals scattered through Europe. Yet one must say -that in nearly all our English classical books and dictionaries, old -engravings are uncritically reproduced. It is a fouling of the springs; -and however practically inevitable such a course may often have been, -the result is that the reader never knows whether he is treading on firm -ice or on a mere crust. Anything more reckless and misleading than the -procedure of the publishers and editors of illustrated classical books -can scarcely be imagined. The errors resulting can only be weeded out by -slow degrees. - -Since about 1880 things have slowly mended. The German Archæological -Institute, and the French and English Societies for the promotion of -Hellenic Studies have published really careful drawings of a multitude -of vases, Mr. F. Anderson in England being one of the most accurate and -careful of the artists employed. In the last few years the catalogues of -vases in Berlin, Paris, Munich, London and other places have given -authoritative information as to restorations. A fresh era in the -knowledge of technique and subject was begun by the magnificent -publication of Furtwängler and Reichhold, with its splendid plates. At -present the most authoritative works on early red-figured vases are -those of an Oxford man, Mr. J. D. Beazley, and an American, Mr. J. C. -Hoppin. Mr. Beazley has been good enough carefully to revise the present -translation. - -We have reached a stage at which, for all but specialists, what was most -needed was a general history of Greek vases in all their periods, -compiled by a trustworthy authority, and so fully illustrated (no easy -matter) as to enable a reader to follow the text throughout. Thus would -the whole subject be mapped out, and the approach to any particular -province be made easy. Such a book is that of Dr. Buschor. His examples -are carefully chosen; his text shews full mastery of the subject; and it -is very unlikely that his treatment will be superseded for a long time -to come. It is, however, a book not adapted for a mere cursory reading, -but for careful consideration and study. - -I may add a few words by way of introduction to the subject. We may -divide the whole history of Greek pottery into two sections, which are -separated one from the other by the line which divides primitive from -mature Greece, about the middle of the sixth century. - -Before that time, before the age of Crœsus and the rise of the Persian -Empire, the history of Greece is very imperfectly known to us, through -the traditions of the temples and the old families, which are seldom -wholly to be trusted. Where history is uncertain it is of untold value -to have monuments and works of human manufacture to supplement it. These -provide a skeleton of fact with which to compare legend and tradition. -It is now generally recognized that before writings in the form of -inscriptions and coins come into general use, pottery furnishes the -most continuous and most trustworthy material for the dating of sites, -indications of commercial intercourse, the movements of peoples. In -recent years the study of prehistoric Greece has made immense strides, -primarily owing to the excavations of Schliemann, Evans and other -investigators. The subject seems to fascinate the younger generation of -archæologists; and the pottery found in the graves of the early -inhabitants of Greece and Asia Minor has been worked at with great -minuteness and to much result. It has revealed to us the outlines of the -early history of Crete, the Troad, Laconia, Thessaly, and a number of -other districts. Constant comparison with the results of finds in Egypt -which can be dated from inscriptions has revealed in a measure the state -of the civilization of the Ægean in century beyond century, back to -Neolithic times. - -When Greek civilization became fully established, in the sixth century, -when inscriptions and coins begin to give us far more exact information -than that which can be derived from pottery, the interest attaching to -the latter does not cease, but it changes in character. We no longer go -to it to determine the outlines of the history of civilization. But it -has now become a thing precious in itself because of its beauty, its -close relation to the poetry, the religion and the life of Greece. The -elegant forms of Greek vases and the charm of the designs painted on -them have caused them to be sought after by great museums and wealthy -collectors. The graves of Italy, Sicily, Hellas, have poured out a -constant supply of these works of art, some of them beyond value. -Classical archæologists have naturally given much attention to them; and -of late years the assignment of examples to noted masters, and the study -of their technique have been zealously prosecuted. They belong too -wholly to a civilization which has passed away to be readily understood -by ordinary visitors of museums; but those who have once been bitten -with their charm find in them an occupation, a delight and a solace -which are great helps in life. Greece is the classical land of art in -all its forms, and the principles of art which were established by the -successive schools of art there can never be wholly neglected. If we set -aside the pottery of China and Japan, which is, in another sphere, of -unsurpassed beauty, the pottery of Greece is the only perfectly -developed and thoroughly consistent pottery in the world; and the noted -productions of modern Europe seem in comparison poor and half-civilized. - -Dr. Buschor’s general plan has compelled him to write but in a summary -way of the works of red-figured style, which are incomparably the most -beautiful. In fact, in such small and rough illustrations as are -possible in a handbook, their quality could not be reproduced. For them -the reader must go on to other works, or visit the vase-rooms of -museums. A conspectus of successive styles and periods was all that was -possible. And I think that enough is here accomplished to arouse the -interest of those who love art and have some sympathy with the Greek -spirit. - -The old supremacy of the Classics in education has passed away, and in -future they will have to hold their own not by prescriptive right but in -virtue of their intrinsic value, on which more and more stress is being -laid by those who feel what their neglect in the modern world would -mean. It is time to strengthen their hold by shewing how they lie at the -very root of philosophy, literature and art. Our successors will not be -satisfied with drilling boys in Greek and Latin grammar, but will have -to insist on the place held by ancient peoples, the Jews, the Greeks and -the Romans, in the evolution of all that is valuable and delightful in -the modern world. We have to widen the field of Classics, and illustrate -the literature from every point of view. And if it be felt that the -object of education is not merely to enable boys and girls to earn a -living, but to help them to lead a worthy and happy life, then I have no -fear that the Classics will be permanently eclipsed. - -Mr. Richards’ work as a translator was very difficult. In spite of -kindred origin, the German mind in literary production moves on -different lines from the English. Not only is the order of words in a -sentence different, but the sentences themselves are much more involved, -and German scientific writers aim at an exactness in the use of terms -which we seldom attempt. Mr. Richards’ version is very accurate; but it -must be allowed to be not always easy reading. He preferred to retain as -much as possible of the meaning, even if it involved some stiffness in -the text. Students will thank him for this; and if the general reader -finds that he has to give the text a closer attention than he is used to -give to books, he will in fact have his reward. - -Dr. Buschor’s work is a solid stone for the temple of knowledge, and the -main lines of the subject are now so firmly fixed by induction, that -they are not likely to suffer very much change in the future. - - P. GARDNER. - - - - -CHAPTER I. - -THE STONE AND BRONZE AGES - - -Students of the history of Greek vases have been gradually led backwards -from a late period to earlier and earlier stages of civilization by the -course of circumstances. First of all graves were opened in Lower Italy; -the first great collection of vases, formed by Sir William Hamilton, -British ambassador in Naples, and published in 1791-1803, contained -chiefly the output of later Italian manufactories. Next, from 1828 -onwards, the doors of Etruscan graves were unlocked, and their contents -proved to be the rich treasures of Greek red and black-figured vases, -procured in such numbers by the Etruscans of the 6th and 5th centuries. -About twenty years later a bright light was thrown on eastern Greek -pottery of the 7th century by the discovery of a cemetery in Rhodes. -About 1870 the ‘Geometric’ style became known and the Dipylon vases at -Athens were revealed. In the seventies and eighties Schliemann’s spade -unearthed the Mycenean civilization, and in the beginning of the present -century we were introduced to the culmination of this period in Crete. -Finally in quite recent times finds of vases of the Stone Age in Crete -and in North Greece have given us a view of vase-production in the third -millennium B.C. If therefore we wish to retrace this long road, we must -begin at a period, of which the investigation has only just begun and -which presents most difficult problems. - -The excavations in Northern Greece, _i.e._, in North Boeotia, Phocis -and above all Thessaly, have introduced us to a purely _Neolithic_ -civilization. Here alongside of the two simpler prehistoric techniques, -unornamented (monochrome) and incised ware, was discovered, even in the -oldest strata, a richly developed painted style, with linear ornaments -painted either in red on vases with a white slip or in white on vases -made red by firing. The monochrome, red or black vases are often -brilliantly polished and of excellent workmanship. In the later layers -of the Stone Age finds this civilization differs considerably according -to locality. One class of painted (and incised) vases is very prominent: -it was found chiefly at Dimini and Sesklo, and shows quite a new -principle of decoration (Fig. 1). It combines curvilinear patterns, -especially the spiral motive, with rectilinear decoration (zig-zag, step -pattern, chequers, primitive maeander, etc.); the colouring varies, -white on red, black on white, brown on yellow. Side by side with this -style we find in other places the greatest variety of painted and -unpainted vases: even polychrome decoration appears. In the early Bronze -Age all this splendour vanishes and gives place to the production of -coarse unpainted ware. - -It appears that this Stone-Age Ceramic of North Greece has no connection -with the finds of South Greece, and is rather to be traced to the North -and the civilization of the Danube valley. - -The South presents us with a much more primitive picture. The large -layer of Stone Age finds, which came to light in Crete, produced vases -with incised geometrical ornament, alongside of coarse undecorated -pottery, but curvilinear patterns of Thessalian type are completely -absent and painted vases are rare. The reason for a less elaborate -development of Neolithic civilization in Crete seems to be that it gave -place to the Bronze Age comparatively - -[Illustration: PLATE II. - -Fig. 1. STONE AGE BOWL FROM THESSALY.] - -[Illustration: Fig. 2. FACE-URN FROM TROY II-V.] - -early: in Thessaly it seems to go down far into the second millennium. - -According to these early vase finds one has thus to picture to oneself -the beginnings of ceramic art. First, the most essential household -vessels are fashioned by hand out of imperfectly cleansed clay, and -burnt black in the open fire, and before long the outer surface is also -polished, probably with smooth stones. Rectilinear ornaments are pressed -or incised into the soft clay, and by degrees the method of filling and -indicating the incised lines by a white substance is learned; the clay -is also treated plastically, for instance channelled. Gradually the clay -is made less impure, is more cleanly polished and more evenly baked in -the oven, and by the actual firing has various colours, red, black, -grey, yellow and brown, imparted to it. Thus a ground is also obtained -for painting, on which the rectilinear ornaments are imposed with -colour. Greater solidity and brighter colouring are obtained by covering -the vase with a slip, which moreover sets off the painting excellently. -The invention of the wrongly styled ‘varnish,’ a black colour glaze -which, though technically undeveloped, appears even in North Greece of -the Stone Age, is of the highest importance for the whole history of -Greek vase-painting. The forms are primitive, little articulated, but -already very various: the decoration covers uniformly almost the whole -vase. - -But the different techniques do not regularly succeed each other; -inventions are not immediately communicated from one locality to -another; primitive methods subsist alongside of more advanced, nay even -sometimes drive them out again. This much is clear, that a section taken -through these contemporaneous prehistoric civilizations would present a -highly variegated aspect. - -The Stone Age is succeeded by the Bronze Age, here earlier and there -later; here more quickly, there more slowly; i.e., metals are gradually -introduced, and with them new techniques and a new civilization. It is -evident that to the earlier Bronze Age belong a series of innovations -which are of decisive importance for the history of vases, the invention -of the potter’s wheel, the perfection of the so-called ‘varnish,’ and -the imitation of metal forms in clay. In most places the potter’s oven -and the painting of vases appear only in the early Bronze Age. - -Into the early Bronze Age fall the finds from the earliest layers at -Troy. In the unalterable faith that he was discovering the world of -Homer, with the strong and weak points of a dilettante, Heinrich -Schliemann began to dig at Hissarlik, and in the excavations of 1871, -1878, 1890 and 1893 Dörpfeld and he investigated the rubbish hill, which -has become so famous, the nine superimposed settlements of which -represent as many successive civilizations down to Roman times. The -numerous ceramic finds of the five lowest layers show the transition -from rude hand-made and ill-baked ware with impressed linear patterns to -ever more developed stages. The potter’s wheel and oven finally succeed -in producing brilliant red, black, grey, brown vases of the finest -technique. The variety of shapes is very great, some are already quite -developed; the imitation of metal forms is to be traced here and there. -A notable speciality is found in the so-called Face-urns (Fig. 2), rude -imitations of the human form, produced by adding eyes, nose, mouth, -ears, nipples and navel; and there are also other vase-types, which are -not repeated in Western Greece. Painting is rare, the vases are either -monochrome or adorned with incised linear ornaments, which are often -applied in the manner of necklaces, or divide the vase vertically. - -The Bronze Age civilization of the second city up to the fifth, which, -judging by the rich finds of metal utensils and - -[Illustration: PLATE III. - -Fig. 3. JUG FROM SYROS.] - -[Illustration: Fig. 4. JUG FROM MYCENÆ.] - -gold ornaments, was by no means primitive, recurs in the whole of N.W. -Asia Minor and in Cyprus. Its last phase cannot be separated in time -from the western civilization of the shaft graves (p. 7). - -Parallel with Troy II-V and the mainland civilization of Marina (below), -on the islands of the Aegean is the so-called Cycladic civilization. Its -pottery, however, presents a much more variegated picture: beside the -primitive vases there are vases incised and painted with rich, not -exclusively rectilinear, ornamentation: glazed (‘varnished’) vases also -occur. The forms are very varied: bronze and stone vessels often serve -as models; the structure of the vases and the distribution of the -ornamentation show unmistakeably definite artistic intention. There is -great difference between various islands and a comprehensive view of the -development is not yet possible. Specimens like the beaked jug from -Syros (Fig. 3) are probably contemporary with the early Minoan style of -Crete (p. 7), but the pans with engraved spirals, circles, ships and -fish are later. On Melos, which has quite a separate position of its -own, the influence of the Cretan ‘Kamares’ civilization (p. 8) in -technique and decoration is obvious. - -We return to the mainland and Central Greece. Hagia Marina in Phocis is -the chief place in which a pottery, following on the Neolithic, has been -found, hand-made with a black or red glaze, with or without rectilinear -ornaments in white. This was called ‘Primitive varnish ware,’ before the -Neolithic preceding stages had become known. ‘Marina’ ware superseded -the Neolithic in Boeotia (Orchomenos) and Thessaly also; similar vases -have been found in the western islands (Leukas) and in the Argolid -(Tiryns). It is also related to the Cycladic civilization, as is -indicated by the jug imitated from metal models, which is common to both -styles. - -The ‘Marina’ layer is succeeded at Orchomenos by a ware of a totally -different kind, which probably spread from this locality and is -therefore called ‘Minyan,’ dark-grey and grey or yellow vases, -especially (_a_) drinking-cups, with tall channelled foot, and (_b_) -profiled two-handled cups (Fig. 6), turned on the wheel, and in shape -more plainly even than the Marina ware dependent on metal models. The -wide extension of this already finely developed ware combines a series -of bronze-age sites into a chronological unit, the so-called ‘Shaft -grave’ stage (p. 7). In Northern and Central Greece as well as in Leucas -it follows on the ‘Marina’ ware, in Attica and Aegina it takes the place -of the monochrome and incised ware, in the islands it supersedes the -Cycladic pottery, in Troy it is parallel with the ware of Asia Minor and -Cyprus, in the Argolid the Marina finds of Tiryns are followed by the -shaft graves of Mycenae with Minyan vases. - -Almost everywhere along with the Minyan ware we find vases not so finely -constructed, generally hand-made, which are neither burnt dark nor -glazed, but show a decoration applied in dull colour. This lustreless -painting (_Mattmalerei_) in Central and Northern Greece, and also in -Attica (white-ground ware of Aphidna, Eleusis), uses only geometrical -ornaments; in the Argolid on red or light clay vases linear patterns, -wavy lines, running spirals or even figured decorations (_e.g._ birds, -Fig. 4) are painted in brown colour. The decoration generally emphasises -the shoulder; the lower part of the vase is unadorned and separated by -stripes from the upper. - -The next stage is that Minyan ware and lustreless painting are almost -everywhere driven out by Creto-Mycenean ‘Varnish’ pottery. In many -places this process did not take place till the end of the Bronze Age, -as in Thessaly, Central Greece and Attica (Eleusis). It was apparently - -[Illustration: PLATE IV. - -Fig. 5. KAMARES VASE FROM KNOSSOS. - -Fig. 6. KYLIX FROM MYCENÆ.] - -the lords of the Argolid who first and most freely opened their gates to -Cretan importation and influence; in the shaft graves of Mycenae, famous -for their rich treasure of gold, discovered by Schliemann in 1874 behind -the Lion Gate, the oldest Cretan import in the shape of vases of the -first late Minoan style (p. 10), appears beside Minyan and lustreless -ware (Figs. 4 and 6). - -By the side of these local products, the ‘Varnish’ vases in the shaft -graves appear like children of a strange and sunnier world, -representative of a quite different and superior style of art. The idea -that they came from Crete has been confirmed by the excavations carried -on since 1900, which in different parts of the island disclosed a -compact civilization of markedly un-Greek character, developing without -a break from the third millennium to the end of the second, which is in -striking contrast to that of the mainland. This civilization has been -named Minoan after the fabulous king Minos, the builder of the -labyrinth, and it has been divided into three epochs, of which the first -two precede the period of the shaft graves. - -In the early Minoan period, following on the miserable Stone Age (p. 2) -the Cretans must have laid the foundation of their riches, if an -inference may be drawn from the stone vases and goldsmith’s work of -Mochlos. The ceramic art enters on two paths, which have a future before -them. The vases were hitherto unpainted and only incised. Now _either_ -they are covered with brilliant black paint (‘varnish’) on which the old -patterns are painted in tenacious white colour, a technique which -celebrated its triumph in the subsequent period, or the vases are left -in the colour of the clay and painted with bands of ‘varnish’; to this -so-called ‘Mycenean’ technique belongs the whole late period (p. 10). -There is a special group of flamed ware, the patterns of which, like -much that is Minoan, are far nearer to modern applied art than to -Greek. Even in the first half of this period the kiln seems already to -be known; the potter’s wheel appears in the second, which is -characterized by the first appearance of curvilinear patterns, -especially the wave series and running spiral. - -The Middle Minoan period, a pure and richly-developed bronze -civilization, is the height of polychromy: the clay is finely cleansed, -the black glaze is at its very best, red in different shades occurs -besides white. A transition leads to the brilliant period of the Kamares -style, named after the first discoveries in the Kamares cave on Mt. Ida. -The ‘Mycenean technique’ occurs not infrequently alongside of the -polychrome; but as it often edges the ornaments with incised lines or -puts white spots on them, it does not reject the tendency to richer -effect, which is a feature of the age and is also expressed in the -relief-like ornamentation of many vases (Barbotine). The ornamentation -is still very fond of linear patterns, and also develops the spiral -still further, and lays the foundation of the numerous decorative -motives which characterize the later periods; living creatures also -(birds, fishes, quadrupeds) are represented in painting. The motive of -drops falling from the brush, which would be inconceivable in Greek -vase-painting proper, occurs already. There is a simultaneous use of -decoration in bands, and without division; the emphasizing of the -shoulder by ornamentation is found in contrast with the lower part -decorated, if at all, with stripes (Figs. 3 and 4). The stock of forms -increases, and the imitation of metal-work is often unmistakeable. - -In the Kamares style proper (Figs. 5 and 9) polychromy (white, red, and -dark yellow on black) reaches its highest development, the greatest -variety of plastic decoration appears, the Mycenean technique (dark on -light) is relegated to the background. - -[Illustration: PLATE V. - -Figs. 7 & 8. FUNNEL-VASES OF LATE MINOAN I STYLE. FROM PALAIKASTRO AND -PSEIRA. - -Fig. 9. KAMARES PITHOS FROM PHAISTOS.] - -The shapes become continually more delicate, metal vases are often -directly copied; cups, beaked jugs, beaked saucers, and amphorae with -handles at the mouth are specially common. The list of ornaments is much -increased and can scarcely be described in few words. By the side or in -the place of geometrical motives, crosses, zig-zags, groups of strokes, -and richly developed circle, bow and spiral motives, appear vegetable, -leaves, branches, rosettes, and most important of all, the continuous -wavy tendril. Even living beings appear occasionally. - -The plant ornamentation of the Kamares vases is in a peculiar relation -to nature. Though nature is here for the first time consistently -imitated, the reproduction is not at all ‘naturalistic’ but thoroughly -and from the first severely stylized. Not only does the colouring bear -no relation to the object represented, not only is the combination of -vegetable and geometric motives of purely decorative character, but the -natural object imitated is often barely recognizable. The Kamares potter -only aims at a pretty combination of colour and line, not at -representations. Nor is he concerned with structural arrangement: -division by bands and emphasizing the lower part of the vase by leaves -pointing upward are uncommon. Usually the decoration spreads freely over -the field and is not subordinated to the structure of the vessel. This -undisputed predominance of the ornamentation is in the sharpest contrast -to the procedure of Greek art proper. - -The Kamares civilization, starting from Crete, exercised influence over -the islands of the Aegean: the importation and imitation of its ware can -be proved for Thera and Melos. Isolated finds in Egypt are of -importance, first because they prove the relation of Crete to the Nile -valley, and secondly because they give a fixed date (XII Dynasty). The -technique did not disappear with the Middle Minoan Age, but was long -maintained alongside of the new style. - -The Kamares finds come mostly from the older palaces of Phaistos and -Knossos. The investigation of their ruins has shown that these buildings -were destroyed by fire and soon afterwards replaced by still finer new -edifices. The vase finds in these later palaces show a complete break -with the old style. Polychromy is no longer the principal attraction; it -is given only a secondary place: the new style (Middle Minoan III and -Late Minoan I, Figs. 7, 8, 10 and 11), which is no longer satisfied with -gay ornamentation, but with fresh vigour essays the conquest of Nature -and her excellences, throws off the bands of the old technique, and with -bold freedom depicts the newly discovered world in dark colour on light -clay. In contrast to the Kamares style, it did not arise on the vases -themselves by the enrichment of an ornamental style, but it is to be -understood as the reflection of higher techniques. Vase-painting gives -only a small extract from the rich array of subjects, which the other -lesser arts and the wall-painting of the period conjure before our eyes. -Of the wonderfully vivid representations of men and animals, in which -the Cretans were masters, nothing is to be found on the vases. This is -certainly not an accident, but a sign of the purely decorative feeling -of these artists. They did not want to stylize the human or animal body -till it became decorative, to distort it for the eye by placing it on a -curved surface, and by combining figures to upset the ease and flow of -the decorative scheme. Thus they entirely gave up all reproduction of -them, and are thus in marked contrast with Greek vase-painting, the -history of which may be regarded as a constant struggle to represent -mankind and animal creation. The Cretans took to other objects instead, -which could be represented in the vigorous way they aimed at, and yet -also filled the field decoratively, without any loss to the picture from -the - -[Illustration: PLATE VI. - -Fig. 10. STIRRUP-VASE OF LATE MINOAN I STYLE FROM GOURNIA. - -Fig. 11. AMPHORA OF LATE MINOAN I STYLE FROM PSEIRA.] - -curve of the vessel. The vegetable world had entered the decoration of -vases in the Kamares period: now it does so afresh, but in a totally -different spirit. Grasses, branches, ivy, crocuses, lilies as they grow -and wave in nature, surround the vases. But these people were specially -concerned with the sea, marine plants and live creatures. Lotus flowers, -sea-weeds and reeds wave in the water, the cuttle-fish stretches out his -feelers, the nautilus swims about, starfish and snails, corals and -sea-anemones surround the living objects, and dolphins gambol around. - -What impelled the Cretan vase-painters thus unweariedly to represent the -marine world exclusively on vases? The explanation can only be sought in -that supreme law of the development of artistic style, the talent for -invention in a few pioneer brains and the slowness in invention of the -many. The excellent idea of having the cool liquid in the vases -surrounded by this decorative play of marine life, which filled the -field and was so life-like, perhaps came from a single gifted brain. The -idea became popular, and the common run of vase-painters created -countless variations of the theme. - -The excellent naturalism directly inspired by nature, which it transfers -with a bold brush to the vases, is limited to a short creative period: -immediately the schematic and conventional assert themselves; life -disappears, but fixed decorative formulæ remain, and to them the future -belongs. Moreover, the stylized ornamentation never ceased to exist -alongside of the natural; nay, often appears on the same vase in -conjunction with it, in the shape of wavy lines, spirals in different -combinations, continuous tendrils (which are also treated naturally) or -stylized plants. Thus two methods of decoration are in contrast, one -‘tectonic’ with arrangement in bands, another, which freely scatters -naturalistic representations over the vase, a kind of ornament which -has made almost everyone who has spoken of it adduce the parallel of -Japanese art. The freely adorned vases are also most characteristic of -the art of the Cretans, and show most plainly their gay and heedless -manner, their free decorative work, their direct relation to nature, -foreign to abstraction and idea: they set this art in contrast with the -contemporary old civilizations of the Nile and Euphrates as well as with -the Greek. - -The naturalism of the first Late Minoan period has narrower limits than -has been usually estimated. Not only is the stock of themes scanty (Fig. -11 is an exception); but also the reproduction of nature is purely -superficial, knows nothing of perspective or shading, and stylizes the -forms into the style of decorative drawing: thus, for instance, the -marine world is represented without any indication of water. Of course, -this does not mean that such abstraction from reality is not an -advantage from the point of view of decorative art. Often the -vase-shapes show a cultivated feeling for form in the way the body -swells and contracts, but appear simple and constrained when compared -with the fine lines of contour in the next period. Among new types that -emerge may be mentioned the ‘stirrup vase’ (Fig. 10) and the ‘funnel -vase’ (Figs. 7 and 8). - -The superiority of these Cretan vases to all contemporary ceramic output -showed itself in a vigorous export. The Egyptian finds of this ware give -as a date the XVIII dynasty, approximately 1500 B.C., a date confirmed -by some Egyptian objects found in Crete. Cretan vases were also exported -in quantities to Melos and Thera: there the native industry loses itself -in imperfect imitations of this imported ware. The Cretan civilization -also enters the Greek mainland, especially the Argolid. The shaft graves -of Mycenae (p. 7), from which the Late Minoan civilization transplanted -to the mainland has been named ‘Mycenean,’ - -[Illustration: PLATE VII. - -Figs. 12 & 13. AMPHORÆ OF THE PALACE STYLE FROM KNOSSOS.] - -are the oldest instance of this fact. The imported vases of the six -graves are distributed over the whole of the first Late Minoan (early -Mycenean) period, containing late specimens of Kamares style and early -specimens of the Palace style: but the bulk of the ‘varnish’ vases found -on the mainland belong to the succeeding period. - -The second Late Minoan period of vase production in Crete, the so-called -Palace style (Figs. 12 and 13) is not so sharply divided from the first, -as the latter is from the Kamares style. Both phases are connected by -several transitional forms and run parallel for a time. An important -difference is that the last traces of the Kamares technique (the -imposition of white, red and orange on a black ground) disappear: there -is simply painting in black on light clay (Mycenean technique). The -decoration neglects the neck and foot of the vessel and emphasizes the -shoulder, particularly with the characteristic half-branches. The -animated reproductions of nature in the preceding style are treated in a -fanciful way; they become fixed and are changed into ornaments and -patterns for filling; the significant unity of the design is interrupted -by foreign elements; the marine and plant ornamentation now never covers -the whole vase but retires into a single band. In short, the -naturalistic style gives place to a tectonic style, the representations -are not the chief thing aimed at, which is the filling of the space. -Beside the ornaments produced by the schematizing of living natural -forms come new ones, which often look like a borrowing of architectural -forms; moreover, the juxtaposition and combination of the ornaments show -the same spirit, and also the emphasis now laid on the shape of the -vase, in which the structure and the swinging contour reach their -highest form of elegance, as can be seen most plainly in the amphorae. - -This art had a wide influence outside Crete. To the beginning of the -period, the transition from the first to the second Late Minoan style, -belong many mainland finds, especially from domed tombs, in Peloponnese -(Vaphio, Argos, Mycenae, Old Pylos), in Attica (Athens, Thorikos, -Spata), in Boeotia (Thebes, Orchomenos) and in Thessaly (Volo). The -finds continue during the period of the developed Palace style. The -majority of these ‘varnish’ vases seem not to have been imported from -Crete but made by Cretan artizans in the country. The Mycenean local -princes, who from their lofty citadels controlled the surrounding -country, surrounded themselves more and more with the splendour of this -southern civilization, ordered weapons, ornaments, precious vases from -Crete, used them in life, gave them to the dead in graves; they also -took into their service foreign artists, and gave employment to Cretan -masons, painters and potters. - -The islands too acquire Cretan vases: they were exported as far as -Aegina, Melos, distant Cyprus, and the sixth city of Troy. - -About the end of the second Late Minoan period the Cretan palaces of -Phaistos, Knossos, and Hagia Triada are destroyed, and with the -destruction of these and other sites the Palace style decays. - -The pottery of the Late Mycenean (or third Late Minoan) period (Figs. -14-17) is very inferior to that of the Palace style. The technique is at -first neat but afterwards falls off: the smooth yellowish clay takes a -green tinge, the brilliant glaze colour, often burnt red, becomes a -lustreless black. The ornamentation consists of the last remains of the -naturalistic decoration, now become quite lifeless and poor, with which -are associated purely geometrical patterns of the simplest kind, wavy -lines, spirals, concentric circles. Rectilinear patterns (groups of -strokes, hatched triangles) become ever more prominent. The decoration -is generally - -[Illustration: PLATE VIII. - -Fig. 14. LATE MYCENEAN CUP FROM RHODES. - -Fig. 15. LATE MYCENEAN STIRRUP-VASE FROM RHODES.] - -very loose, emphasizes the shoulder band, and usually puts on the lower -half of the vase only a few stripes: vertical division of the field into -‘metopes’ is common. - -But, on the other hand, figured representations are not unusual on late -Mycenean vases. Two classes can be distinguished off-hand:--(_a_) animal -representations, in traditional ornamental style and very ‘geometrical’ -in treatment, particularly birds with cross-hatched bodies, certainly -continuations of the old lustreless painting (cp. Fig. 4 with Fig. 15); -and (_b_) larger compositions taken over from wall-painting, often -provided with ornaments to fill the field, like the chariot-race on the -krater from Rhodes (Fig. 17). The best-known example is the Warrior vase -from Mycenae representing the departure for the battle-field. - -Apart from these figured representations, one may say that Cretan -vase-painting, after its brilliant achievements in the Kamares, shaft -grave, and Palace styles, sinks down to that primitive level from which -it started: it becomes once more a geometrical style. - -The area over which we find this pottery is enormous, being practically -the whole Mediterranean basin, Crete, Egypt, the Cyclades, the coast of -Asia Minor (sixth city of Troy) and its adjacent islands (_e.g._ -Rhodes), Cyprus (where the Mycenean supersedes an old and plentiful -pottery akin to that of Troy), Phoenicia, Italy, Sicily, and especially -all important sites of the Greek mainland. In many places, where the -‘varnish’ painting did not enter earlier, it now comes into contact with -the old indigenous technique, with the monochrome, incised and -lustreless vases: many backward settlements, like Olympia, seem to have -had practically no acquaintance with the Mycenean style. - -Here again the Egyptian finds give us a date: they last from about the -end of the 15th down into the 12th century. But since it is not -conceivable that we should date the Geometrical period, which followed -the Mycenean, back into the second millennium, the late Mycenean style -must have lasted at least four centuries; the rate of development, which -in the time of great achievements had been very rapid, must have become -considerably slower. - -To arrange the huge mass of late Mycenean vases in this long development -is impossible, until the material has been sifted and worked through. -But one thing already can be said with certainty, that it was not merely -exported from Crete; indeed it is more than questionable, whether Crete -played the leading part. In this period the native seat of the brilliant -Minoan civilization is no longer in the foreground; the centre of -gravity has shifted to the mainland, in particular the Argolid. Even in -the period of the shaft graves we see the Peloponnesians eagerly -adopting Cretan civilization; in the following period the mainland vies -with Crete in the production of Mycenean vases, and finally must have -wrested the lead from the southern outpost. This applies not merely to -civilization but to political conditions. A hypothesis, in favour of -which there is much to be said, connects the destruction of the Cretan -palaces with the invasion of conquering ‘Achaeans,’ the name Homer -applies to the lords of the mainland. Just as the wall-painting -originally borrowed from Crete was still flourishing on the mainland, -when it had died out at home, so the late Mycenean pottery must have -been produced mainly in continental Greece, and the new style must have -been formed by the Peloponnesians. Thus we can explain the non-Minoan -elements, the strong geometrical influence on the decoration, and the -taking over of figured scenes from wall-painting, which was rejected by -the old Cretans. - -So it was probably the ‘Achaeans’ who spread the late Mycenean pottery -all over the Mediterranean. They had - -[Illustration: PLATE IX. - -Figs. 16 & 17. LATE MYCENEAN VASES FROM RHODES.] - -become a seafaring nation on a great scale. Of their entry into Crete we -have just spoken, of their united campaigns of conquest in Asia Minor, -in which the Cretan king has the Argive Agamemnon as his overlord, the -Homeric poems tell us, and of their colonizing expansion in the -Mediterranean the vase finds among other things give evidence, as they -justify conclusions about new localities of manufacture (Troy, Rhodes, -Cyprus, etc.). - -In the beginning of the first millennium the scene is totally altered. -On the coast of Asia Minor and the islands are settled Hellenic races, -among which the Aeolians and Ionians are probably descendants of the -emigrated Achaeans, while the Dorians represent a new tribe come in from -the north, which subdued the Peloponnese and Crete and extended to the -south of the Aegean Sea. - -These shiftings of population, the so-called Dorian invasion, with which -Greek historians begin the history of their country, mark the end of the -Bronze Age and of the Mycenean civilization. Iron weapons, only -sporadically to be found in the late Mycenean age, take the place of -bronze; the Mycenean vase style vanishes all along the line, and gives -way to a new style, the Geometric. - - - - -CHAPTER II. - -THE GEOMETRIC STYLE - - -Now for the first time the history of Greek vases proper begins. In the -pottery of the geometric style are latent the forces, which we see -afterwards expanding in contact with the East, as well as the oldest -beginnings that we can trace of that brilliant continuous development, -which led to the proud heights of Klitias, Euphronios, Meidias. Its -producers may be unreservedly described as Greeks: Hellas has come into -being. However primitive the civilization of this early Greece may have -been, however patriarchal is the picture which Homer, the great genius -of this period, gives us of this world, however much the works of art -described by him point to Mycenean reminiscences and Phoenician -importation, yet in the department of ceramics the art of this time was -thoroughly original and highly developed, and it is from the vases that -this early phase gets its name. - -We should like to have a glimpse of the origin of the Geometric style, -but its beginnings are shrouded in darkness. It cannot be regarded as -simply a descendant of the pre-Mycenean Geometric pottery, which in -outlying parts continued throughout the Bronze Age; for in its ‘varnish’ -technique, its forms and decoration, it is totally different from those -primitive vessels. As little is it a direct continuation of the Mycenean -style, from which it took over the technique of painting. However much -towards the end of its development the latter inclined to decoration in -bands and the geometrizing of ornament, it was an outworn poor style -that arose out of schematizing of living forms, in complete contrast -with the clear concise Geometric style, which consistently unfolds and -exhausts its individuality. - -Naturally the Mycenean style did not disappear abruptly from the face of -the earth, and there are transitional forms, which cannot be nicely -divided. They must not be too highly estimated; they are, it is true, at -the beginning of the new development, but do not influence it. Thus the -‘Salamis’ vases, and their parallels from Athens, Nauplia, and Assarlik -in Southern Asia Minor, show this transition, retaining in part Mycenean -forms like the stirrup vase, and Mycenean ornaments like the spiral, but -being in fact an insignificant ware, of bad workmanship and meagre -decoration. More interesting is the survival of Mycenean traditions in -Crete, the home of the Minoan style, and in the Argolid, the chief seat -of late Mycenean civilization: certain vase-shapes, hatched triangles, -concentric circles and semi-circles on the shoulder are retained from -the old style. - -From these and other Mycenean reminiscences the unfolding of the new -style cannot be explained any more than by a revival of pre-Mycenean -Geometric styles. We must rather bring in, to explain the phenomenon, -those movements of peoples, the driving out of southern Mycenean -civilization by races advancing from the North, and the new mixture of -blood, which strengthened and made dominant the northern European -element. Though the Dorians did not develop the style as conspicuously -as other tribes, there arose out of the ferment caused by their -appearance on the scene the new creative vigour, the Greek element -proper, which, out of the frozen traditions of the mainland and the -lifeless relics of Mycenean art created a new style and a firm basis for -a fine development. - -The Geometric style makes a virtue of the necessities of rude -beginnings; out of the simple decorative material at its disposal, it -creates a rich system. Angular patterns, rows of dots, strokes, -‘fish-bones,’ zig-zags, crosses, stars, hooked crosses, triangles, -rhombi, hook maeanders, maeanders broken up in different ways, maeander -systems, chequers, net patterns are most common; alongside of them are -circles and rosettes neatly made with the compass. The wavy line, which -like the snake edged with dots perhaps comes from Mycenean polyps, takes -a second place; all other free ornamentation is eschewed; the place of -continuous spirals is taken by circles connected by tangents. Thus the -ornamentation appears to be steeped in mathematics, and the same is the -case with the representation of living beings. Man and animal alike -appear in stylized silhouettes, which bring the various parts of the -body into the simplest possible scheme, and set them off sharply against -one another. Thus the human breast appears as an inverted triangle and -is shown frontally, but the legs and head are in profile. The head, -which is only emancipated from the silhouette style in the succeeding -period, already often has a space reserved in it to indicate the eye. As -a rule the human body is represented naked, while towards the end of the -period, the instances of clothing, especially of women, become more -numerous. There has been division of opinion as to whether this nudity -reproduces actual life. That is certainly not the case. “This is the -nudity of the primitive artist, of the abstract linear style. It is not -man as he actually is, but the concept ‘man’ which is to be rendered, -and clothes are no part of this concept.” (Furtwängler). These oldest -Greek representations of man are not, properly speaking, reproductions -of nature, but a kind of mathematical formulæ;, which gradually in the -course of centuries of fresh observation of - -[Illustration: PLATE X. - -Fig. 18. ATTIC GEOMETRIC AMPHORA (DIPYLON CLASS). - -Fig. 19. - -GEOMETRIC AMPHORA, PROBABLY ATTIC (BLACK DIPYLON CLASS).] - -nature become richer, corporeal, living, spiritual. Animal -representation begins also in the same formulistic manner. The choice is -in contrast with the Minoan animal world: there is complete absence of -the Oriental animal world of fancy; we only see the Northern fauna; -horses, roes, goats, storks, geese. The animals stand upright, graze, or -rest with neck turned round. The technique is always that of the pure -silhouette; only the birds often, as in the pre-Mycenean and late -Mycenean styles (Figs. 4 and 15), show hatched or cross-hatched inner -drawing of the body. - -These geometric ornaments and abstract silhouettes of men and animals -form the complete stock out of which the artist of the period provides -for the decoration of his vases. With them he fills the bands into which -he loves to divide the vase (Fig. 18); or at all events the shoulder or -handle band, constructively the most important, in which case he covers -the lower part of the vase with black (Fig. 19) or with parallel rings -(Fig. 23). The bands, the breadth of which is varied, are filled in two -ways. Either we have continuous ornaments, and processions of animals, -chorus dancers, warriors, chariots and horses, which in this style are -essentially nothing but ornament; or he divides the bands, and -particularly the handle bands (Fig. 19) vertically into rectangular -fields, metopes as they are called. The metope naturally takes a -different scheme of filling the space from the band; if the latter -prefers a continuous series, the former requires ornaments complete in -themselves, like circles and rosettes, or in the case of figures, the -antithetical group, the heraldic opposition of two different fields of -figures, or of two figures in the same field. The figures connected by -compulsion of space are then more closely united by a central motive, -and there arise ornamental compositions not at all drawn from actual -life, _e.g._ two birds both holding in their beaks a fish or a snake, -two horses with crossed fore-legs, rearing towards each other, tied to -a tripod, or held by a man with a bridle, two roes with raised fore-legs -leaning against a tree. Band and metope with their compulsory schematism -no longer suffice for the growing need of representation: in the large -vases the chief band is often made very high, or in the upper part of -the vase a rectangle adorned with ornament or figures is left out from -the surrounding black: thus arises the vase with special field for -subjects. - -Legend, which in this period found its brilliant expression in the Epics -of Homer and Hesiod, is still very much in the background in these -vase-paintings. Centaurs only begin to be represented on late Geometric -vases. Scenes such as the embarkation on the bowl from Thebes (Fig. 21) -cannot be interpreted otherwise than mythically, as the rape of Helen by -Paris or of Ariadne by Theseus, since on Geometric bronze fibulæ from -Boeotia it is certain that legendary scenes are intended. The battle -scenes too, with their duellists surrounded by spectators and their -fights on a large scale by land and sea, must be inspired by the Heroic -Saga. But far more numerous are the scenes of daily life, which are -connected with the sepulchral purpose of the vases. We see the dead man -lying on the bed of state, covered with a big cloth; men, women, and -children, with arms raised to their heads in token of grief, are -standing, sitting and kneeling around him; we see the bier placed on the -hearse, and amid loud lamentation of the populace driven to the -cemetery, while, in honour of the deceased, chariot-races and mimic -battles are represented and dances are performed to the sound of flutes -and lyres. - -As the human form is rendered without any feeling for bodily shape, so -all the representations are without any spatial sense. Chariot floors -and table surfaces are not fore-shortened, the breast of the dead man -lying on the bier - -[Illustration: PLATE XI. - -Fig. 20. UPPER HALF OF A DIPYLON GRAVE-VASE. - -Fig. 21. ‘THE RAPE OF HELEN,’ ON A BOWL FROM THEBES.] - -is represented in front view, the covering of the corpse is visible in -its complete extent, as if it hung down upon it; in the case of pairs of -horses the off horse is simply moved forward and represented smaller; -masses of men are rendered by files of similar figures; figures to be -thought of as in the background, _e.g._ the hinder rows in the Helen -bowl (Fig. 21) are placed high up. The space, which contains the -figures, is an ideal tectonic space, the surface of the vase to be -adorned. Where the figures do not suffice to fill this space, the -Geometric artist regards it as a gap in the decoration of the vase and -fills the void with dots, rows of zig-zags, hooked crosses, rosettes -with a central point, and actually paints birds or fishes between the -legs of horses or between the chariot and the bier which rests upon it -(Fig. 20). - -This even covering of the surface gives the vases of this period a -carpet-like appearance, and this textile impression is strengthened by -the geometry of the ornamentation, by the angular stylization of the -living beings, by the decorative schemes and the division into bands. -But on this account to derive the whole style from the imitation of -works of the loom would be a mistake; the stylistic limitations of the -style cannot be identified straight off with the technical limitation of -weaving. As in all primitive civilizations so in the formation of the -Geometric vase style, simple linear patterns may have been taken over -from weaving and plaiting: but this is not the case with circles and -rosettes, and anyhow such a consistent and systematic perfection as that -of the Geometric vase style is inconceivable as an imitation of a -foreign technique. - -Greek ceramic art never completely lost this ‘textile’ character, and -never quite renounced the Geometric school through which it passed, -though by centuries of labour it freed itself from the defects and -crudities of that school. Vase-figures long exhibit their origin out of -the ornamental silhouette; the decorative schemes of arrangement in rows -and of antithetic groups are always breaking out afresh; the principle -of using up the space is applied superficially for some time and only -gradually refined; the decoration in bands subsists for a long time -beside the vases with a pictorial field, and remains of it exist till -late; the disinclination for deepening the field, based on a correct -structural feeling, goes through the whole history of Greek vases and -keeps the ornamental figure world of the vases always at a distance from -the much less constrained world of free painting. - -The Geometric vases have not merely a historical meaning, but a value of -their own. They are not a preliminary stage, but something complete. In -them Greek art in true Greek fashion worked out a thought; expressed -itself for the first time in a classical way, if the phrase may be used; -out of a clumsy rustic style with poor ornamentation developed vases of -technical perfection, compact and clear in form, consistently thought -out in the decoration now lavishly, now sparingly spread over them, in -their austere beauty true children of the Greek genius. - -But this style did not put out everywhere equally fine flowers. It was -not, like the late Mycenean, an ‘imperial’ style, but, from the -first--and this is significant for Greek art--differentiated and -conditioned by locality; each region had its own manufacture of vases, -and its own Geometric style. Already the lead is taken by that place, -which later was to drive out of the field all competitors, viz., Athens. -The Dipylon vases--the name usually given to Attic Geometric vases from -the fact that most of them were found in the cemetery before the Dipylon -Gate,--rise in form, technique and decoration to the greatest perfection -and highest richness. In the magnificent amphoræ, as much as two metres -in height, which are worthy of their monumental use as tomb decoration, -the Geometric style perhaps reaches its culmination; in the so-called -black Dipylon vases, often only sparingly decorated on the shoulder or -neck and otherwise covered black, we get already an effect of colour -which became popular much later; the stock of forms is ampler, the -maeander more developed, the delight in telling a story and in -representing a scene greater than in other Geometric styles. Beside the -Dipylon there is a second site in Attica, Eleusis, though not so -important; Boeotia too must be mentioned, the pottery of which makes a -provincial impression, and is dependent in forms, patterns and subjects -on Attica and the Aegean islands, as also that of the neighbouring -Eretria in Euboea. - -The prototypes of the big Boeotian and Eretrian amphoræ with high stem -and broad neck have been found particularly in Delos and Rheneia, richly -ornamented vases ‘de luxe,’ in which the painting is laid on a white -slip. In the same place, where the cult of Apollo had a great -attraction, several other Geometric classes were also found, among them -the precursors of the art which flourished in the 7th century and which -is usually ascribed to the island of Melos. On the Delian vases horses -and human representations occur, but generally in this class there is a -disinclination to represent figures. The same disinclination and the -frequent use of a light slip characterize the pottery of the Dorian -island of Thera, which developed a very definite though sober and -monotonous Geometric style that seems to have obstinately persisted till -well into the 7th century. The rich finds of other classes bear witness -to an active trade with the mainland, other Cyclades, and the Ionic -East, the pottery of which has many points of contact with the Cycladic. -We know it from Miletus and other places on the Asiatic coast, but above -all from the island of Rhodes. The Rhodian Geometric vases are -distinguished from the Cycladic by the absence of the light slip, and -seem in spite of many points of contact never to have reached the same -level. An isolated vegetable ornament, the so-called palm-tree, points -to relations with Cyprus. Cross-hatched rhombi and birds are very much -in vogue; they appear also in loose arrangement on the ‘Bird kylikes,’ -which in post-Geometric times extended from Rhodes over the Ionian -region and so made their way to the Greek mainland, Italy and Sicily. - -The most important Peloponnesian manufactures are: (1) that of Sparta, -which now to some extent adopts the white slip later predominant; (2) -that of Argos, which soon discards its Mycenean reminiscences and -develops on parallel lines with the Attic ware without attaining to the -heights and richness of the Dipylon vases; (3) above all, the so-called -Protocorinthian. - -This Geometric style, which next to the Attic had the greatest future -before it, seems to be at home in the Northern Argolid (p. 34). Its -early Geometric beginnings we do not know. It is akin to its Argive -neighbour in many points, in the scantiness of its stock of forms, in -shapes like the metallic krater with a stirrup-handle. Unfortunately -little has been left to us of the large-sized vases, kraters, cauldrons, -amphoræ and jugs. The two-handled cup (Fig. 23), the round box, the -globular oil-flask, the deep drinking-cup, the jug with flat bottom -(Fig. 33) are the favourite smaller shapes. The limitation of the -decoration to the upper margin, and the decoration of the rest with -parallel stripes is characteristic. This ware was more exported than any -other Geometric class; it entered the southern Argolid, went by way of -Corinth and Eleusis to Boeotia and Delphi, and was exported to Aegina -and Thera, Italy and Sicily. On Italian soil, in the Euboean - -[Illustration: PLATE XII. - -Fig. 22. RHODIAN GEOMETRIC JUG. - -Fig. 23. PROTOCORINTHIAN GEOMETRIC SKYPHOS.] - -colony of Kyme, it certainly founded a branch factory, which quickly -took on a local character and exported in its turn; but in various other -places also the style evoked local imitations. - -The Protocorinthian style owed its brilliant future both to the -Geometric foundation, and, as will appear, to the strong influence of -Cretan Art. In Crete, after the settlement of the Dorians in the island, -no definite Geometric style was formed: the Mycenean traditions were too -strong and the relations with the East too close. After the purely -Geometric vases, among which wide-bellied amphoræ without a neck are -common, there soon appear vases showing Cyprian influence, particularly -small jugs with concentric circles on the body (precursors of Fig. 27); -thus a pitcher from Kavusi, which by an exception has figures on it (a -charioteer and mourning women in a metope-like arrangement) is -apparently, in shape as well as in the ornament which consists of a row -of ‘S’s’ on their backs and the un-Geometric drawing of its silhouettes, -dependent on similar Cyprian models. - -Crete with its loosely-rooted Geometric style took up the new elements -more freely than other localities, where at first they are placed side -by side with the native ones, like the palm-tree on Rhodian vases, the -Cyprian circles on Attic and Protocorinthian jugs, the precursors of the -tongue pattern on Attic and Theran vases, the unsystematic rays on Attic -and Protocorinthian ware, the running spiral probably borrowed from -metal work on Protocorinthian and Theran vases. Moreover, figured -representations from an alien world of ideas creep into the fixed -Geometric systems, as for instance the two lions devouring a man on a -Dipylon vase, the goddess flanked by two animals on a Boeotian amphora, -the fabulous creatures on Rhodian vases. - -These foreign elements, which have their root in Oriental art, are the -harbingers of a complete revolution, and in them is heralded the end of -the Geometric style. It is obvious that a decorative style like the -Geometric could have no future: its possibilities were quickly -exhausted, even where the style was most richly developed. Its -dissolution would have come, even if superior civilization with richer -methods of decoration had not been in close contact of trade and -intercourse with this early Greek world, and exercised on it a -persistent influence. The Cretans and Eastern Greeks lived in the -immediate neighbourhood of Egypt and Asia, the islands and the mainland -were united to the East by active trade relations. In particular -Phoenician merchants, while the Geometric style was flourishing, handed -on to the Greeks the products of Oriental art, as both the Epic and the -finds testify. Nor did the Greeks remain at home either, but had long -become a seafaring people; Attic, Boeotian and Protocorinthian painters -proudly place representations of ships on Geometric vases; the -statistics of the finds of the various Geometric wares show a constantly -growing trade intercourse. Colonisation too has already begun, and is -ever expanding; according to the earliest vase finds Syracuse, Kyme, and -perhaps also Massilia and the Black Sea coast received settlers, while -their mother-cities still had Geometric pottery. Since Syracuse was -founded in the second half of the 8th century and its oldest graves -contain late Geometric vases, we obtain an approximate date for the end -of the Geometric style. - -The objects of Oriental Art, which were brought before the eyes of the -Greeks by this active intercourse, powerfully stimulated their fancy. -The crowd of decorative motives from vegetation, the world of fantastic -animals, and the superiority of Oriental Art in the rendering of life, -drew Greek vase-painting out of Geometric uniformity and pointed it to -new paths. - -[Illustration: PLATE XIII. - -Fig. 24. ATTIC GEOMETRIC KYLIX. - -Figs. 25 & 26. CRETAN JUGS IN THE FIRST ORIENTALISED STYLE.] - - - - -CHAPTER III. - -THE SEVENTH CENTURY - - -As the Oriental motives pour into the Greek world, a new development -begins, which in the details of its course is still hard to grasp, the -collision of the native Geometric style with Oriental influence, the -fusion of both elements into a new unity, and the growth of the archaic -style. In contrast with the quiet and consistent unfolding of Geometric -style, the process to anyone who goes deep into its details takes on the -character of a restless fermentation, and an almost dramatic tension. It -occupies, roughly speaking, the 7th century. Without forgetting how -arbitrary divisions in the history of Art must always be, let us here -treat as one the period from the end of the Geometric style to the -abandonment of filling ornament, the change in technique of clay and -colouring, and the formation of the established body of black-figured -types. - -The smelting process took on a different character in the different -regions, according to the tenacity with which the old style was -retained, and the intensity of the contact with the East. In most places -there follows first a period of hesitation and experimentalism, out of -which finally the new style is formed. Nowhere does the Oriental element -simply take the place of the Greek Geometric; the acquisitions of the -old style, the fixed vase shapes, the principles of decoration, and the -technique, remain and are further developed. Greek pottery was much too -highly and richly developed, too firmly rooted, to find it necessary to -imitate Oriental clay vases. The stimuli were of much more general -nature; they are chiefly visible in the ornamentation and pictorial -types, they are taken from metal vases and richly embroidered materials, -from costly carpets, articles of jewellery, engraved gems, and other -fine things, which the foreign trader or the seafaring Greek brought -from the Near or Far East or saw with his own eyes abroad. It became -apparent to him, that the Geometric style was really poverty-stricken -and mathematical. The feeling for finely-drawn line and vivid -reproduction of life awoke in view of the freer Art of the East; the -Greek made the Oriental models his own and created out of them and the -mathematical element a new Art. Not all stimuli come direct from the -East; perhaps only comparatively few, which were then passed on, were -constantly altered and took on varied local colour. It looks as if the -stream of Oriental influence took two different routes, one by way of -the Greek East (Rhodes, Samos, Miletus) and another by way of Crete, -which evidently had a strong influence on the Cyclades and Peloponnesus. - -In Crete Phoenician metal objects have been found, which were imported -during the Geometric period, and the Cretan Geometric pottery soon takes -up motives of decoration borrowed from the Oriental or Orientalizing -metal industry. The row of ‘S’s,’ which plays a part in Geometric -bronzes, appears as we have seen on the Kavusi jug (p. 27). Its climax -is the cable pattern (_guilloche_), which is obviously borrowed from -Phoenician metal vessels (Fig. 26). The tongue pattern (Figs. 25-27) -which surrounds the lower part and the shoulder of the vases, like the -rays similarly used (Figs. 31-35), goes back ultimately to Egyptian -plant calyces. The connection with bronze patterns is fully proved by -the dots often placed on the ornaments, by the technique of adding white -on black painted vases (Fig. 29) - -[Illustration: PLATE XIV. - -Fig. 27. CRETAN MINIATURE JUG. - -Fig. 28. THE FLIGHT FROM THE CAVE OF POLYPHEMUS, FROM A JUG FROM -ÆGINA.] - -which aims at a metallic effect, and by the change of the vase shapes. -These often get a quite non-ceramic appearance (Fig. 25), and in their -rounding and contouring, especially by the emphasis on the foot (Figs. -25 and 27), they are in contrast with the Geometric forms. The Praisos -jug (Fig. 26) is obviously under Cypriot influence, as is the delicate -Berlin jug (Fig. 27), in which a previously described class (p. 27) -reaches its high water mark. The Praisos pitcher (Fig. 25) to the -Orientalizing patterns enumerated already adds the hook spirals, which -are characteristic of the 7th century, and the Berlin jug adds also the -volute and the palmette. The plastic head which crowns this little -bottle, and is entirely inspired by the Egypto-Phoenician ideas of form, -inaugurates a new era in the representation of man. We are now in the -time when Greek sculpture was born, in that notable period when Greek -art under the influence of Oriental art took to the chisel, to enter on -a century of development which ended in giving shape to the loftiest and -most delicate creations that can move the spirit of man. It is -noteworthy that Greek tradition embodied the beginnings of this -development in a Cretan, Daedalus, and to a kinsman of this ancestor of -all Greek sculptors it traced back the invention of the great art of -painting, without the influence of which we cannot conceive of -vase-paintings henceforward. - -The first period of the transitional style betrays little of this -influence. The reproduction of living beings is dominated by the -decorative figures of the East, especially monsters and fabulous beings, -which now make their entry into Greek art, and exercise a powerful -attraction not only on plastic art, but on poetic and mythopœic fancy. -Thus the Geometric silhouette is superseded. If even the preceding age -had felt the need of leaving void a hole to indicate the eye, now the -head is completely rendered by an outline and made lifelike by interior -drawing (Fig. 30). The next stage is that the whole body also is -rendered in contour. To make the transition plain, we show here a -vase-fragment, the Cretan origin of which is not established, but which -must be in close connection with Cretan art, the Ram jug from Aegina -(Fig. 28). The animal frieze, with its hook spirals, dot rosettes, -rhombi and triangles to fill the space, is characteristic of older -Oriental art; the drawing of the rams is far beyond Geometric technique; -in the body too the silhouette is given up, and indication of the hide -is attempted. This animal frieze is no longer an end in itself: by the -men clinging to them the ornamental rams become mythical rams, the rams -of the Odyssey. The fugitives are not very closely connected with their -saviours, and the giant must have been more than blind not to notice -them. But on the other hand the artist has drawn them very clearly, has -put both arms and both legs in view of the spectator, and even, where a -small detail would not otherwise have shown well, made a small nick in -the belly of the ram. This shows how the artist of the period could with -difficulty do without a clear outline. - -These attempts are perfected in the outlined figure of a plate from -Praisos, which is certainly Cretan (Fig. 29). The childishly -disproportioned structure has now become a clear organism of genuine -Greek stamp, full of excellent observation of nature; the ornamentally -constrained picture becomes now a free version of a legend, which -however cannot be interpreted with certainty, till the white object -under the sea-monster has been explained. It is most likely that we may -see in it the foot of a female figure filling the left half of the -plate, perhaps Thetis, who escapes from the attacks of Peleus by -changing into a fish. The interior incised lines in the body of the -sea-monster are a novelty, which the ceramic art has developed - -[Illustration: PLATE XV. - -Fig. 29. HERAKLES AND SEA-MONSTER (?) FROM A CRETAN PLATE. - -Fig. 30. ARGIVE KRATER WITH THE SIGNATURE OF ARISTONOTHOS: SEVENTH -CENTURY.] - -independently (p. 37). But on the other hand the advance in drawing and -the technical rendering of form, the outline of Peleus, the light colour -of the woman, the reddish brown tint of the rider on the reverse, cannot -be explained apart from the influence of free painting, whose oldest -stages are stated to have been outlining with progressive drawing of -interior details, monochromy (_i.e._ outline drawing with a filling of -colour) and distinction of sex by colour. After an interval of several -centuries wall-painting must have sprung up again and flourished in -Crete, different to be sure in essentials from the Minoan, rather -influenced by the East like the decorative art of the time. In spite of -the tendency to represent painting as ‘invented’ in Greece, Greek -tradition reluctantly admits that this art was indigenous and highly -developed in Egypt long before. - -The bloom of Cretan art seems not to have outlasted the 7th century. -Finds give out, and tradition expressly testifies to the migration of -Cretan sculptors to the Argolid, a district which also took over the -inheritance of Cretan vase painting. - -Of the two chief centres of Argive Geometric vase fabrication, one which -is to be sought in the region of Argos and Tiryns cannot be followed out -very clearly. The oldest Greek vase signed by an artist, the krater of -the potter Aristonothos with the blinding of Polyphemus (Fig. 30), seems -from the shape of the vase to belong to this class. The complicated -shape of the circle of rays, the breaking up of the head silhouette, the -juxtaposition of the traditional sea-fight with the legendary scene, are -typical of the early Orientalizing period; certain parallels with the -late Mycenean Warrior vase (p. 15) perhaps justify the conclusion, that -remains of the old wall-painting had an influence on the style. Like the -Aristonothos vase, some stirrup-handled kraters with metope decorations -continue Argive Geometric traditions. These vases, however, are -exclusively found in the West (Syracuse) and were probably made there; -they do not give faithful reflection of their Argive prototypes. A -krater with tall foot and ornamentation in bands, found at the Argive -Heraion, representing the rescue of Deianeira, with plentiful use of -‘monochromy,’ is too isolated to make a picture of this Orientalizing -pottery possible. - -It cannot have played a leading part, but must soon have been put in the -shade by its near neighbour and rival. For that the so-called -Protocorinthian fabrication is also at home in the Argolid is proved by -the fact that the chief places, where the ware is found, are Argos and -Aegina, and that quantities of small and hardly exportable ware are -found at various places in the district. The alphabet of the -inscriptions agrees with this locality, and so does the style, which -leads up to the Corinthian, whence the name has been given, as well as -the fact that the great trading-centre of Corinth looked after the sale -of the wares; for the area in which they were sold is identical with -that of the Corinthian vases. On account of these close relations with -Corinth, the home of the Protocorinthian vases has been sought with -great probability in the neighbouring town of Sicyon, of which we are -told that it was the place to which Cretan artists migrated, that it was -the birthplace of Greek painting and seat of a flourishing metal -industry, so that we are able to account for three ingredients of the -new style. For the Protocorinthian style of the 7th century gave the -most delicate development of Cretan ‘Daedalic’ types, particularly near -its end; fixed a clear style of figure representation and an ample store -of types, and developed its vase-shapes, system of decoration and -technique, under the influence of metal patterns, more severely, -precisely and richly than any - -[Illustration: PLATE XVI. - -Fig. 31. Fig. 32. - -PROTOCORINTHIAN LEKYTHOI WITH BATTLE-SCENE AND SLAUGHTER OF THE -CENTAURS. - -Fig. 33. PROTOCORINTHIAN JUG OF POST-GEOMETRIC STYLE FROM ÆGINA. EARLY -SEVENTH CENTURY.] - -other contemporary centre of fabrication. In it the vase history of the -post-Geometric century culminates. - -Even in the Geometric period which preceded it (p. 26) (the sparing -ornamentation of which is in contrast with the Dipylon pottery and its -greater delight in using the brush) metallic influence can be traced; -the simple running spiral certainly comes from incised bronzes. The -delicate two-handled cups closely connected with the Geometric style -(Fig. 23), with their well-cleansed clay, improved glaze colour baked -black to red, and the reduction of the walls almost to the thinness of -paper, can only have been produced in competition with the metal -industry; and as a matter of fact delicate silver vases of the same -shape have been found along with the clay copies of them in Etruscan -graves. The lower part of the cups is at first painted black, but soon -it is surrounded with the circle of rays, which according to the ideas -of the new period emphasizes and makes clear the tectonic character of -that part of the vase. This motive also appears in the Geometric -decoration of the flat-bottomed jugs (Fig. 33), the unguent pots which -show Cyprian influence in their oldest globular shape, the kylikes, -round boxes and other shapes, though not always in the typical place, -and often also combined with other ornaments (Figs. 30 and 32). In spite -of its Geometrical treatment and its truly Greek close combination with -the system of decoration, it does not disown the impulse it owes to -Oriental patterns (p. 30). The Protocorinthian style also introduced its -doubling (Fig. 32), which still survives in the 6th century (Fig. 98). -The cable pattern, borrowed as has been shown from Oriental metal-work, -drives out the ‘S’s’ and the running spiral. As a handle ornament it -gets a rich enlargement (Fig. 32), the fine stylization of which, no -doubt, was first produced in metal industry. Of the greatest importance -is the adoption of loops, volutes, running tendrils and friezes of arcs, -which in combination with the palmette appear on the wall of the vase or -as an upper stripe, and from simple, often loosely stylized beginnings, -expand with the help of the lotus-flower into a fine loop and flower -ornament (‘Rankengeschling’), as in Figs. 31, 32, 35. That this -ornamentation, in spite of its rigid stylization, was felt by the Greeks -to belong to the living vegetable world, is shown _e.g._ by the -volute-complex, behind which the hunter (on the lowest stripe of Fig. -31) waits to catch the hare, as well as behind the naturally drawn bush -(on Fig. 36); this shows that the ‘volute tree’ (Fig. 34) flanked by two -sphinxes, is thought of as a real tree. On the other hand the ornaments -in the field are quite as meaningless as in the older style: to those -used by Geometric artists are now added the hook spiral, and the rosette -treated as a dotted star, two ornaments we have seen already on the Ram -jug (Fig. 28); at first they are independent and can be used to form -friezes, later they become less and less prominent (Figs. 32 and 34, cp. -also Fig. 28). Two further decorative motives lead us back into the -region of metal-work, the scale-pattern extending over the whole body of -the vase (Fig. 38), which so often occurs in incised metal-work, and the -tongue ornament, the typical decoration of bronze vessels, which on clay -vases as well often rises over the foot in place of the kindred rays, -but most commonly finishes the shoulder where it meets the neck. Both -motives have already been met with in Crete, as applied on a black -ground. The black ground technique of the Praisos jug (Fig. 26) is very -popular with Protocorinthian artists, goes alongside of the clay-ground -vases for the whole period, and supplies richly coloured examples -decorated with figures and ornaments of fine effect, particularly in -combination with a new technique, which appears in the advanced style, - -[Illustration: PLATE XVII. - -Fig. 34. BELLEROPHON AND THE CHIMAERA FROM A PROTOCORINTHIAN LEKYTHOS. - -Fig. 35. PROTOCORINTHIAN JUG, KNOWN AS THE CHIGI VASE.] - -being specially typical of scale and tongue ornamentation, that of -incision. It is perhaps idle to inquire into its invention: it is more -important to establish the fact, that it was first consistently and -systematically applied to the black-ground vessels of the -Protocorinthian artists, who were also famed for metal-work, and gave a -new stamp to the style at a time when the East used simple brush -technique almost exclusively. The incised line is always combined with -the addition of coloured and particularly red details. - -The technical advance, which in some measure replaced the influence of -the rising art of painting by that of metal-working, is shown more -plainly in the figured representations, particularly the friezes of -animals, which the vase-painters, inspired by Oriental metal ware and -embroideries, with ever greater zest employ on their vases. Beside the -birds, stags and roes, beside the dogs pursuing hares, with which a -lower stripe could be easily filled, come new animals, for which they -are chiefly indebted to Oriental art, bull, goat, bear, ram, wild-goat, -lion and panther, sphinx, siren, griffin, and other hybrids. These -creatures appear in quite definite types, which admit of little variety: -it is characteristic that the panther’s head is drawn in front view, -perhaps through an abbreviation of a heraldic double panther; and this -rule is devoutly observed through the whole period of decoration with -animal friezes. An indication of this is that the decorative animals -never become pure outlines like the human figures, but after a period of -partial silhouette (p. 31), return to the complete silhouette, as -satisfying better the requirements of decoration. This return became -possible through the use of the incised line, by the help of which -interior drawing could be added on a black ground, and the effect of the -figures was further enhanced by the addition of details in red. This is -an important innovation in the history of Greek vase-painting. The -general effect of the vase is completely altered by the decorative play -of colour, which extends also to the ornamentation, and takes on that -gay many-coloured aspect which is so characteristic of the older archaic -period, and which is only dropped late in the 6th century. The new -colour system does not aim at realism; it makes prominent for decorative -purposes single parts of the animal body, especially the neck and belly. - -The drawing of the human figure proceeds on other lines than that of -animals. In consequence of the new development of the art of painting -(p. 33), it makes a fresh start. First we have the vase of Aristonothos -(Fig. 30); the next stage is represented by the Ram vase (Fig. 28); the -desire of distinguishing the lighter skin of women from that of men -leads to the tinting in brown of the male body. But in the formation of -the figure types certainly it was not only painting that stood -godmother, the metal worker’s art must also have asserted its influence; -the kinship with Cretan and Argive flat bronze reliefs and metal -engraved work is too great, the sharp clear-cut types too much in the -spirit of bronze technique, for it to be possible to postulate an -independent development. To this corresponds the fact that the outlines -of the figures are accompanied by incised lines on polychrome vases with -black ground, on the finest of the later lekythoi (oil-flasks) and on -the Chigi jug (Fig. 35). This technique is repeated on the big -two-handled cups with finely stylised figured representations, which -finally accomplish an important advance already foreshadowed by small -and hasty specimens: the dark silhouette with incised interior detail, -prevalent in the style of the animal friezes, and along with it certain -details like the circular rendering of the eye, are taken over for the -representation of male figures. - -This adoption, which only takes place at the end of the development, and -makes the Protocorinthian style the - -[Illustration: PLATE XVIII. - -Figs. 36 & 37. SCENES FROM THE CHIGI JUG: HARE AND LION HUNT; -CHARIOT.] - -starting point of black-figured vase painting, does not unite -heterogeneous elements. For man and decorative animal are equivalent in -their juxtaposition, and beside the free mythological scenes there is a -series of representations, which seems to have grown straight out of the -animal frieze. The Centaur, the old Greek forest monster, joins the -animals; winged demons in the remarkable scheme of running with bent -knee (pointing to the metope treatment) are also placed amongst them; -kneeling archers shoot arrows at them, hunters and combatants pursue -them, Bellerophon rides on Pegasus against the Chimaera, Herakles fights -against the Centaurs. Purely human scenes, like the favourite Duel (Fig. -43), are simply flanked by animals. The addition of figures in rows and -overlapping makes this simple combat into a battle; wounded fall, -corpses are hotly fought over, auxiliaries hurry up. The artist always -in these cases gives prominence to the finely decorated shields, the -pride of Argive metal industry. Like the rows of fighting men, the other -frieze-like compositions, the processions of riders and chariot-races, -the hunting scenes and chase of the hare, thanks to charming observation -of detail, make a direct appeal which is strange for such early art. The -bushes in the hare-hunt of the Chigi jug (Fig. 36) show the awakening of -the landscape element, which to be sure is always a rarity on vases and -must have played a larger part in free painting. Moreover, the varying -colouring of the animals on the stripe in question, which appears also -on a frieze of riders (Fig. 31) and continues in Corinthian painting, -must come from the same source, whereas the bold front view of the -Sphinx head (Fig. 37) like that of the panther head and the Corinthian -quadriga, was attempted for the first time in an ornamental band. Hand -in hand with the enlivening of the friezes goes the suppression of field -ornamentation: it is only sparingly applied, limited to the animal -friezes or entirely absent. At times a lizard (Fig. 34), a swan or a -monkey comes into the figured scenes. - -Of course this is all devoid of meaning; for in spite of all progress -and freer treatment the style is merely concerned with the decoration of -a surface; ‘exigencies of space’ are its supreme law. These control the -type of the human figure, for even where it is not essentially an -ornamental scheme, like the runner with bent knee, it fills from top to -bottom the stripe assigned to it, extends its breast frontally, and -reaches out its arms, as if it were yearning for a frame. And as the -body avoids all perspective, so the head in profile shows its most -expressive part, the eye surmounted by the brow, in full extent, and -renders the long hair falling down over the neck as smooth surface, and -the curly forehead hair as spiral. There is no rendering of folds to -show depth in the drapery, which now the artist in true Greek fashion -treats in an abstract way, unlike reality. The human figure remains a -type, a homogeneous constituent part of the stripes, which are entirely -designed for filling space. It matters little, if between chariot-race -and lion-hunt on the Chigi jug (Fig. 37) a double Sphinx is inserted as -central motive, or Bellerophon lays the Chimaera low in presence of two -Sphinxes (Fig. 34); if close to the lion-hunt in the same stripe, Hermes -leads the three goddesses before the fair Trojan shepherd, and if the -names of the personages are entered in the field with big letters as a -kind of ornamentation by way of filling: the incipient delight in -telling a story is taken at once into the service of filling the field. - -As the human figure still appears almost completely on a par with the -ornamental animal figure, so there is little trace of any superior -weight being attached to the scenic representations in the decorative -system. Where the - -[Illustration: PLATE XIX. - -Fig. 38. PROTOCORINTHIAN OR CORINTHIAN JUG. - -Fig. 39. Fig. 40. - -CORINTHIAN ALABASTRON AND ARYBALLOS.] - -painter employs them, it is true he puts at their disposal the chief -frieze and often one at the base in addition, but he frames them with -prominent stripes of ornament or animals, and side by side with the -narrative vases purely decorative ones are still produced. The presence -of several animal friezes on a single vase (_e.g._ on jugs of the shape -of Fig. 35) is not uncommon; like band ornamentation in general, it is -in contrast with the practice of the Geometric period (p. 25) and is -probably to be traced to a strong influence of Oriental textile art. For -the most severely shaped black vases, which are nearest to the bronze -models that we possess (Fig. 38), do not always adopt this fundamentally -non-tectonic breaking up of the body of the vase. - -The close connection of the shapes with metal-work has been already -proved in the case of the cups of early Orientalizing style (Fig. 23), -and goes through the whole history of the fabric, and even where the -models were not immediately copied, gave the vase-shapes a clearness and -precision, with which the products of no other manufactory can compete; -the Sicyonian-Corinthian school of repoussé work perhaps originated many -metal vase-shapes, which were afterwards used in various manufactories. -Though the Protocorinthian list of shapes is only known to a small -extent, an important change can be established. Beside the jugs of -primitive construction (cp. Fig. 33 with Fig. 54) appear later more -rounded vessels, the jug with ‘rotelle’ (Fig. 38) and the -wineskin-shaped, the chief example of which (Fig. 35) with its -excellently decorated bands, sometimes black, sometimes in the ground of -the clay, shows us the style in a richer and more developed form than -any other vase of this fabric. In the same way the little ‘lekythoi’ -which are technically often quite exquisite, change their appearance, -exchange their old globular shape (Fig. 27) for a slimmer one with -pronounced shoulder, which the caprice of the potter often furnishes -with plastic additions, Argive transformations of Cretan ‘Daedalic’ -types (Figs. 27 and 31). And as beside the ‘rotelle’ jug, we have the -wineskin-shaped jug, so beside this sort of ‘lekythos’ there is a -wineskin-shaped variety with a rough tongue-pattern on the neck (Fig. -39). - -The ‘lekythoi’ were the chief exported article, or at least the most -favoured grave-offering of the customers abroad. But one cannot call it -the favourite shape of Protocorinthian workmanship: it must not be -forgotten that we have only an accidental selection of this ware, due to -the discovery of two native sanctuaries (the Argive Heraion and the -Temple of Aphrodite in Aegina), and many graves in the Argolid, Attica, -and Boeotia, in the East (Thera, Rhodes, Asia Minor) and in the West -(Sicily, Italy, Carthage). Wherever this ware came it exercised a -stimulating influence, and in many places evoked local copies (p. 52); -more than other districts the West was dominated by this Art. As the -oldest Etruscan wall-paintings, those of the _Grotta Campana_ at Veii -and the _Tomba dei Leoni_ at Caere, are quite under the influence of -Sicyonian-Corinthian painting, so the class called into existence a -multitude of imitations in Sicily and Italy, particularly at Kyme. - -The extraordinarily wide currency of the ware denotes not merely its -superiority, but also that of the trade-centre which exported it. This -need not necessarily have been identical with the place of manufacture. -Many signs, especially the occurrence of the vases in quantity in the -Corinthian colony of Syracuse, point to the fact that the great trading -city of Corinth took over the sale of the ware and gradually replaced it -by its own products. The vases localized with certainty in Corinth by -their alphabet give an immediate continuation of the Protocorinthian, -and one - -[Illustration: PLATE XX. - -Fig. 41. ANIMAL FRIEZE FROM AN EARLY CORINTHIAN JUG. - -Fig. 42. ANIMAL FRIEZE FROM A CORINTHIAN JUG.] - -can only ask whether this manufacture simply transferred its chief -workshops to Corinth or whether Corinth in the closest imitation of late -Protocorinthian ware developed a new style, which thanks to the -commercial capacity of the Corinthians could drive the older competitor -out of the field: its sphere of influence, as we saw, replaces the -Protocorinthian, nay, encroaches still further on the Ionian region -(Samos, Naukratis, Pontus). - -The Corinthian style did not long retain the metallic clearness and -precision of its predecessor, neither in its shapes, which for the most -part it takes over (Figs. 35, 38, 39, 43), nor in its decoration, which -exhibits the final triumph of the ornamental style. The dark ground -technique becomes rarer; the scaly fields continue for a time, white -rosettes painted on the black neck and edge are in favour to the end; -the indispensable tongue ornament on the shoulder gradually comes to be -rendered by the brush. The animal-frieze vases, which are quite in the -forefront of the interest, link on to the later Protocorinthian in -decoration and in the style of the figures, but soon alter the types in -the sense of a broader rendering of form, and the rosettes in the field -also show this change. On the common ware, which was turned out along -with the good, one gets as a result coarse animals and filling patterns -like mere blots; but even technically perfect vases show a strong -inclination to overfill the field, which one might bring into causal -connexion with the Corinthian textile art famed in antiquity, if the -vase picture repudiated the brush technique more than it does. - -The composition shows the same intrusion of a strongly decorative -element. The heraldic scheme is more prominent than ever. We owe to it -the invention of a new ornament, a combination of lotus-flower and -palmettes (Fig. 39), which like the old volute-tree (Fig. 34) is -flanked by two animals. In particular the wineskin-shaped and globular -unguent-pots (Figs. 39 and 40) (Alabastron and Aryballos), the -successors of the Protocorinthian unguent-pots, are decorated with it; -but even in the stripes, which have not got the ‘palmette and lotus -cross,’ there are groups of three animals at a time inspired by the -heraldic scheme (Fig. 41). The list of types grows: beside the -quadrupeds appear many birds (_e.g._ geese, swans, eagles, cocks and -owls,) fishes and serpents; a motley series of hybrids, bearded -sphinxes, winged lions, winged panthers, tritons and other fabulous -creatures are side by side with the favourite winged demons, sphinxes, -sirens and griffins. The place of the central ornament is often taken by -purely human beings, especially the runner with bent knee, and the -goddess of beasts (πὁτνια θἡρων) which in the Oriental patterns are -flanked by animals; but also non-ornamental figures, women, riders, -grotesque dancers (Figs. 40 and 43) are found in this place. Thus arises -a co-ordination of man and decorative animal similar to that of -Protocorinthian art; anyone who has followed on the vases this process, -which is characteristic of the 7th century, is not surprised, when in -the archaic Corinthian pediment at Corfu mythological scenes appear side -by side with the Gorgon flanked by panthers, and when in the -representation of the central animal the myth begins to be active. - -The non-ornamental human figures in the animal compositions are of -course not invented for this purpose, but borrowed from other contexts, -scenes of human life, which existed beside the decorative -representations and followed the lead of the Protocorinthian precursors. -They are certainly more intimately connected with the animal figures. -The male figure (p. 38) has finally discarded the old outline drawing -with brown filling for the animal-frieze technique, black silhouette -with incised interior details. - -[Illustration: PLATE XXI. - -Fig. 43. CORINTHIAN SKYPHOS. - -Fig. 44. ACHILLES AND TROILOS: FROM THE LATE CORINTHIAN FLASK BY -TIMONIDAS.] - -But at the same time the memory of monochromy is not yet quite extinct; -the head silhouette is still by preference painted red. When often -instead of it the breast and thigh are picked out in red, when in sphinx -and siren contour drawing is abandoned, the connection with the -animal-frieze style is complete, and the new intrusion of a strong -decorative element in this pottery is obvious. - -Even the compositions of the figured scenes are under this decorative -spell, which, as in the Protocorinthian style, is only broken through by -a few gifted masters. The duel flanked by sirens on the Boston cup (Fig. -43) is typical of the older Corinthian style. The warriors and riders -are often arranged in processions, collected in big battle-scenes; the -grotesque revellers and dancers with extended posterior, prototypes of -the satyrs, fill whole friezes with their reckless antics; the girls -take hands for the dance. Special legendary scenes are, however, very -rare, and when vase-painters like Chares supply names to an ordinary -series of riders, this makes clear rather than removes the defect. - -This defect to be sure is due to a great extent to the accidental -preservation of a series of vases, which are for the most part careless -decorative work intended for the export trade, so that we may form -erroneous ideas. The neighbourhood of Corinth itself has supplied some -fine specimens with a marked character of their own, which bridge the -gap between the Chigi vase and later Corinthian vase-painting (Figs. -64-67), _e.g._ kylikes where, in the interior field framed by tongue -pattern ornament, are fine Gorgon masks and human busts, and especially -two works signed by the painter Timonidas. The flask with the story of -Troilos (Fig. 44) shares with the Chigi vase the contrast of colour -important for Corinthian painting. The flesh of the women is light as a -set-off to that of the men, the chiton of the man sets off his nude -parts, the shield its bearer, the front horse the hinder of the pair. -The delight in the landscape element, the fine steeds, and big -inscriptions, points back to Protocorinthian style. But nothing is left -of the ornaments scattered about the field but a small palmette, the -composition has become looser, there is much less tendency to cover the -surface in the drawing of the figures: the old scheme of the kneeling -runner has its echo in the Achilles lurking in ambush, but it is -ingeniously adapted to new use. Thus there is a much freer relation to -space, which gives the necessary foundation for the descriptive style. -The hunter too, whose outline Timonidas has put on a clay votive tablet -unconstrained by the silhouette technique or by the desire for contrast -of colour (Fig. 45), is not crowded by any filling ornaments; the finely -drawn youth in the balance of his proportions and the rendering of -detail surpasses the wrestler of the Praisos plate (Fig. 29), and in his -broad massive appearance introduces a new rendering of the body. And -similarly the dog, coloured bright yellow with appropriate detail, goes -far beyond the animal frieze style. One fancies that in this animal -eagerly looking up to his master one sees expressed something like -feeling. - -Like the pinax of Timonidas many other votive tablets of the same find -take one out of the stock vase scenes, especially in the delight in -landscape, the trees conceived of in their special natures, the -cross-section like genre scenes from the workshop of the potter and -metal-worker, from mining and sea voyages. The vases, however, show -little of those progresses in colouring and spacing, which we must -assume in greater measure for the great art of painting. The decisive -step in the history of vase painting, which is especially embodied for -us by the painter Timonidas, consists in the liberation of the field, in -the transition from the ornamental to the pictorial style, in the -abandonment of filling ornamentation, which only survives in vegetable - -[Illustration: PLATE XXII. - -Fig. 45. HUNTER AND HOUND. PINAX FROM CORINTH, SIGNED BY TIMONIDAS. - -Fig. 46. FRIEZE OF AN EARLY PHALERON JUG.] - -motives suitable to the occasion and scattered birds, serpents, lizards -(Figs. 34 and 66), and in the triumph of figure-subjects over friezes of -ornament or animals, which can best be followed in the kraters (Fig. -65). With this step, which is completed in the beginning of the 6th -century, we are brought close to the black-figured style proper, which -is differentiated by some technical innovations. - -But before we pass to that, we have still to follow the transition here -described through the other fabrics of the 7th century. We can rapidly -pass over Sparta, which as yet produces no ware fit for exportation. The -course here is similar to what went on in the Argolid. Beside many -specialities one seems to notice kinship with Ionian pottery in the -small bands of squares accompanied by dots and the branches on the edge -of the kylix, in the placing of similar animals in rows. In what close -relation earlier Spartan civilization stood to Ionia, we learn from the -history of lyric poetry. - -To the three stages, earlier Protocorinthian, later Protocorinthian, -older Corinthian, answer the three groups in Attica named respectively -after Phaleron, the Nessos vase and Vurvá. The break-up of the most -definite of all Geometric styles seems to have taken place in spite of -vehement opposition. Details of the Oriental flora and fauna are first -assimilated to the old style, and taken unobtrusively into the Geometric -system of decoration. In the group named after the finds at Phaleron the -new style with marked Phoenician imitations gets the upper hand. To the -unsystematic reproduction and application of the new ornaments, now -arbitrarily scattered, now ranged in special rows, and so added to the -others, succeeds a severer choice, stylization and arrangement; the -luxuriant vegetable character of the decoration (Fig. 46), with which -birds and insects are often combined, only lasts for a time. The same -experimental hesitation prevails in the figure drawing, which does not -go straight from the Geometric silhouette to contour drawing and -monochromy, but very soon experiments from time to time in the incised -line and added white paint, and in the later Phaleron stage is not -sparing of details in red, _e.g._, for the hair and dress. The progress -in the rendering of nature happily can still be followed to some extent -in big vases. It leads to a fixed type with a loose outline with ankles, -knee-pan, and elbow rendered like ornaments: in the head the big eye in -front view dominates at the expense of the forehead, the skull is flat, -the aquiline nose is very prominent, the ear is like a volute. Similarly -in early Greek sculpture an ornamental conception of the outline and the -details of the body is expressed, and casts a light on the conception of -ornament as something living and not yet felt to be an abstraction from -reality. - -The big Phaleron vases also give evidence as to the grouping of the -figures, which we have not been able to get from the Protocorinthian -vases that have been preserved. Older specimens like the Berlin amphora -from Hymettos already fill the greater part of the vase surface with the -descriptive frieze, only surrounded by narrow lines of ornaments and -animals, and in addition the neck of the amphora is adorned with figured -scenes. Even in Geometric times Attic pottery had already given greater -scope to the narrative style than other manufactures: in the Phaleron -vases it creates an important system of decoration, which is continued -in the group of which the Nessos vase is the chief representative, and -prevails to the exclusion of everything else in the 6th century. - -When the later Phaleron vases re-adopt the full silhouette in animal -drawing and extend the technique of incised detail and additions in red -to human outline figures, which they often emphasize only to make them -stand out from the - -[Illustration: PLATE XXIII. - -Figs. 47 & 48. HERAKLES AND THE CENTAUR NESSOS; THE GORGONS: NECK AND -BODY DESIGNS OF AN ATTIC AMPHORA.] - -background, they prepare a step, which is completed in the Nessos group, -_i.e._, the taking over of the animal-frieze technique into -figure-painting, with which vase-painting parts company again from the -great art and returns to decorative silhouette effect. In Attica, too, -the circular rendering of the eye is taken over for the male figure, the -flesh-tone of the face is retained for decorative effect, women are -distinguished by the old outline-drawing, decorative female creatures -and monsters do not escape from the silhouette treatment (Fig. 48). - -On vases of this technique the Orientalizing luxuriance developed out of -Geometric richness is entered by a new spirit of severity and -discipline, which one would be most inclined to explain by strong -influence of Protocorinthian art. The field ornaments are similarly -limited, and the rosette with points has the chief place; the lotus and -palmette pattern of the Nessos vase (Fig. 48), the cable and the double -rays of the Piraeus amphora (Fig. 49) are simple borrowings, the -lion-type on the vase just named is closely connected with the -Protocorinthian. One may ask whether the types in spite of their Attic -stamp do not partly come from the Sicyonian-Corinthian school. The -procession of chariots in the Piraeus amphora is only in the line of old -tradition, but on the neck of the Nessos vase the Phaleron type is -replaced by another, which is certainly only an extract from a larger -composition, and the same artist makes the sisters of Medusa furiously -pursue a Perseus not represented at all, whom the Aegina bowl of kindred -style and the rather later cauldron in the Louvre show along with his -protectors Athena and Hermes. At any rate the vase-painters had no -hesitation in taking over the compositions once created and cutting them -up, enlarging or abbreviating them according to their requirements, -intensifying or weakening them according to their talents. The same -lucky ‘laziness of invention’ is shown in the rendering of the -individual figure. Old types of Oriental art are behind the battle -motive of Herakles, the flight of the Gorgons, and the race of the -Harpies on the Aegina bowl; the unusual front view points to the origin -of the Gorgon type as an ornament. But the Greek showed originality in -animating and enhancing these types. In spite of the harsh perspective -it is arrestingly expressive when the Medusa collapses in death, the -sisters rush with the speed of lightning through the air, Herakles kicks -the back of the rough monster, and the victim supplicates his tormentor -by touching his beard: we have an art with the joy of youth full of -vigour and possibilities of development displaying itself, the same -early Attic art, which next found plastic expression in the early -sculptures of the Acropolis. On the Nessos amphora the decorative -figures are of secondary importance. The mouth bears the old goose -frieze, the broad handles are adorned with owls and swans: under the -principal field a row of dolphins gambol, but they are hardly to be -conceived of as a meaningless animal frieze, but are to be understood in -a ‘landscape’ sense; the wild chase is by sea. On the other vases of -this group the animal frieze element is much stronger, on some it -entirely prevails, _e.g._, on big-bellied amphorae with no angle -dividing body from neck, and a bason from Vurvá, which both reduce the -filling ornaments very considerably. These vases lead over to a -noticeably miscellaneous class, the so-called Vurvá style, which just -like the older Corinthian denotes a strengthening of the decorative and -is also to be regarded as a rival of Corinth. The ornamentation is very -limited, for filling there is nothing but rosettes, which may also form -independent friezes: the decoration assumes quite similar forms to those -of the Corinthian fabric. But the Corinthian elements do not entirely -give its character to the Vurvá style. Apart - -[Illustration: PLATE XXIV. - -Fig. 49. ATTIC AMPHORA. - -Fig. 50. CYCLADIC (EUBOIC) AMPHORA.] - -from the traditions of the brilliant Geometric period, which remained -longer operative in the very ceramic and non-metallic Attic school than -in the Argive-Corinthian, one suspects also influences from Eastern -Greece. According to the evidence of vase finds, Athens was then in -connection with Naukratis. Thus one may refer the painting of white on -the figures, which is only occasionally employed at Corinth, but on the -Vurvá vases often takes the place of the red, to the influence of the -East, which had long known it, and explain in the same way many a -similarity with the East in the motley array of animals. - -Beside the common ware, purely decorative, technically trivial and poor, -naturally the subject-vases went on, as at Corinth. It is not only the -‘runners with bent knee’ mingled with the animals, the draped men and -riders, who maintain the connection with the older figure-painting; the -traditions of the Nessos vase and its parallels continued on big and -carefully executed vases. These vases are to Attic pottery, what the -works of Timonidas were to Corinthian; they give up filling ornament, -individualize the world of figures out of its ornamental constraint, -give the subject-style the spatial freedom, which it needs for its -evolution. Just as we could follow this transitional style in Corinth on -a vase and pinax of Timonidas, so it meets us in Attica at the same time -in vases with decoration in bands, necked amphorae, kraters, and -cauldrons, and in big-bellied amphorae with special field for the -subject, which take the place, in some measure, of sepulchral votive -‘pinakes,’ and are decorated with a female bust or a horse’s head, -placed on a panel reserved in the black ground. This vase with special -field, which arose from the needs of representation, only transitorily -enters the service of animal decoration, and then becomes the chief -vehicle of the new style, whose beginning we have reached with the -last-named vases. - -Attic pottery of the 7th century exercised great influence upon its -Boeotian and Eretrian neighbours, where an independent artistic spirit -never existed. One might describe these dependent manufactories as -provincial branches of the Attic, had they not been influenced by other -models as well. The big Boeotian amphorae with tall broad neck, the -decoration of which consists chiefly of a pictorial frieze at the level -of the handles, divided vertically, are imitated from vases of the -islands (p. 25). The best known instance, from Thebes, shows on one side -the Oriental goddess flanked by lions, on the other a flying bird and -spiral ornamentation. This metope decoration with flying birds and -Orientalizing volutes and palmettes called forth a special Boeotian -class, which some conservative workshops went on producing with great -tenacity to the end of the 6th century. It excels in tall-stemmed -kylikes with white slip and colour accessories in red and yellow. Other -workshops, like those of Pyros and Mnasalkes, imitated the -Protocorinthian and Corinthian wares, quantities of which were imported; -in the 6th century one enters an Attic sphere of influence. Similarly -Attic and island influences are found side by side at the neighbouring -Eretria in Euboea. - -The Cycladic manufactory, to which the Boeotian and Eretrian imitations -point, cannot yet be followed beyond the early Orientalizing stage. On -the amphorae with white slip already described, to which class belongs -the Stockholm vase with the roebuck (Fig. 50), and on the closely allied -griffin jug from Aegina (Fig. 51), severely stylized flowers and -tendrils enter the not very rich Geometric ornament, the new cable meets -the old meander in the same frieze, rows of triangles are enclosed by -spirals; in the metopes of the shoulder stripe appear, surrounded by -scanty filling ornaments, simple animal representations, - -[Illustration: PLATE XXV. - -Fig. 51. CYCLADIC JUG WITH GRIFFIN’S HEAD FROM ÆGINA.] - -generally birds, also feeding animals, heraldic or fighting lions, pairs -of panthers in heraldic scheme, in the characteristic partial -silhouette, which renders the head and parts of the body in outline, but -the skins with black or white spots according to the technique. The Ram -jug from Aegina (Fig. 28), the exact attribution of which is uncertain, -is at any rate closely allied. - -This charming class has been called Euboic, but no Euboic find -substantiates the name. It has hitherto come to light only on the -islands of the Aegean, especially Delos-Rheneia, Thera and Melos. Delos -also supplied the earlier Geometric stages, but as the central meeting -place of the islanders, it received so many different elements that it -appears venturesome to rename the ‘Euboic’ ‘Delian’ ware, since a -closely-allied pottery, which would have the same right to this name, -can be probably distinguished from it. This class, which has a -predilection for decoratively applied horse-heads, and like the -Protocorinthian, has the habit of putting red and white stripes on parts -of the vase which are covered with black, at an early date supplied -figured representations without field ornaments; it seems to have been -occasionally imitated in the Euboic colony of Kyme, which otherwise is -completely under Protocorinthian influence. The similarity of the animal -representations to Cretan metal work and of the fine griffin head (Fig. -51) to those of bronze cauldrons from Olympia, strengthens the -above-mentioned relations of the Euboic-Delian style to the Cretan and -Argive. - -Thera is not in question as the home of these vases. This island had its -own very important fabrication in Geometric times, which like the Attic -sticks obstinately for a long time to the old style, and as long as it -exists, never allows the new elements, which often are strongly -suggestive of metal patterns, to get the upper hand. In Melos it has -been perhaps correct to localize an important manufactory of which the -products have been chiefly found in this island and in the neutral -sphere of Delos-Rheneia. The heavy double spirals with gusset-like -filling, which this style prefers to the other Orientalizing ornaments, -and which it puts in to fill space, arranges in stripes, puts one on the -top of another as ‘the volute-tree,’ or quadruples as ‘the -volute-cross,’ give this pottery a peculiar stamp. The style is most -finely represented by the big weighty amphorae which in shape and -technique of the light ground for painting on are akin to the -above-mentioned Cycladic vases, but are finely decorated on neck and -body with representations, and also show the same feeling for rich -decoration in the luxuriant filling ornamentation. The Melian delight in -representation, like the Attic, gives us an insight into the growth of -the figured style. The rows of geese (Fig. 52), the big sphinxes and -panthers, the horses ranged heraldically on either side of a -volute-cross, the favourite framed horse-busts show the well-known -partial silhouette; and the female busts, the confronted riders, the -duellists flanked by women, the gods facing each other or driving in -chariots, the ‘Persian Artemis’ carrying a lion, the free legendary -scenes reflect in technique and drawing the same development which we -followed at Athens. We can assign to about the date of later Phaleron -vases a specimen like the Apollo vase (Fig. 52), which colours light -brown the male body, and in the drawing of animals leads from the old -partial silhouette to the later technique. The fine ‘Marriage of -Herakles’ (Fig. 53) marks a great step in advance, not only by the -complete taking over of the black-figured animal style, and the -superposition of many details in white on horses and patterns of -garments, but above all by the lively rendering of the paratactic -composition and the removal of all Geometric traces in the rendering of - -[Illustration: PLATE XXVI. - -Fig. 52. ARTEMIS, APOLLO, ARGE AND OPIS: FROM A “MELIAN” AMPHORA.] - -[Illustration: PLATE XXVII. - -Fig. 53. HERAKLES AND IOLE (?): FROM A “MELIAN” AMPHORA. - -Fig. 54. EARLY RHODIAN JUG.] - -bodies. The heraldic motives have given place to more natural ones; the -male type is not merely distinguished by brown painting from the female. -The shape of the vase is more compact, the decoration more tectonic, the -goose frieze on the shoulder edge is replaced by the tongue pattern, -which also as garment edging drives out the old zig-zag. But the filling -ornaments are as copious as ever, and the step, which the Nessos vase -took in the technique of the figures, has not yet been taken. Thus the -‘Melian’ vases take us lower down in the 7th century than the other -Cycladic products, but not yet to its close. - -Perhaps new finds will bring the continuation of these manufactories and -build a bridge to the style of the 6th century. If we get them, we may -hope for a completion of the picture here given, a clearing up of the -relations of the manufactories to one another and to the East and West, -and evidence as to their localization. For even the Melian origin of the -‘Melian’ vases is not certain: this manufactory too, to judge by the -chief locality of the finds, would have to be moved to Delos, the little -inconspicuous island, where Leto bore her twins Apollo and Artemis, on -which the whole Ionic world gathered to celebrate its divine -fellow-citizens. We can trace something of this festal spirit and -devotional pride of the insular Ionians in the Apollo and Artemis of the -Melian vase, of course in a humbler way than in the magnificent hymn of -the Ionian bard. - -The technique of the white ground for painting and much in the filling -ornament and the animal-drawing unites these insular vases with the -artistic circle of S. W. Asia Minor and the adjacent islands, through -which obviously, as well as through Crete, Oriental decorative motives -principally found their way into Greece. The impulses which guided the -weak Geometric style of this district into new paths can with certainty -be traced to metal work, especially Phoenician bowls, and to textile -products. Miletus, the head of East Ionic civilization, had a -flourishing textile industry in the 7th century, the decoration of which -was quite under the spell of the East. An attempt has been made to fix -at Miletus a manufactory, the extension of which coincides exactly with -the commercial sphere of this great maritime town; the coast of Asia -Minor and the adjacent islands, the colonies on the Black Sea and in the -Delta are the most important, a secondary part is played by the Cyclades -and the Italo-Sicilian area, but the Greek mainland is unaffected. But -since Miletus need not have done more than distribute, just as Corinth -did for the Protocorinthian ware, since closely allied and almost -inseparable wares were made in several places, and the bulk of these -vases were found in Rhodes, we may retain the traditional name -‘Rhodian.’ - -The transition from the Geometric phase (p. 26) to the developed style -of animal decoration can be to some extent followed. We see, for -instance, the old shape of the jug (Fig. 22) become metallically -rounded, the cable on the neck drive out the old zig-zags, and on the -shoulder two animals antithetically flank the central metope (Fig. 54). -The stiff division into metopes of the shoulder stripe is next dropped, -the animals and fabulous beings of the East are placed heraldically one -on either side of a central vegetable motive, and under this heraldic -band, in obvious rivalry with textile work adorned in bands, continuous -friezes of animals in rows, of dogs pursuing hares, of grazing wild -goats and deer, of running goats, which in spite of their decorative -character often testify to a very fresh observation of nature. Bands of -different ornament, cables, and continuous loops, Geometric motives in -metope-like arrangement, especially the upright garland of lotus buds -and flowers, are added to - -[Illustration: PLATE XXVIII. - -Fig. 55. RHODIAN JUG. - -Fig. 56. LATE RHODIAN JUG. - -Fig. 57. EUPHORBOS PLATE FROM RHODES: MENELAOS AND HECTOR FIGHTING OVER -THE BODY OF EUPHORBOS.] - -the animal friezes: the last-named ornament generally takes the place of -the rays round the bottom of the vase. With these decorative stripes the -Rhodian style at the height of its production likes to cover the whole -surface of its favourite jugs with ‘rotelle’ on the handles (Figs. 55 -and 56), its necked amphorae, bowls and other vessels, and in this way -arrives at a delicate and rich carpet-like effect: the equipoise between -the animal silhouettes neatly placed on the white ground, coloured red -and white, and the vigorous clear ornamentation, the showing of the -ground through in delicate details where colour is purposely omitted, -the well-distributed filling ornaments, into which sometimes small birds -with an absence of pedantry are introduced, are all very satisfactory to -the decorative sense: the distinction of the shoulder stripe by the -heraldic element prevents the impression that the surface of the vase is -too uniformly cut up. The accumulation of animal friezes, and the -heraldic arrangement of Orientalizing animals round a vegetable -combination of ornaments, are features which we have already found in -Western art; but while these elements became prominent there at a time -when the incised full silhouette was in exclusive possession of the -field, when plant decoration took more abstract shapes, and filling -patterns were reduced to the rosette, the culmination of the Rhodian -animal-frieze vases falls in the pictorial period, when the plant -decoration is naturalistic and filling ornamentation is abundant. - -A uniform band decoration did not exclusively prevail. A group of jugs, -which by its more tense and profiled shape and by a transition to the -later floral ornamentation shows itself to be progressive, and which -gradually replaces the cable of the neck by the broken so-called -‘metope’ maeander (Fig. 56), leaves out of the black body of the vase -only a narrow stripe with the maeander reduced to pothooks, and -surrounds the bottom of the vase with long rays. But beside this method -the other certainly persists. Its tenacious life is proved by vases like -the Paris cauldron (Fig. 58) and its parallels from Naukratis, which -show the archaic Rhodian band style alongside of the developed incised -animal style on the same vase. In these hybrids which are essentially -akin to the vases of Andokides (p. 115) the old stylizing of the figures -is giving way, the rich store of filling motives is yielding to the -prevalence of the rosette, the vegetable ornamentation is exchanging its -vigorous plant-like appearance for thinner and more abstract shapes, -which however take on a freer swing and submit to richer variations, the -most important of which is the continuous tendril. At the same time the -old technique of painting and leaving void spaces continues to be -cultivated at a time, when elsewhere and probably also in the East the -black-figured animal style has become the regular thing, and the filling -ornamentation combined with it has assumed the blot-like shapes of the -Corinthian and Vurvá stage. Finally the Rhodian style also adopts the -new fashion. - -Thus this style from an early date shows itself extremely decorative and -little inclined to actual representations. We should know nothing of -them, if the plates, a favourite item in Rhodian fabrication, like their -Phoenician metal prototypes, did not exchange the old concentric -decoration of stripes for the division into two segments, the larger of -which is occasionally adorned with the human figure instead of the usual -animal or fabulous creature. The drawing of the figures adopts the -method already familiar. The place of outline drawing of the men is -taken by brown tinting, _e.g._, in the heroes fighting in the well-known -scheme on the Euphorbos plate (Fig. 57), while the women retain the old -technique, _e.g._ the Gorgon on a plate in London, which is an -adaptation of the Oriental animal goddess, and quite - -[Illustration: PLATE XXIX. - -Fig. 58. LATE RHODIAN CAULDRON (LEBES).] - -exceptionally fills the whole circular space (Fig. 59). Both plates show -early beginnings of incised work, the Gorgon in the inner marking of the -drapery, Hector’s shield in the drawing of the flying bird. The view -that the incised technique in figures is borrowed from Protocorinthian -work receives support in this shield with its Argive suggestion, and in -the Argive lettering, with which the excellent artist, roughly -contemporaneous with the Chigi jug (Figs. 35 and 36), has transformed a -conventional composition into a scene described in the 17th Book of the -Iliad. The full silhouette with inner detail incised appears only in -specimens, which from their degenerate filling ornaments are plainly -late products of the 7th century, _e.g._ a plate with a running Perseus. -That when this happens the eye retains its oval shape, is characteristic -of the Eastern Ionic school. - -This transition to the black-figured style can be better followed in a -closely allied pottery, fixed by the contemporary inscriptions of -dedicators to the Milesian colony of Naukratis in the Delta. While the -old filling motives are coming to an end, and the vegetable stripe -ornamentation is being increased by the addition of continuous tendrils -and confronted lotus and palmette, and rows of circumscribed palmettes, -of bands of buds and rows of pomegranates, the animal frieze adopts the -incised full silhouette. The human representations, often of a high -order of excellence, gradually asserting themselves beside the animal -decoration, show a reluctance in taking this step. The old brush -technique is still maintained in the specimens, which reserve thin lines -in the silhouette instead of incising them (Fig. 60); and also the brown -tinting of the male body (Fig. 61) seems to continue in this area longer -than elsewhere. These conservative features are balanced by an -innovation in colouring, which like the change in plant ornamentation -denotes an important step to the style of the 6th century; even before -the actual decay of filling ornamentation, Naukratite painting (as in -the Praisos plate, Fig. 29) begins to paint in white the light flesh of -women, _e.g._ the face of the sphinx; and the same colour is used in the -Herakles sherd (Fig. 61), on which the lion’s skin still appears in the -ground of the clay, in order to contrast with the linen jerkin. - -The delight in polychrome effect is very strongly expressed on the -interiors of the tall drinking cups and other vases, which the -Naukratite painter likes to cover with a wash of black, and then to -paint over it plant decoration in red and white. Incision enters also -into their polychrome lotus decoration and thus gives it an effect -similar to that of an older class of kylikes, big-bellied and necked -amphorae, found in Rhodes, which is decorated in the old style with -incised ornaments of red colour, and at a time when the Rhodian style -was still practising pure brush technique, was already preparing for the -later phase, a conclusion which must also be drawn from the Paris -cauldron for animal representation. This black-ground polychromy, which -occurs only occasionally on Rhodian jugs in white and red stripes, white -rosettes and eyes (Fig. 55), becomes so popular and elaborate at -Naukratis, that one is almost tempted to think of a continuation of -Protocorinthian influence, since Naukratis was in close connection with -Protocorinthian Aegina. - -Beside Naukratis itself Aegina was also the chief place of export for -this gaily coloured pottery, which unfortunately has only reached us in -precious fragments, and of whose scenes of merry life drawn from legend, -the revel and the dance we should gladly know more. With the Rhodian -ware it also reaches Italy and Sicily; the Acropolis of Athens gives us, -_e.g._ the fine Herakles sherd (Fig. 61), and Boeotia in a grave of the -early 6th century a late cup with heraldic cocks. - -[Illustration: PLATE XXX. - -Fig. 59. GORGON PLATE FROM RHODES. - -Figs. 60 & 61. BUSIRIS; HERAKLES: NAUKRATITE SHERDS FROM NAUKRATIS AND -ATHENS.] - -Beside the Rhodian ware Miletus seems also to have been the -export-centre of another allied fabric, that of the vases called -‘Fikellura,’ from the name of the site in Rhodes, where they were first -found. Their home is now generally sought in Samos because of the common -ware found in that island. The greater number of the vases preserved, -the prevalent form being the necked amphorae with metope-maeander (Fig. -56), are contemporaneous with the later phase of the Rhodian. This is -proved by the advanced ornamentation with the thinner simplified lotus -wreath, the rows of circumscribed palmettes, leaves (Fig. 63), -pomegranates (Fig. 62), and crescents (Fig. 63); also by the almost -complete disappearance of the ‘horror vacui’ so that the painter may -reduce filling ornament to its lowest dimensions, paint big surfaces -with loose net and scale patterns, and decorate the body of the vase -with big continuous handle tendrils and an animal placed between them or -only with a human figure boldly inserted in the void (Fig. 62). In the -animals and fabulous beings, which add to the Rhodian types the heron -and the water-hen or the fantastic man with the head of a hare, the -partial silhouette is now rare; narrow lines left without colour, as at -Naukratis, take the place of incised lines, and in the same technique -are the purely human forms, which with their receding foreheads, -projecting noses and almond-shaped eyes, with their coarse postures, -are, like the Naukratis vases, true offspring of the Ionic spirit. - -The Altenburg amphora (Fig. 63) must be a late example. The loin-cloths -are painted red and framed with incised lines, which this style so long -resisted. A few dot rosettes, reduced to their lowest dimensions, are -all that is left of the old filling ornamentation, a long-stemmed bud, -such as the early 6th century favours, projects into the field. Just as -the runner of the London vase in his vigorous but stiff posture gives -quite a new meaning to an old ornamental scheme, so the movements of the -Altenburg revellers, which entirely fill the field, convince us of their -intoxication. The ornamental style has now in the East, as well as in -the West, become narrative and descriptive. - -With these bibulous Ionians, who to the sound of flutes dance round -their big mixing-bowl with cups and jugs, we pass finally from the wide -ramifications of 7th century vase history to the developed archaic -style. - -[Illustration: PLATE XXXI. - -Figs. 62 & 63. FIKELLURA AMPHORÆ.] - - - - -CHAPTER IV. - -THE BLACK-FIGURED STYLE - - -Archaic art, the wonderful offspring of the contact of Greek -civilization with the East, exercises its charm to-day more than ever. -We have ceased to ascribe a unique saving grace to the classic period, -the period of full bloom, and to allow no independent value to the -preceding century except as an inevitable transitional phase. We love -these archaic works of sculpture and painting for their own sake, not in -spite of their crudities but just because of their unpolished hidden -vigour, because of the precious combination of their essential features. -The fetters of space, and the strong tradition of an ornamental early -period give them a monumental effect, which has nothing of mummified -stiffness but is kept ever fresh and youthful by an eminently -progressive spirit and an energetic endeavour to attain freedom. The -archaic style ‘with fresh boldness goes beyond its Oriental patterns, is -ever making fresh experiments, and thus exhibits constant change and -progress. It is always full of serious painstaking zeal, it is always -careful, takes honest trouble, is exactly methodical: the language which -it speaks always tells of inward cheerfulness and joy at the result of -effort, the effect produced by independent exertion. There is something -touching in the sight of archaic art with its child-like freshness, its -painstaking zeal, its reverence for tradition, and yet its bold -progressiveness. What a contrast to Oriental and Egyptian art, which are -fast bound in tradition: in the one the sweltering air of dull -coercion, in the other the fresh atmosphere of freedom’ (Furtwängler). - -The history leading up to the origin of this style has become clear to -us by quarrying in different localities. We saw the vases lose their -peculiarly carpet-like appearance, the filling motives disappear, the -bands of animals and ornaments forfeit their independence and become a -subordinate member in the tectonic construction, we saw the world of -figures win its way out of ornamental compulsion to greater freedom and -extend over the vase. The 6th century, to the beginnings of which we -pursued the history of vases, knows only occasionally inserted rosettes, -or a lonely bud projecting into the field. Plant ornamentation becomes -true Greek ornament, abstract, tectonic, and when occasion demands, full -of life with its swing. Animal friezes retire to the foot or the -shoulder, are often incidentally treated as mere decorative accessories -or seized by quite unheraldic liveliness. The principal interest is -devoted to depicting man, his doings and goings on. The vase painter is -now more anxious than ever to narrate and depict; he finds ever less -satisfaction in ornamental composition. He is never tired of describing -hunting and warfare, wrestling and chariot-racing, the festal dance and -procession, but with greatest preference, remembering the purpose of his -vases, drinking and wild dancing. But also the heroes of past ages, -their bold exploits and strange adventures, are his constant theme. The -Homeric Epic, the tales of Herakles the mighty, the bold Perseus and -Bellerophon, had evoked pictorial representations even in the 7th -century; but now the full stream of the legendary treasury pours into -painting and gives an infinitely rich material to the joy of narration. - -What the vase-painter makes of this material is never conceived in the -historical or archæological spirit, but breathes entirely the air of -his own time; often only the added names (which according to the new -feeling for space assume smaller dimensions) raise a genre scene into -one from myth. Moreover the Saga is only seldom re-shaped by inventive -brains. Types once invented pass on, go from workshop to workshop, from -one district to another, are abbreviated (p. 49), expanded, -conventionally repeated or filled with new life. Types may also cross; -there arise purely through art, contaminations of legend, which are -foreign to poetry. When a Corinthian painter unites the Embassy to -Achilles (Iliad IX) with the visit of Thetis, this has as little to do -with poetry, as when on Attic vases the birth of Athena is coupled with -the apotheosis of Herakles, or the slaying of Troilos is transferred to -Astyanax, or the entombment of the dead Sarpedon to Memnon. But -everything strange need not be misunderstanding on the artist’s part. -The vases supply us with a multitude of legendary motives and -variations, which we cannot find in literature, and are the faithful -reflex of the fluidity of Greek mythology, which, devoid of canon and -dogmatism, was in constant flux. - -Olympos too, is subject to these vicissitudes. Its gods live a human -life among men, the only difference being that some representative -scenes give them a stiffer and more elaborate appearance than that of -ordinary mortals. In early times the divinity is chiefly betokened by -inscriptions and attributes. On the painting of the Corinthian Kleanthes -stood Poseidon with a fish in his hand beside Zeus in labour. Late -observers of this picture failed to understand this external -characterization of the sea-god, and saw an act of brotherly sympathy -with the god’s pains in this holding up of the tunny; and thus a great -deal beside must have appeared strange to them, _e.g._ Apollo with the -great lyre still bearded in the 7th century (Fig. 52), Herakles without -lion-skin (Fig. 64), the unarmed Athena, who only at the beginning of -the 6th century, in contrast with the Chigi vase (Fig. 37), the Aegina -bowl and the Gorgon lebes (p. 49), begins to express her bellicose -nature by attributes, and much besides. - -The favourite god of the drinking vessels is the wine-god with cup and -vine. He makes Hephaistos drunk and leads him back to Olympos to -liberate Hera from the magic chair. The big-bellied dancers and purely -human creatures, who form his escort on Corinthian vases, in the first -third of the century are superseded by the Ionic horse-men, the Satyrs, -who become ever more closely associated with Dionysos, celebrate feasts -with the Maenads, never despise the gifts of their master, and make fair -nymphs pay for it. The half-bestial creature in whom ancient Greek fancy -vigorously incorporates man’s pleasure in wine and women with all its -comic effects, is quite the patron of archaic vase-painting. - -That all these representations were developed by vase-painting alone is -more than improbable. That the Bacchic scenes of toping and dancing were -created on the actual vase, is most likely; but one is often enough -compelled to assume other sources. The fight of Herakles with the lion, -for instance, in its oldest form is the borrowing of an Oriental type, -which is composed for a tall rectangle, and is expanded by the -vase-painters for their purposes by filling figures, ‘spectators.’ The -gifted artist, who gave this heraldic type the more natural impress -which was regular in the older black-figured style, was perhaps a -vase-painter; the creator of the later black-figured type was certainly -not, for his horizontal group is certainly a fine invention but always -has to be adapted artificially to the vase surface. As with the -wrestling of Herakles, so it is with Theseus’ struggle with the -Minotaur. The same sort of extension occurs on a favourite subject of -older black-figured style, the quadriga in front view, whose horses -heraldically turn their heads sideways, whose helmeted warrior is in -front view while the unhelmeted driver is in profile. This type, -certainly invented for a square, is also known in bronze and stone -relief, and the question, in what technique it first appeared, will -scarcely be answered in favour of vase-painting. For a square, too, the -finely compact group of Herakles wrestling with Triton was first -composed, a theme common on Attic vases from the hydria of Timagoras -onwards; the older wrestling scheme, superseded by this type, in its -Herakles spread out before the eyes of the observer and kneeling as he -wrestles, still shows strong affinity with the Orientalizing frieze -compositions (p. 46), and is for vase decoration much more typical than -the later invention, which on vases always has a ‘borrowed’ effect. The -dependence of vase-painting on other techniques is finally evidenced by -the so-called ‘couplings’: the best-known instance is the combination of -the departure of Amphiaraos with the Funeral-games of Pelias on a -Corinthian (Fig. 66), an Attic and an Ionic vase, a combination which is -borrowed from an inlaid wooden chest of Corinthian workmanship at -Olympia (‘the chest of Kypselos’) or a prototype from which both were -derived. - -After all this one will not hesitate to look for a strong reflex of the -great art of painting on the vases, alongside of the special property of -the vase-painter and typical ornamental figures equally common to all -art, or to picture to oneself wall-paintings or easel pictures, like the -birth of Athena by Kleanthes, after the fashion of the best -vase-paintings, which are least constrained by ornamental -considerations, or to reconstruct from the copies of vase-painters -compositions like the Destruction of Troy (Iliupersis), the Return of -Hephaistos, the Reception of Herakles into Olympos. One is particularly -impelled this way, when the vases give now shorter, now longer, -extracts from the same large composition; thus we have a reflection on -some dozen vases of Exekias and his successors of the fine -representation of the heroes Aias and Achilles surprised by the Trojans -while deeply absorbed in a game of draughts, and warned by Athena just -in time (Fig. 96). One cannot conceive of any difference of principle in -perspective, in the rendering of the body and the drapery, in the -spiritual content, between vase-painting and free painting; they both -are children of one time. Nor did the vase-painter feel any necessity to -alter the composition of his patterns. Only as he had to decorate framed -bands, the law of isocephalism was more binding for him than for the -great art. Hence his strong disinclination for “landscape,” which we -often meet with in Corinthian and Ionian pinakes and wall-painting, but -on the vases never, or only in palpable caricature; the painter who on a -hydria from Caere copied a seascape with the Rape of Europa, was obliged -to place beside the figure what looks like a mole-hill but is intended -for a mountain. - -This limitation of the possibilities of composition by decorative -considerations was of hardly any importance. The wide gulf between free -painting and vase picture was conditioned in the first instance by -technique. It was that which gave its special effect to the -black-figured style and set its stamp upon it. We saw previously that -vase-painting, when it took over the silhouette style from the -decorative animal frieze, increased its distance from free painting, -under whose spell it had been for a good part of the 7th century, that -with the incised technique it took over, _e.g._ the circular drawing of -the eye, and with the new colouring entered decorative paths (pp. 38, -44, 49). Free painting drew with the brush on light ground, used black -and white very sparingly, more frequently red, blue, green, yellow and -brown; placed these colours side by side in simple harmonies, with very -little gradation and shading, but also sometimes, _e.g._ to represent -fire, used the smooth brush; rendered the men in reddish brown, women, -children, animals and objects in light colouring. With this -free-coloured effect the black-figured style was neither able nor -anxious to compete. Just like the Geometric, it is in its own fashion -again an ornamental style, which does not disown its predominantly -decorative character. The figure silhouettes serve it as ornaments to -fill a given space, which are in a certain equipoise of colour in -relation to the rest of the decoration and the black painted parts of -the vase; the incision stipulates a sharp delineation of types, the -imposed colour gives a parti-coloured effect. The coloured effect of the -vases is essentially defined by the clay, which now, in the developed -black-figured style, takes on a brilliant warm red upper surface, and by -the black glaze, which assumes a metallic lustre. The darker colouring -of the clay deprives the lighter parts of their effects by contrast, and -compels the painters to replace the contour-drawing of women, linen -garments, etc., gradually by laying on white colour, with which at first -the contour is simply filled; but afterwards more commonly black -underpainting is overlaid. With the transition to white, clear -silhouettes are also obtained, which set off against the background more -effectively than the old contour figures. - -The advance in the preparation of the clay and glaze colour came about -on the Greek mainland. Tradition makes the Sicyonian Butades invent the -red colouring of the clay at Corinth, and thus gives the correct -indication. The Chalcidian and Attic workshops helped the new technique -to prevail; in the East it gradually gets the upper hand and forces the -Ionian manufactories to give up their favourite white ground and adapt -their technical freedom to the growing strictness of the western -system. Attica, which in the 6th century opens a dangerous rivalry in -Eastern and Western markets and finally wins the day, brings the process -to perfection. With the refinement of incised technique it puts an end -to the parti-coloured method still much affected by Corinthians and -Chalkidians, it clears away the big surfaces coloured red and white and -all colour in ornament and animal frieze, and helps the harmony of clay -and black to its purest and fullest effect. - -With the disappearance of the old parti-coloured system the vases are -completely removed from the effect of free painting. For that we may be -grateful to fortune. For this refinement of the black-figured style -permitted the sensitive feeling of Greek artists for decoration to -satisfy the delight of narrating and describing along with the -ornamental traditions of the old style. They had no need, as had the old -Minoan vase-painters (p. 10), to shrink from borrowing figured scenes. -The recasting of types into the decorative silhouette style made it -possible for them to conjure on to the vases whatever touched their -hearts and delighted their eyes, and thus to transmit to us an infinite -variety of scenes, without which our knowledge of Greek legend, Greek -life and Greek art would have remained terribly scanty. - -Corinth must lead off the history of this new style. The chief centre of -commerce and industry in the Peloponnese, the celebrated seat of a -flourishing ceramic industry and of an important school of painting, it -not only took the decisive step to the new technique, but even in its -red-clay phase had helped the designs to drive out animal decoration, -and composed, or at least introduced into vase-painting, numerous types, -which supply material to other workshops for a long time. The quadriga -in front view, which Chalcidian and Attic painters repeated so often and -which kept - -[Illustration: PLATE XXXII. - -Fig. 64. HERAKLES AND EURYTIOS; HORSEMEN: FROM A CORINTHIAN KRATER. - -Fig. 65. CORINTHIAN KRATER.] - -its decorative effect for almost a century, appears here for the first -time; the triangular scheme of two wrestlers seizing each other by the -arms and pressing head against head, which survived to the time of -Nikosthenes, was taken by the Amphiaraos krater (Fig. 66) from the -above-mentioned chest of Kypselos (p. 67); the nuptial procession of -Peleus and Thetis which we shall meet on the lebes of Sophilos and the -François-vase is prepared for in Corinthian vase-painting; and the -battle-scenes, rider-friezes and chariot-races, of which there was a -beginning in the Protocorinthian style, were most richly developed by -the Corinthians, and adopted by Chalkis and Athens often without any -essential improvement. Thus one may be sure, that a number of other -types, which are not represented in the selection that accident has -given us, started their victorious career from Corinth, and that the -lost great art of Corinth, the bronze industry of which we have -specimens and the richly-adorned chest of Kypselos described by -Pausanias supplied to the vase-painters a number of mythological -compositions, which influenced other manufactories. Unfortunately the -greater part of this rich treasure is lost to us. The loss is the more -to be lamented, as what we have shows us a fine inventive talent on the -part of the Corinthian artists and a magnificently free and easy -conception of life and legend. The Homeric poetry and the Epic inspired -by it, the lays of Peleus and Herakles, the ballad poetry now becoming -very fashionable, from which come _e.g._ the birth of Athena and -probably also the Return of Hephaistos to Olympos, are reflected on -these Corinthian vases in inimitably vivid and drastic fashion; and the -vase-painter also gives scenes from daily life, carouses, drunken men -who dance wildly with naked women, kitchen and winepress, riding and -driving, marching out to battle, and the wild mellay itself. It is -particularly on the kraters (Figs. 64-66) that we can trace how the -accumulating material gets space on the vases; animal decoration, in -which heraldic cocks are very popular, retires ever more to the reverse, -under the handles, into the base stripe, and also by preference is -replaced by lines of galloping riders, who form a lively decorative foil -to the mythological principal picture (Fig. 64). Meanwhile filling -ornament disappears. The flying bird over the rider (Fig. 65) renders -the same service as the rosette, nay a better; it transplants the scene -out of a decorative space into an actual one, the open country; and the -space-filling animals of the Amphiaraos vase, which are traditional (p. -40), are not intended merely any longer to enliven the vase surface but -the wall of the house, the floor and the air. Thus the liberation of the -field, for which Timonidas and his fellows paved the way, is attained. -With this goes hand in hand the liberation of figure-drawing from -ornamental constraint. The outspreading of the figure in the surface, -which is still strong in the 7th century, is toned down or ingeniously -given a motive, as with the kneeling warrior who fights backwards, and -does not disguise his connection with the old runner with bent knee. The -individualizing of men and animals carried forward by Timonidas now once -more makes big advances in human figures, horses and dogs. - -We will select two of the kraters to give us an idea of the development -of the style. One, a Paris vase (Fig. 64), gives a special application -to a fine banqueting scene, by added names and the insertion of Iole, as -the visit paid by Herakles to Eurytios, king of Oichalia. The fair -daughter of the house stands with some indifference between the guest -and her brother; it is supposed to represent a legend, but is really -little more than a genre scene, as which it is hard to beat. The lively -conversation of the guests, the dogs tied to the sofa-legs waiting and -speculating on the chance of - -[Illustration: PLATE XXXIII. - -Fig. 66. DEPARTURE OF AMPHIARAOS: FROM A CORINTHIAN KRATER.] - -bits falling from the table are masterly, and even the horses in the -supporting frieze, if out of proportion and inelegant, are the more -characteristic and living. The technique follows old tradition; the -flesh of Iole, tables and sofas, one dog, shields on the reverse, appear -in outline drawing. Such contours, also found sometimes where men’s -bodies left white set off those painted dark, unite to some extent, as -does the red colouring of the male countenance, the vase in its effect -with the great art. - -On the other hand the Amphiaraos krater (Fig. 66), which gives up red -for male faces, and makes a point of covering the outline figures with a -layer of white, has become more decorative and black-figured. Its -pictures are not equal in execution to the invention, but come from -excellent models (p. 67). Between the colonnade and façade of the house, -which are in line like the tables in the Eurytios vase, the hero, -because of his oath, mounts his chariot to go with open eyes to the -death he forebodes; his angry look is directed to Eriphyle and the fatal -necklace in her hand. With raised hands the family takes leave, a -maid-servant gives the stirrup-cup to the charioteer. Foreboding evil, -the faithful Halimedes sits on the ground: his heart has evidently -bidden him to train up the boy Alkmaion to take vengeance on his mother. -The whole delight in narration, which in the exaggerated rendering of -the necklace strongly emphasizes the previous history, is as genuinely -archaic, as the mythological individualizing of an old type ‘The -warrior’s departure.’ - -The Amphiaraos krater is more developed than the Eurytios vase, not -merely in technique. The painter of the later vase, though not so gifted -as his colleague, draws more cleverly, and works with a set of types -before him, as the frieze of riders shows. The advance becomes plain in -the shape of the vase. The Eurytios krater encloses an almost uniformly -swelling cauldron between a lip ring which is very low and a foot which -spreads out in ample dimensions. From this round-bellied archaic shape -we pass to a later more defined and elegant one in the Amphiaraos -krater, which has a higher neck, a steeper and much less swelling body, -with its lower part running to a point, till finally the outline almost -resembles an inverted triangle and from the handles a rectangular or -curved bridge has to be built leading to the high rim (krater à -colonnette). The tendency to development, which we can read out of the -vase shapes, may be taken as a symbol of the history of style. For a -Greek vase was always something organic, as much so as a tree or animal. - -Unfortunately, besides the large kraters with their numerous figures, -which were favourite articles of export, few vases are preserved. In the -scene on the Eurytios krater we get the lebes with stand, also the jug -and drinking cup (kylix), which exist in various extant specimens. The -kylix has an offset lip (as in Fig. 24), and often knobs on the handles, -the interior picture is framed by tongue pattern. Beside the necked -amphorae, which like the kraters seldom have any other ornament than -rays, shoulder tongues and neck rosettes, the similarly decorated -big-bellied amphorae continue, which like their Attic parallels (p. 51) -put human busts or animal representations of old and new style into the -figure panel. The three-handled water pitcher (hydria) has the type with -vaulted shoulder common in the older black-figured style, and adorns it -with spirals and maeanders. All these ornaments, to which may be added -the double lotus and palmette of the Eurytios krater and occasional net -and step patterns, partake of the solidity and variety of the style. - -Strangely enough, the phase of the Corinthian style here described is -for us the end of the fabric; not one of these - -[Illustration: PLATE XXXIV. - -Fig. 67. CORINTHIAN PLATE. - -Fig. 68. THE SLAYING OF TYPHON BY ZEUS: CHALKIDIAN HYDRIA.] - -[Illustration: PLATE XXXV. - -Fig. 69. CHALKIDIAN AMPHORA.] - -vases can be dated below the first third of the 6th century. Corinthian -pottery has no share in the Eastern Herakles with the lion-skin, the -Amazons as Scythian women, the entry of the Satyrs, the rendering of -folds, the painted ground for white additions. One asks whether this -brilliant development could break off so abruptly, or if it is only -accident which has concealed from us its continuation. Both are -improbable. It looks rather as if, just as the Protocorinthian -manufactory had its continuation in the Corinthian, so the Corinthian -was carried on by the Chalkidian. For the vases denoted by their -inscriptions as Chalkidian form, at all events according to the present -state of our knowledge, a group covering a few decades, which is in -succession of time to the later Corinthian vases, and is most closely -connected with them by a series of detailed agreements. Not only do the -vase shapes consistently carry on Corinthian tendencies, but details of -decoration like the white neck rosettes filled with red, and the step -pattern (Figs. 68 and 69) continue; the Corinthian animal friezes with -rosettes, the heraldic cocks, with the serpents, the winged demon, the -riders with the space-filling birds (Fig. 69), the wrestlers scheme, the -grotesque dancers, the quadriga in front view are taken over; nay, -details of drawing, like the warrior’s head in front view, the round -outline of the edge of the short small chiton (Figs. 70 and 71), the red -spots on black clothes (Fig. 70), the sword sheath with the St. Andrew -crosses (Fig. 71), the devices on the shields are not conceivable -without their Corinthian predecessors; even the names of Corinthian -grotesque dancers pass over to the Chalkidian Satyrs. - -Not a single Chalkidian vase has been found in Chalkis itself, nor even -in any part of the mother-country: all specimens preserved come from the -West. One might therefore assume that the fabric had its seat, not in -Chalkis itself, but in one of its colonies, and thus the powerful -Corinthian traditions in this pottery would be easily explained. The -West was dominated, as we saw, throughout the 7th century by Corinthian -exportation; and the colonies of Chalkis had always been provided by -friendly Corinth with clay vases. But the strong influence of the -Chalkidian manufactory on the Attic is in favour of Chalkis itself -having put an end to Corinthian production, or at any rate to Corinthian -exportation. Why and how, cannot be stated: perhaps the publication of -the many unpublished specimens will solve the riddle and clear up the -close relation of the Chalkidian ware to the group of the Phineus kylix -(Fig. 74). - -From every point of view the Chalkidian vases give us a heightening of -the Corinthian, a great advance in the direction of a later period. Clay -and black now attain their highest perfection, the distribution of -colour is most delicately calculated; no longer is there so much use -made of white surfaces (under which there is regularly a wash of black); -especially we see no more of the arbitrary colour-contrast which did not -shrink from white colouring of the male. If the Corinthian style had -already aimed at metallic effect in the angular formation of the handles -and the curving of the handle-bridges of the krater, the Chalkidian -heightens these tendencies almost to faithful copying of metal vases, -and consistently develops the vase shapes to the highest, almost -over-refined elegance; the narrowing of the lower part of the body leads -to the insertion of a roll, which the painter picks out in red from the -black foot. Thus arise novel vase-shapes; the necked amphora (Fig. 69) -is elongated, its shoulder flattened, so that the body almost assumes -the shape of an egg; the krater gets steep sides, high neck, and -outward-bent handle bridges; out of the older hydria with arched -shoulder comes a later shape, which, in a specimen at Munich (Fig. 68) -exactly copies the addition of cast handles to a metal body; and -similarly the other shapes develop, the kylix with knobs on the handles, -the two-handled cup, the jug. - -The same endeavour after elasticity and elegance prevails in the -distribution of the ornament over the vase, which was managed in a more -masterly way at Chalkis than elsewhere. Certainly the ornamentation is -based almost entirely on Corinthian foundations. The white dot-rosettes -filled with red on the black neck, the lotus and palmette on the ground -of the clay, tongues on the shoulder, and rays at the foot, the step -pattern under the chief frieze are of old tradition but pass through a -growing elaboration. As a new motive of decoration comes in the chain of -buds, which we know from the East: as a rule it occurs beneath the chief -band (Fig. 69), or hangs over the figure-field in place of the lotus and -palmette. The Ionic pattern is not exactly imitated in the process; the -swellings under the Chalkidian buds suggest roses rather than lotus. Out -of these buds, palmettes, and the tendrils uniting them, is formed the -fixed ornament, which generally serves as central motive to heraldic -animals and often develops into a wonderfully rich complex of lively -lines (Fig. 69). The proper place for this ornament is the centre of the -upper band, which recovers its importance, now that the shoulder is set -off more sharply in hydriae and necked amphorae, and as secondary field -for decoration is, like the reverse of vases, usually decorated in the -first instance with animals. On the shoulder-stripe the riders with the -space-filling birds tend to drive out the archaic scheme of decoration; -they flank the lotus and palmette cross and in later specimens, where -the horizontal shoulder is no longer dominant in the general view, they -pass from heraldic constraint to parade order, and are also occasionally -replaced by cleverly disposed dancers. The reverse of the vase also more -and more shakes off animal decoration and replaces it by ornamental -compositions, as by the heraldic quadriga or the heraldic riders. -Friezes of animals beneath the main scene (Fig. 68) become very rare. -However markedly the decoration of the vase departs from the old style, -yet in spite of that there is in contrast with the Corinthian style a -marked decorative invasion to be traced. The vases that have nothing but -animal decoration are numerous, and the rosette often asserts itself -again. - -This decorative invasion, which is connected with the perfection of -technique and marked talent of the Chalkidian artizan, does not detract -in any way from the figure scenes. The latter preserve their old vigour -and power of observation, some masters even raise it to a most intense -elasticity, and breathe into the old types a new and vivid life, which -in union with the line technique and arrangement in space makes these -vases superior to most of the other black-figured pottery. How Herakles -on the London amphora (Fig. 70) unmercifully deals the death-blow to the -three-bodied Geryon, or on the similar Munich vase (Fig. 71) to Kyknos, -is brought before our eyes with unambiguous matter-of-fact and verve. - -The chest of Kypselos had already thus represented Herakles’ fight with -Geryon, and the Chalkidian painter rests here, as often and especially -in his battle scenes, on Corinthian types. But his rendering is anything -but a borrowing, and bears witness to fresh and vigorous conception. The -‘Herakles and Kyknos’ is based on the old fighting scheme, which -represents a warrior with raised right arm assailing an opponent who -almost kneeling moves to the right but looks round; and so in effect -only combines the ‘duellist’ (p. 39) and the runner with bent knee. On -the Chalkidian picture the old ‘exigency of space’ type is hardly any -longer to be traced; everything has become - -[Illustration: PLATE XXXVI. - -Fig. 70. - -HERAKLES AND GERYONEUS: FROM A CHALKIDIAN AMPHORA.] - -[Illustration: Fig. 71. THE SLAYING OF KYKNOS BY HERAKLES: FROM A -CHALKIDIAN AMPHORA.] - -expressive and characteristic. To be sure the contrast between the body -in front view and the legs in profile and the spreading over the surface -are still hardly toned down, but the thrust dealt with the right arm, -the clutch of the left, the foot pressed against the back of the -opponent’s knee are full of vigour, and the collapse of the bleeding son -of Ares, his prayer for mercy while he plucks the victor’s beard, the -dimmed eye with its pathos, the composition and the filling of the space -are very artistic. - -This heightening of characteristic touches does not merely appear in -battle scenes, but also the intimate touches in many Corinthian subjects -are carried on. Even the Eurytios krater had succeeded in expressing the -horror which seizes Odysseus and Diomede at the sight of the suicide of -Aias. The feeling in this group is perhaps surpassed by an episode in a -Chalkidian battle-scene; where the intent care, with which Sthenelos -binds up the finger of the wounded Diomede, reminds one of the later -kylix of Sosias (Fig. 114); and when a Paris amphora enlarges the march -out to battle by a domestic scene of arming, early red-figured painting -is again anticipated. - -The combination of this fresh and direct observation of nature with a -marked decorative talent unites Chalkidian with the Ionic art of the -islands. On Chalkidian soil, where a language with a strong Ionic -element was spoken, a close contact with eastern neighbours must be -assumed. It is not only the chain of buds on the vases that witnesses to -this contact. The Satyr, a hairy fat fellow, with marked horse-ears and -horse-tail, often with horse-hoofs, enters from the East in a form, -which meets us on the Phineus vase (Fig. 74). And when the Chalkidian -painter occasionally indicates the outline of the female back, where -previously the drapery falling straight down entirely concealed it, when -he furnishes his Geryon with wings and often equips Herakles with the -lion’s skin, in this, as in much besides, one cannot fail to see Eastern -influence. Whether the rendering of folds, the beginnings of which -appear on Chalkidian vases as elsewhere, has the same origin, is -doubtful. - -The fabric in the Ionic islands which was in close reciprocal relation -with the Chalkidian, may be called the ‘Phineus’ fabric after its chief -product, till accident betrays to us its home. From the remains of -lettering on the Phineus kylix, it can only be said, that it was -produced in a place where Ionic was spoken, which cannot have been near -to Asia Minor. The style, more Eastern than Chalkidian, but different -from East Ionic in much, _e.g._ the circular drawing of the male eye, -and closely akin to Chalkidian, is probably of Cycladic origin. But a -connection of this pottery with one of the old Cycladic manufactories -(p. 52) is impossible. As little as the Chalkidian has it any previous -history; the few amphorae and kylikes that remain belong exactly to the -same short period of time, in which the Chalkidian vases were produced. - -The amphorae are rather earlier than the Phineus vase, and often very -like the decorative earlier Chalkidian specimens. Chalkis seems to have -supplied to them the western technique, the vase-shape, the foot-ring, -and also to have supplied the patterns in many specimens for animal and -rider decoration. But the less severe construction of the vases, the -irregular division of the fields for figures, the preference for a dark -covering of the ground above the rays, the liberties in decoration, lead -us to more Eastern soil. The very chain of buds, luxuriant and hardly -stylized, which often covers the neck, shows the unpedantic and concrete -Ionic style, and the same playful carelessness appears, when the painter -is lavish with filling rosettes and buds, when he inserts into a -heraldic frieze of animals a complex of creatures furiously biting each -other, or puts - -[Illustration: PLATE XXXVII. - -Fig. 72. IONIC EYE KYLIX. - -Fig. 73. - -HEAD OF ATHENA, BETWEEN THE EYES OF AN IONIC KYLIX.] - -between his favourite squatting sphinxes a fighting warrior, a couple of -dancers, or two running girls, when he composes heraldically the heads -of two processions of riders, and makes a combatant the central motive -of heraldic riders, when he invents animal combinations with a common -head. So it is no wonder if he makes into an effective motive of -decoration the apotropaic eyes popular in this phase of art, which we -know from Delian, Melian, and Rhodian vases of the 7th century (Fig. -57), if he often adds ears and nose, and fills the centre with an -arbitrarily chosen motive, a leaf or a human figure. The eyes are found -on the necks of amphorae, but very often as outside decoration of the -kylix, which in perfected specimens shows alike the height and the end -of this manufacture. - -The wonderfully living and swelling outline of these delicate kylikes -(Fig. 72) may be taken as a symbol of the style of the figures, which is -absolutely remote from abstract dryness. It often enough adopts -Corinthian-Chalkidian types as models. The ‘Phineus’ painter did not -invent of himself the warrior with head in front view; the slaying of -Troilos goes back to an old Corinthian type; the pursuit of the mounted -Penthesileia introduces, it is true, a new Eastern Amazon type in place -of the old one (which is also used in this group), but is based on the -composition of a Corinthian battle picture. What the ‘Phineus’ painter -does with his models is always distinguished by individual and genuinely -Ionic life. On the group of amphorae a fine vigorous figure style -prevails, which on the kylikes has a finer and at the same time more -delicate development. The charming Athena (Fig. 73), who now appears in -armour, and whose shield-edge the painter for decorative reasons has -doubled, the Scythian who like the mounted Amazon is at home in East -Greece, the skipping Silenus, the dog in front view would not tell us -much of this kylix-style. But fortunately the painter of the Phineus -kylix surrounded the fine Silenus mask in the interior with a continuous -frieze, the lack of which a hundred contemporary vases could not -outweigh. The wall with the vine and the lion’s head plainly divides the -frieze into two scenes: evidently a magic well, which pours wine into -the cup of the delighted Satyr. A lion, a panther and two stags draw the -chariot of the Wine-god and his consort. On the legendary team a Satyr -is making mischief; two of his colleagues are quite diverted from their -duty by the sight of three nymphs, who are bathing at a spring in a -wood. A lion’s head as spout pours into a basin the water with which -they are laving themselves; their clothes they have already hung up. The -other picture shows the blind king Phineus, from whom the Harpies have -taken the food off the table, for which he is vainly feeling; the -valiant sons of Boreas pursue the impudent thieves through the air over -the sea. - -All is living, original and drastic in its conception, as perhaps was -only possible for an Ionian. The movements of the Satyrs and the nude -maidens, the animals and plant-life are caught from nature, and this -study betrays itself in various details. The face of Phineus, still -painted red like that of the Satyrs, is drawn in front view, which we -have hitherto only found in the helmeted warrior’s head, the collar-bone -and chest muscles are rendered, the eyes of the Boreads are already much -reduced in scale. Especially important is the treatment of the drapery, -not to mention the linen chiton of Dionysos with its parallel lines -indicating the material, or the long red chitons of the women and the -curved outline of the shirts of the Boreads, or the garments of the -Harpies adorned with Ionic crosses and borders; important innovations -appear in the himatia, that of Phineus is divided into - -[Illustration: PLATE XXXVIII. - -Fig. 74. - -PHINEUS; DIONYSOS: FRIEZE ROUND THE INTERIOR OF AN IONIC EYE KYLIX. - -_From Furtwängler-Reichhold, Griechische Vasenmalerei._] - -red and black stripes, those of Dionysos and the women show rendering of -folds. That the himation rather emphasizes than conceals the outline of -the back, is a true Ionic feature. - -Beyond this stage, the ‘Phineus’ fabric cannot be traced. Generally the -Cycladic pottery of this period is hard to get hold of. We do not know -whether there were more factories on the islands, and some isolated but -allied specimens with more fully Ionic alphabet cannot yet be localized. -On the other hand, the ceramic history of the Greek East offers at least -some fixed points, though the transition from the old style has not yet -been cleared up. We were able to accompany the Rhodian-Naukratite and -the ‘Fikellura’ styles to the very threshold of the black-figured, but -here the thread seems to snap. Shallow bowls found in Egypt and South -Russia with bud decoration and black-figured interior designs, which -were imitated by the Attic Vurvá style, and amphorae with remains of the -old ornamentation and big isolated animal-silhouettes in the field, -perhaps represent the latest products of the Rhodian style. The -‘Fikellura’ style finds its continuation in a ware, which was certainly -produced in Klazomenai, perhaps also in several places at the same time, -and has come to light not only in the Ionian region and the colonies in -Egypt and the Black Sea, but also in Italy. The Klazomenian style has in -common with its predecessor not only a series of ornaments (tongues, -rays, late Rhodian garlands, continuous tendrils, rows of crescents, -friezes of leaves, ‘metope’ maeanders, buds in the field, scales over a -surface), but continues the old shape of amphora and has the same -preference for loose decoration: beside the vases adorned in bands, on -which the animal friezes are driven out of the chief band, it is very -fond of a field consisting of a reserved panel or running all round, and -of the decoration of the neck by means of an ornament, an animal head -or a human head. In the field it likes to put instead of the heraldic -pair a single animal, a sphinx before a standing man or upright branch, -an isolated palmette and lotus cross, which are in a measure constituent -parts of heraldic compositions, and shows the same freedom, going even -beyond that of the Phineus painter, when it makes isolated figures, -dancers, running girls, or men wearing mantles, the central motive of -its heraldic sphinxes or cocks, and when it puts a runner with bent knee -between two lions that turn away from him (Fig. 75). The palmette and -lotus-cross and the animal types differ from Western types; the -selection, too, is characteristic of the East. There is a special -preference for the Siren: this bird-woman is used surprisingly often -heraldically, and in rows to make a frieze. The female panther occurs as -well as the male; the grazing deer is a Rhodian legacy. The ostriches -show knowledge of Africa, the winged horses and boars connection with -Asiatic art. The Klazomenian style is particularly strong in the new -formation of fantastic beings, to which the near neighbourhood of the -East gave the impulse. The seahorse and the Triton were invented -somewhere in this area: to the ‘Fikellura’ man with the head of a hare -Klazomenai adds a being with a tail and a lion’s head among human -revellers, among dancing men and women appears suddenly the bearded -monster with the horse’s tail, the Satyr (Fig. 75). - -The stock of types varies considerably from that of the West; this is -particularly clear in the scenes with human figures. Beside the pictures -of riders and battles, beside the few preserved legendary scenes, among -which the most important are the battles of Amazons, who here in the -East have become mounted Scythian women, the prominent place is taken by -scenes of drinking and dancing in the - -[Illustration: PLATE XXXIX. - -Fig. 75. SATYR AND MAENAD: KLAZOMENIAN VASE FROM KYME. - -Fig. 76. NECK-DESIGN OF AN IONIC AMPHORA.] - -manner of the Altenburg amphora (Fig. 63). The file principle, so potent -in the East Ionic animal frieze, strongly asserts itself in the dancing -maidens and the abandoned revellers: the oblique inclination forward, -which the Klazomenian painter often gives the intoxicated, and which is -very successfully preserved on an early Milesian relief in London, -emphasizes at the same time the decorative arrangement, and increases -the expressiveness, just as the eccentric movements of the dancers -equally well fill the space and mark the tone. For life, sensual and -everyday though often grotesque and brutal, is what these Ionian masters -give, even if they are only decorative artists or artizans, whatever it -may cost. So they succeed in nothing so well as women, satyrs and -animals. The maidens with their receding foreheads, almond-shaped and -often obliquely set eyes, and the little mouth somewhat drawn in below, -and the well-marked back contour, have an attractiveness even on the -most careless representations; the shaggy satyrs betray their equine -nature not merely in ear, tail and hoof; the robust strong-maned horses, -the female panthers with swelling breasts, the fighting cocks forgetting -their heraldic duties, all show nature very close at hand. - -The history of this style, which must approximately extend over the -first half of the 6th century, can be to some extent followed. In the -beginning comes the conflict of the old Ionic and Western techniques, -the transition from the light slip to the reddish-yellow surface, and -the tendencies in ornamentation which still strongly remind one of -‘Fikellura.’ The silhouette style makes liberal use of white. Not only -with inherited aversion does it often replace incision by delicate lines -of paint, provide garments with white crosses, animals with white spots -and white belly-stripe, and ornaments with white details: in its earlier -period it also extends the white surfaces, which it still places on the -ground of the clay at times, from women and linen chitons to men, horses -and dogs, and becomes as parallel to the Corinthian style with this -contrast of colouring as with its wide-necked broad-bellied form of -amphora. - -The latest wares of the colony of Daphne (abandoned in 560 B.C.) show -the transition to the rendering of folds of drapery, which takes the -place of the old parti-coloured surfaces in the group of vases which -took its rise about the middle of the century. In this later group, to -which a series of ‘lebetes’ with topers, satyrs, centaurs, and battle -scenes is an obvious introductory link, and which culminates in two -amphorae at Munich (Figs. 76 and 78) and one in Castle Ashby, there -enters into the old style varied, free and easy, broadly even laxly -rendered, a peculiar severity and discipline. The three chief specimens, -necked amphorae with the continuous scene preferred by the East, are -more defined and elastic in shape, more finished in shape and colour, -more ornamental and elaborate in the rendering of the figures, than was -the case with the earlier style. The conclusion which naturally suggests -itself, that this new spirit came from the West and the Chalkidian-Attic -region, is confirmed by the ornaments. Beside the Ionic looped and -plaited bands, leaf and bud friezes, and the continuous tendrils (Fig. -76), come the double rays, the Western palmette and lotus system; and -when the painter scatters animals among the ornaments (Fig. 76), he -follows old Ionic tradition, but the hare and the hedgehog with the -ostrich riders of the Castle Ashby amphora are of Corinthian origin -(Fig. 66). In the treatment of the figure, the meeting of Eastern vigour -and Western severity makes as charming an effect as the genuinely Ionic -and very decorative composition; the scene of a Munich amphora arranged -round a centre (Fig. 77) with the cunning Hermes, who creeping up on - -[Illustration: PLATE XL. - -Fig. 77. HERMES STEALS THE COW IO FROM THE GIANT ARGOS. FROM AN IONIC -AMPHORA.] - -[Illustration: PLATE XLI. - -Fig. 78. CENTAURS HUNTING: FROM THE SAME AMPHORA AS FIG. 77.] - -tip-toe steals away the fair cow Io from the sleeping giant Argos, and -the picture of the Centaurs hunting on the reverse (Fig. 78) are full of -ornamental vigour and at the same time full of fresh observation. The -left hand of the giant shows a new study of nature compared with the -old-fashioned right of Hermes and left of the front Centaur; in the -giant the artist is struggling to represent the anatomy, and the mantle -of Hermes plainly falls in layers, in contrast with the absence of folds -in the chiton. - -The new impetus, which even expressed itself in exportation to Italy, -could not save the Klazomenian manufactory from the preponderance of its -Attic rival; it is at the same time its end. Not that the East Ionic -decorative tendencies formed a blind alley; the combination with western -technique ensured its continued life. But Asia Minor, which at this time -fell into the hands of the Persians, was not a suitable soil for -continued production. Athens seized not only the exportation but the -entire production. The arrival at Athens of East Ionic artists is -reflected not merely in the names of the vase-painters. When on the jug -of Kolchos and the Attic vases, typical Eastern principles of -composition crop up, when Nikosthenes introduces an East Ionic shape of -amphora (Fig. 104), when the red-figured technique coming into existence -on Klazomenian sarcophagi conquers the Attic workshops, when on early -red-figure kylikes the same decorative tendencies which prevailed in the -East assert themselves, there can be no question of an extinction of -East Ionic art, but only of a re-birth in Athens, and a baptism with -Attic spirit. - -About on a level with the Castle Ashby group is another East Ionic -class, also only known through export to Italy, the ‘Caeretan hydriae,’ -so-called from the place where they were mostly found (amphorae and -kraters being also represented), which are usually attributed to South -East Ionia. The developed vase-shapes, the completed black figure -technique, which has a wash under the white and uses incision freely -even for outlines, and the decoration, which has got beyond the animal -style, make their late origin certain, and the agreement with Ephesian -sculpture of about 550 B.C., expressed in treatment of hair, converging -mantle folds and the graded edges of the drapery, clinches the matter. -When in spite of that these vases stick fast to the system of contrast -in colour, that agrees with an expressed preference for gay decoration -such as from the days of the Naukratis vases South East Ionia loved. The -‘Caeretan’ painter actually enhances this colour preference, in that he -varies the colour of the male body from black to dark red, bright yellow -and white and similarly alternates the colour of hair and clothes. He -gives the same motley effect to the ornamentation, which shows plainly -its descent from the old Rhodian in its broad lotus and palmette system, -its rosettes, hook-crosses, and spiral-crosses ornamenting the neck, and -also reveals East Ionic freedom in natural myrtle branches and -ivy-tendrils, in bucrania with festoons and in interspersed animals. The -animal world too, with its fallow deer, lions, griffins, winged horses, -and winged bulls, is characteristic of the East and the neighbourhood of -Asia. These animals have long ceased to play their heraldic part, though -on the reverse of the vase two may face each other in symmetrical -correspondence; they are rather by choice included in hunting scenes. -The traditional tendency finds a refuge, if anywhere, in the figure -scenes. In heraldic scenes of battle, in the horse-taming ‘runner with -bent knee,’ in Satyr and Nymph running to meet each other, it asserts -itself: but the living interest makes one forget the ornamental scheme. -Lively drastic description is the strong point of the ‘Caeretan’ -painter. His broadly treated scenes of hunting, fighting, and wrestling, -the fine delineations - -[Illustration: PLATE XLII. - -Fig. 79. HERAKLES SLAYS BUSIRIS AND HIS FOLLOWERS: FROM A CÆRETAN -HYDRIA. - -_From Furtwängler-Reichhold, Griechische Vasenmalerei._ - -Fig. 80. SPARTAN KYLIX.] - -[Illustration: PLATE XLIII. - -Fig. 81. HERAKLES BRINGS CERBERUS TO EURYSTHEUS: CÆRETAN HYDRIA.] - -of Satyr life, of the Heraklean legend, of Hermes and his theft of the -kine, of the drunk and lame Hephaistos, of Europa carried by the bull -over the sea, leave nothing to be desired in the way of original -invention, healthy vigour, and naive vividness, and in their aversion to -the typical and abstract they are diametrically opposed to Attic -painting. The stocky, strong man Herakles with the curly hair who -dispatches the inhospitable Pharaoh, Busiris, and his cowardly throng -(Fig. 79), or who with the hound of hell frightens the Argive king into -a wine jar (Fig. 81), are cabinet pictures of vigorous humour. The local -colouring is also unmistakeable. The altar with volute profiles is an -East Ionic architectural shape, the knowledge of the Egyptian and black -races, of Egyptian priestly dress, of monkeys, can only have been -obtained in Africa; the origin of the Busiris legend is only conceivable -in the neighbourhood of the kingdom of the Pharaohs. Thus though the -Caeretan vases found a local continuation in Etruria, because of this -local colouring one cannot imagine them made by Ionian colonists in -Caere. - -On the other hand one may assume origin on Etruscan soil for another -class of East Ionic style, only known from Etruria, called ‘Pontic,’ as -having been wrongly localized on the Black Sea. The Asiatic-Ionian -origin of the style is based on the vase shapes as on the choice, -technique, types and application of the ornamental and animal -decoration; and also the figures, the lines of Tritons and Nereids, -riders and Scythians, heralds and Centaurs, and the legendary scenes, -which are often under ornamental influence (Figs. 82 and 83) in -execution and application, point to the same source. The ‘Pontic’ -painters actually enrich our knowledge of East Ionic decorative motives -by a series of combined lotus, palmettes, volutes, maeanders, by net -patterns, leaf-friezes, etc., by a plentiful selection of animals, -which includes the marine Centaur, with the Asiatic man-bull, and is -fond of lines of guinea-fowls. But on the whole the class is very -provincial and cannot be regarded as a clear source of evidence. It is -questionable, whether obstinate persistence in stripe decoration, only -reluctantly giving way to the picture field, would have been possible in -the mother-country well on in the 6th century. The style is visibly -departing further from its Greek starting point. Vases which represent -Lanuvian Juno (B.M. Cat. II. p. 66) or Etruscan winged demons, show in -subject what the style of itself betrays. - -Two classes with scanty decoration, fixed as East Greek by many finds, -can only be named for completeness sake; one, the ‘Bucchero’ ware long -known in Etruria, which perhaps originated in Aeolis and which owes its -black lustre not to glaze colour but to impregnation with charcoal and -to polishing; the other, the ware with a great extension in South Asia -Minor and Italy, either unadorned, or only decorated with stripes, which -give important conclusions as to the development of vase-shapes. - -The East Greek manner took the place of the Corinthian in Italy at the -beginning of the 7th century. This revolution is less connected with -importation than with the immigration of Ionic artists. But even the new -current is more and more open to the influence of the ever-spreading -Attic importation, which in the East and West not merely captures the -market but also forces production under its spell. - -Before we pass to this victorious fabric, we must once more return to -Peloponnesus, to a fabric standing in isolation and of marked -peculiarity, the Spartan. Excavations at Sparta show the transition to -the black-figured style, such as took place elsewhere about the end of -the 7th century. Corinth seems to have set the example for this -transition; - -[Illustration: PLATE XLIV. - -Figs. 82 & 83. PARIS AND HIS HERD; PRIAM AND HERMES LEAD HERA, ATHENA -AND APHRODITE BEFORE PARIS: FROM A PONTIC AMPHORA. - -_From Furtwängler-Reichhold, Griechische Vasenmalerei._] - -at all events Corinthian elements, _e.g._ riders with birds for -space-filling in the black-figured style give this indication, though -the conservative retention of the white slip and the inconsistent -rendering of the male eye clearly distinguish it from Corinthian. It -becomes really tangible to us at the period, when exportation properly -begins, at a time which already puts a black wash under imposed white -and with the shapes takes us further along into the 6th century. The -ware for exportation, which spread far over the mainland to Naukratis -and Samos as well as to Etruria, has given us only a few big vases, -finely decorative works, which are very conservative in their adornment. -The earliest of them is a Paris ‘lebes’ with heraldically arranged -animal-frieze and a frieze of figures above it, in which pot-bellied -topers are placed between the Troilos story and a Centaur battle; two -volute kraters and two hydriae, by their shapes, cannot be much later. -Broad tongues adorn shoulder and foot, the rays are doubled, to -Geometric zig-zag and hooked bands are added upright arched friezes of -lotus and pomegranate, continuous branches, and the lotus and palmette -pattern; the animal friezes have types of their own and do not avoid the -processional order not ordinarily favoured in the West. Even the larger -vases found in actual Spartan sanctuaries are almost entirely decorative -and show little of the figure painting coming in so vigorously in other -manufactories. - -A compensation for this is offered by the number of kylikes preserved, -which in the 6th century, as in East Ionia, Corinth and Athens, so also -in Sparta, gradually pass into the high-stemmed shape with offset rim -(Fig. 80). The outsides of these kylikes are adorned only in a few -earlier specimens with antithetic or processional animal friezes, -otherwise only with the simple or net-like pomegranate pattern, with -lotus leaves and rays; from the handles proceed palmettes on their -sides. The figures are entirely confined to the interior, which much -more commonly than in other manufactories, rises out of pure -ornamentation or animal decoration to free scenic representations. To be -sure this is often at the expense of the decorative effect. Most scenes -are anything but composed with a view to a round space, and the segments -under the line which marks the level of the ground, often very clumsily -filled with plant and animal ornamentation, the rosettes, filling -flowers, and birds dispersed without meaning about the scene, are always -clumsy old-fashioned compromises between representation and -space-filling. The stock of figures, with which the painter decorates -his interiors, usually more or less at random, is even in its rendering -helpless and antiquated; to make up it preserves its independence and -ease, its primitive solidity; the strong warriors, riders and hunters, -the men carousing with women, the musicians and drinkers, the girls -bathing in the river, are in subject and execution truly Spartan. Beside -the pictures from daily life comes mythology with pot-bellied dancers, -who have not yet, so far as we know, been superseded by Ionic Satyrs, -with Erotes crowning riders and drinkers, and various legendary scenes. - -None of these kylix-pictures breathes the Spartan spirit, the spirit of -the lyric poetry of Sparta, so well as the Berlin vase with the carrying -home of fallen warriors, which is perhaps taken over from a continuous -frieze without any attempt to fit it into the circular field; but even -in this shape has the effect upon us of a funeral march of Kallinos or -Tyrtaios (Fig. 84). But in humorous descriptiveness the Arkesilas vase -(Fig. 85) takes the palm. It is a genre scene, but not this time from -the life of a Spartan citizen, but a travel reminiscence of a painter, -who once in African Cyrene looked on, while the silphion was weighed -under - -[Illustration: PLATE XLV. - -Fig. 84. RETURNING FROM BATTLE: FROM A SPARTAN KYLIX.] - -[Illustration: PLATE XLVI. - -Fig. 85. ARKESILAS OF CYRENE WATCHING THE LADING OF SILPHION: FROM A -SPARTAN KYLIX.] - -the stern eye of Arkesilas, and stowed in the hold of a sailing ship to -be exported. The monkey too, which the painter puts on the yard, he -became acquainted with in Africa; the birds are not meaningless but fly -round the ship; only the lizard is an external addition, and we already -know it to be Corinthian. The life-like picture, which before the -decisive excavations in Sparta was regarded as chief proof of Cyrenaic -origin for this pottery, confirms the result of digging in the shape of -the chair legs, which agree with Spartan reliefs, and in the -inscription, only possible in Sparta. There is an approximate date given -too; for the king, whose portrait we have, reigned about the middle of -the 6th century. With this it agrees that his mantle is divided into -black and red stripes, which, as we saw in the Phineus kylix, comes -before the rendering of folds. - -This conservative style does not show the same keenness as its -contemporaries in rendering folds and developing the knowledge of -anatomy; nor is the need felt for a long time of freeing the field from -filling ornaments or the base segment from animal decoration. The group -of vases which belongs to the second half of the century is especially -marked by the return of the white slip and of polychromy in the -ornamentation. It is only late that the Spartan painters turn to the -rendering of folds and richer body details, really only in a time of -decadence, which diminishes the foot, no longer colours the ornament, -and often avoids the base-segment. The occasional use of pale red -figures painted on a black ground with incised details can only be -explained as a provincial imitation of Attic red-figured technique, with -the superiority of which Sparta cannot even remotely compete. Similar -vases without any figures show the last output of the fabric. - -The only fabric in which the black-figured style completed its life and -exhausted its possibilities, the only one which shows its living force -through the archaic and classic periods, is the Attic. Even at the end -of the 7th century it begins to vie with others. We already saw that -Vurvá vases were exported to East Ionia; the Gorgon lebes of the Louvre -comes from Italy. Etruria now becomes the chief place where Attic and -indeed all black-figured vases are found. The fact that ware made to be -exported to Etruria first gave us the knowledge of Greek vase-painting, -led enquiries on false tracks for a long time in localizing the fabrics, -and even to-day the word ‘vases’ reminds us of the decisive finds on -Italian soil. - -The Attic manufactory is, as we saw, proved not only by the alphabet of -their inscriptions but also by continuous finds in Attica itself. To be -sure, the inequality of production in technique and style obtrudes -itself on us here more than elsewhere, and makes us take fabric in a -wider sense, as a complex of workshops, which turn out at the same time -good and rubbishy ware, traditional and progressive painting, vases with -light or dark-red clay. The Boeotian workshops, without doing them -injustice, we may class with Attic workshops of the second class; in the -6th century, in so far as they do not go on turning out their old bird -kylikes (p. 52), they are only provincial offshoots of Attic industrial -art. The same is the case with Eretria. - -The inequality of Attic ware has yet other reasons. More than other -fabrics the Attic adopted foreign influences. Athens’ central position -between Corinth, Chalkis and the Cyclades, its relations to East Ionia, -led to a penetration of old Attic art traditions with other elements and -to the formation of a new style: the rise of trade and industry enticed -alien painters to settle at Athens, since foreign fabrics had more and -more to give in to Athenian superiority. Thus it is that Corinthian, -Chalkidian, ‘Phineus,’ East Ionic, occasionally even Spartan fabrics - -[Illustration: PLATE XLVII. - -Fig. 86. WEDDING OF PELEUS: FRAGMENTS OF A CAULDRON BY SOPHILOS. - -Fig. 87. ATTIC TRIPOD-VASE.] - -are reflected in the Attic pottery. These reflections give a very varied -air to Attic pottery, but on the other hand help to a dating of its -separate phases. After a period of Corinthian influence follows one with -a strong Chalkidian element, in the eye-kylikes the pattern of ‘Phineus’ -ware is at work, while relations to East Ionic art run along side by -side. - -The group, which one is inclined to make parallel with the red-clay -Corinthian, may be named the ‘Sophilos’ group from the fragments of a -‘lebes’ found on the Acropolis (Fig. 86). In contrast with its immediate -predecessor the Sophilos vase vies in motley effect with Corinthian -ware. Ornament is richly painted; himatia and borders are picked out in -colour, women and linen chitons have a white filling; in the red of the -male face and the varied colouring of the horses the system of -contrasted colours is as plainly exhibited as in the red colouring of -the male breast or of the whole male body on other contemporary vases. -The marriage of Peleus and Thetis is the subject, in a type repeated on -the François vase (Fig. 90), which we see developed on Corinthian -kraters, probably under the influence of the chest of Kypselos. Who -introduced into the scene the Muse in front view playing on the syrinx, -cannot be stated; the lower part of the body in profile is in marked -contrast with this bold front view; that it is of ornamental origin, -perhaps from a double Siren, might be suggested without its being too -venturesome. - -The frieze is framed between a broad lotus and palmette pattern and a -stripe with large animals. Whether the filling ornament has been omitted -from the animal as well as from the figured frieze, in which nothing but -the big lettering reminds us of the old requirement of filling the -space, cannot be ascertained from this specimen; a second vase of the -same painter shows between the animals, which still suggest the Vurvá -style, isolated large rosettes, and other vases of this group make a -palmette flower or bud with stalk project into the field. These isolated -echoes of the old filling ornamentation, influenced by the East like the -gradually appearing friezes of buds and leaves (p. 83) disappear about -the middle of the century; but the animal friezes themselves live on -longer. - -This survival of old decorative tendencies in a new shape appears still -more plainly in other vases of the “Sophilos” period. The amphorae, -which leave a “metope” unpainted to carry their figures or make the -figure field continuous, when they do not cover the whole body with -stripes, have like the Klazomenian on the neck a head, a lotus and -palmette cross, or a circle between zig-zags (the amphora which Dionysos -is dragging on the François vase is of this type), and prefer still to -decorate their stripes and fields with heraldically arranged animals. -The Ionic liberties too, the meaningless compositions, are not -infrequent, just as beside many Corinthian echoes in the friezes of -animals and riders, Ionic patterns often assert themselves in the -drawing and colouring of the animals, and in the shape and decoration of -the vases. The kraters and hydriae which are parallel with the -Corinthian, give the same impression. Of the smaller vases we may select -two hasty compositions, which cannot compare with the fine work of -Sophilos, but in their way help to enlarge our idea of the period. The -Munich tripod-vase (Fig. 87) in the stripe on the rim shows alongside of -the old animal composition two wrestlers of the Corinthian scheme and a -horse race from the same source, the succession of which is interrupted -by a fallen horse just as the animal friezes of contemporary vases -contain fighting animal groups; and a kantharos of Boeotian manufacture -and shape (Fig. 88) over the animal frieze introduces the wild dancers, -who as at Corinth, Chalkis and in East Ionia prepare the way for the -Satyrs. - -[Illustration: PLATE XLVIII. - -Fig. 88. BŒOTIAN KANTHAROS. - -Fig. 89. ARRIVAL OF THESEUS’ SHIP AT DELOS: DETAIL OF THE FRANÇOIS VASE, -FIG. 90. - -_From Furtwängler-Reichhold, Griechische Vasenmalerei._] - -Just as we followed the process in late Corinthian and Chalkidian -workmanship, so in Athens the broad, massive archaic black-figured style -in the shape of the vase and the rendering of the figures passes into -more and more elegant compression and precision; Sophilos is followed by -Klitias. The Florence vase ‘made’ by the potter Ergotimos, ‘painted’ by -Klitias and named after its finder François (Figs. 89 and 90), even in -the boldly rising outline of the body shows the spirit of a new age, and -goes beyond the round-bellied shape of the Gorgon ‘lebes’ as much as the -late Corinthian kraters surpass the Eurytios vase (Fig. 64). Ergotimos -holds the mean between the old round-bellied vase shapes and the more -elegant ones of the Chalkidian best period (p. 77), just as Klitias does -between the figured style of Sophilos and that of Amasis (p. 105); and -as Ergotimos does his best in delicately moulding the shape and gives -the vase a showy appearance with his elongated handle volutes, so in the -figured decoration covering the whole surface and in the incredibly -delicate execution of all details Klitias presents a refinement of the -black-figured style which in its way cannot be surpassed. Potter and -painter here take a step, which secures for Attic pottery the paramount -position for all time. - -The treatment of the procession of the Olympians in honour of the -newly-wedded sea-goddess on the principal frieze is particularly rich. -We have seen that Klitias here utilized an old type. The representative -solemnity required by the subject gives an archaic stamp to this frieze; -in particular the richly adorned festal clothes with patterns that it -almost requires a microscope to see, which bear witness to uncanny -patience and accuracy on the part of the painter, heighten the stiffly -venerable impression. But when compared with Sophilos, Klitias shows a -considerable advance in the rendering of nature. - -For that we must not lay stress on the head of Dionysos in front view, -for the god’s mask-like appearance passed from cult into vase-painting; -but we may point to the diminished heaviness of the figures, the smaller -size of the eye, the division of the himatia into stripes, which here -and there converge like folds, and the reduction in size of the -inscriptions. The other friezes exhibit Klitias as a master of the -delineation of life and movement: the arrival of the ship of Theseus at -Delos (Fig. 89), the hunt of Meleager, the battle with the Centaurs, the -chariot-race, the return of Hephaistos, the adventure of Troilos, and -the delightful frieze on the foot with the battle of dwarfs and cranes; -even the heraldic animal frieze is seized by the same liveliness, for -between the heraldic sphinxes and griffins the animals, now treated in -quite an elegant and concise way, are attacking each other. How much of -these scenes is due to the inventiveness of Klitias and his direct -observation of nature cannot be made out. He has not got the rough -freshness and naturalism of the Ionic painters, but instead a marked -feeling for clear and speaking types; and generally speaking, discipline -and the gift of abstraction seem to have been more characteristic of the -Athenians than of the Ionians, who set more carelessly to work. Perhaps -Klitias got from eastern masters the interruption of the heraldry in the -animal frieze by fighting groups; and at any rate the Satyrs who -accompany the drunken Hephaistos come from the East into Attic pottery. - -In the technique of the figures, the old style is worthily putting forth -its last efforts; the white is still put direct on the clay, the man’s -face is coloured red, black horse alternates with white. But with the -perfection of the clay and the black used in painting, and the minute -detail of incised lines, a new feeling for colour is brought in, which -leads away from the old motley effect; the masters of the - -[Illustration: PLATE XLIX. - -Fig. 90. - -KRATER BY KLITIAS AND ERGOTIMOS: “THE FRANÇOIS VASE.” - -_From Furtwängler-Reichhold, Griechische Vasenmalerei._] - -François vase themselves in their later works go over to the new system, -which paints a ground for the white and gives up red in the male body, a -system which, perhaps, other less thorough artists had already set -going. - -The chariot-race for a prize on the neck of the François vase introduces -us to an old and popular contest, which according to tradition -Pisistratus replaced by other games, when in 566 B.C. he reformed the -Panathenaea. At the same time he must have erected a new image of Athena -on the Acropolis, which, in opposition to the old conception, (p. 66) -still followed by the François vase, represented the goddess in full -armour. For on the prize vases, which were given to the victors full of -precious oil and labelled ‘one of the prizes from the city of Athens’ -(τῶν Άθήνηθεν ἄθλων), Athena always appears as a fighting warrior, just -as the poet Stesichoros and paintings of the time of Sophilos had made -her leap from the head of Zeus. The oldest of these Panathenaic amphorae -(an idea of their shape is given by Fig. 101, a later specimen of about -520 B.C.) shows on the obverse the new type of Athena in the making, and -on the reverse the chariot-race which was now becoming infrequent. Since -this vase adheres closely to the Sophilos group in style and especially -in the animal decoration of the neck, but on the other hand already has -a painted ground for white, it will not be possible to move the François -vase and the transition to the later technique away from the sixties of -the 6th century. - -The group of kraters, lebetes, hydriae, amphorae and other vases, which -immediately adheres to the François vase, usually, in so far as it is -not interrupted by marked individualities, is described by the -antiquated name ‘Tyrrhenian,’ derived from the finds in Etruria. The -conservative and often mechanical character of these vases does not -conceal the progressive elements. The vases assume the more slender -egg-shaped form known to us from Chalkis, the old neck ornament of the -amphorae (p. 96) is replaced by lotus and palmette. White colour is -regularly placed on black ground; Herakles is often equipped with the -lion’s skin; Athena with at any rate helmet and spear; in place of the -old-fashioned burlesque dancers and naked women come Satyrs and Maenads. -But of improvements in observation of nature this second-class group has -hardly any to show. It lives on the achievements of great masters, on -Corinthian traditions, and eastern influences. The frieze amphorae, -which continue alongside of the amphorae with picture field, vie with -the François vase in the accumulation of figured friezes; only in the -lower stripe they economize in figure scenes by using lines of lotus and -palmettes and animals. Thus their general appearance is still very like -the Vurvá vases, the Gorgon lebes and many vases of the Sophilos period. -The traditions of the 7th century end in this mechanical group; the -great masters of the second third of the century bring, perhaps from -Chalkis, new vase types and new kinds of decoration. - -The transition may first be followed in the Kylix, which happily can be -traced in its development by many signed specimens. The firm of -Ergotimos produces a cup with knobbed handles and no set-off for the -rim, the interior picture of which is framed by tongue pattern, thus a -kylix of the type known to us from Corinth and Chalkis; on the outside -the Satyr is still loosely connected with drinkers of the old type, and -has thus not yet been associated with Dionysos and the Maenads. This -type of kylix shews marked Chalkidian influence, especially in later -specimens like that of Boston (Fig. 92), on which Circe (painted white -over black) hands to the companions of Odysseus the fatal potion and so -brings about her own abrupt end. Series of branches and buds, probably -also the dog in front view (p. 81) - -[Illustration: PLATE L. - -Fig. 91. ‘LITTLE MASTER’ KYLIX. - -Fig. 92. ATTIC KYLIX WITH KNOB-HANDLES.] - -and much in the style of the figures come from the neighbouring fabric. -This Chalkidian influence is to be traced on a second type of kylix -belonging to this period, that with off-set rim, (not the one in Circe’s -hand), which for a time carelessly draws its figures over the junction, -but finally makes a clean cut between handle frieze and rim ornament: -the rim is _e.g._ decorated with a branch or painted black, the handle -frieze bears figures or the artist’s signature in neat letters between -the palmettes proceeding from the handles. The masters of the François -vase themselves took this step forward; in Naukratis and the interior of -Asia Minor signed specimens have been found, speaking documents of the -popularity of the fine Attic ware in the East, which help to explain the -alteration of the Ionic style (p. 86). - -The workshop of Ergotimos passed to his son Eucheiros (B.M. Cat. ii., p. -221), who, like the sons of Nearchos, Ergoteles and Tleson (B.M. Cat. -ii., p. 222) is found among the so-called ‘little masters,’ the makers -of dedicated high-stemmed cups, who, with special pride, and probably -also for decorative reasons, put their names on their products. More -than twenty makers’ names, among them those of Exekias, Pamphaios, -Charitaios, Hischylos, and Nikosthenes, have been handed down to us on -these vases, an important piece of evidence for the vigour of Attic -production in the generation after Klitias and Ergotimos. These masters -preserve the division between handle and rim stripes, even when the rim -is not marked off from the body. As with Klitias, the handle stripe -bears the master’s inscription or a drinking motto; in this case the -representation, consisting of neat miniature figures or a female head -drawn in fine outline, moves into the upper stripe (Fig. 91). Side by -side with that, the painting of the rim black and decoration of the -handle stripe with figures are very common. In the figures decorative -tendencies, betokening intention rather than convention, assert -themselves. The interior picture often consists of the Gorgon’s mask, or -a figure to fill the space to fit the circle; the outside often bears -meaningless compositions (heraldic animals, winged creatures, runners, -riders, men wrapped in cloaks), out of which develop scenes of hunting -and pursuit, chariot-races, and cock-fights; but also mythological -scenes and vigorous battle pictures with many figures occur. When such -scenes are still flanked by heraldic animals, in this case primitive -traditions are consciously retained. - -On the Munich kylix (Fig. 91) the painter in the inscription praises the -beauty of Kalistanthe. More commonly fair boys are praised, a practice -which continues on vases for a century, the explanation being supplied -by the erotic scenes represented from the later time of Klitias. Those -celebrated are seldom to be regarded as the favourites of the -vase-painters themselves, but generally sons of the best society, for -whom there was a furore. This worship of beauty is of use to the -historian, for many of the _Kaloi_ are great persons with established -dates, and anyhow the common love-name puts all vases which bear it into -a short period of time; for the bloom of beauty lasts not more than a -decade. - -If the kylikes of the ‘little masters’ last to the beginning of the -red-figured style (p. 109), the eye-cups go a good bit beyond this -limit. The type must have been brought to Athens from the ‘Phineus’ -manufactory (p. 80) in the later period of the ‘little masters’; and -perhaps the Ionian Amasis, who has left a fine specimen with a figure -holding a branch between the eyes, had much to do with this -naturalization. Certainly the Attic artists never rival the swelling -shapes and vigorous life of their prototypes. With this type the outside -begins again to be treated as a decorative unit - -[Illustration: PLATE LI. - -Fig. 93. DIONYSOS: INTERIOR OF AN EYE KYLIX BY EXEKIAS.] - -without division, an arrangement of which the red-figured style makes -almost exclusive use. The interior is generally not more richly -decorated than by the ‘little masters.’ When Exekias on one vase adorns -the whole interior surface with a wonderful idyll, the giver of the vine -in a sailing boat with dolphins leaping round him, this is quite an -exception (Fig. 93): that the ground is painted brick-red, is quite -unique. - -The names Ergotimos and Klitias, Exekias and Amasis, Charitaios, -Pamphaios and Nikosthenes show that the manufacture of kylikes was by no -means a separate speciality, and that it may be simply due to accident -if certain firms producing larger vases do not recur among the ‘little -masters.’ - -The larger masterpieces naturally show the progress of the style much -more plainly than the conservative Tyrrhenian ware and the kylikes. We -noticed above, that single specimens, which stand out markedly from the -ordinary ware of the period, attach themselves to the François vase. The -master of a fine lebes from the Acropolis showing Ionic influence, who -occasionally still colours the male face red, probably emigrated from -the East like his contemporaries Kolchos and Lydos. Like Klitias, the -masters prefer to cover garments with rich patterns rather than to -render folds: they relieve the monotony of white chitons by vertical -strokes, and divide the surfaces of cloaks into stripes. This division -does not yet attain any effect of depth. But when Nearchos, the father -of two ‘little masters’ (pp. 101 and 112), divides the short male chiton -also by wavy lines into black and red stripes, he has already in his -mind the rendering of folds, and Kolchos grades the ends of cloaks with -clear folds. This emancipation from the old superficiality, which in the -period of the ‘little masters’ leads to the emergence of the ‘fold’ -style in the works of Amasis and Exekias, must now be exhibited in a -selection of amphorae and hydriae in connection with the change of -vase-shapes and decoration. - -We begin with the big-bellied amphora, which at the end of the 7th -century we saw reserve a square field and decorate it with horses’ or -women’s heads, and which in the period of Sophilos begins to put an -upper border of ornament on its figure-field, which is often adorned -with animals. Fine specimens of the Klitias period, which banish the -animal ornament into a lower frieze or give it up altogether, show an -obvious change in shape, in that the handles, instead of standing off -like ears, are drawn up perpendicularly, while the body of the vase is -to some degree tightened. Vases like that of Taleides with the slaying -of the Minotaur, or like the unsigned Iliupersis vase in Berlin (Fig. -94) with the gay alternate palmette pattern and the old heavy foot of -the François vase, belong to this class. On both vases standing figures -form an extension of an animated central group, but the Iliupersis -master makes a better whole of his triptych than Taleides, who merely -juxtaposes the heroes’ conflict and the spectators: alongside of the -furious Neoptolemos, who has already laid one Trojan low and is on the -point of despatching the aged king and his grandson with one blow, -Menelaos threatens his faithless wife, whom he has won back, while on -the other side Priam’s entreaties are supported by wife and daughter: a -picture rich in content, of true archaic vividness and talkativeness, -excellently drawn and composed. It is not only the way in which white is -used that takes one beyond the François vase; the rosette ornamentation -of the garments is quite typical of the following period (Fig. 92); the -wavy striping of the short chiton and the simple grading of the cloak -reminds us of Nearchos and Kolchos, and whether Klitias could have -characterized a dying man as well as our master is at least - -[Illustration: PLATE LII. - -Fig. 94. ILIUPERSIS: FROM AN ATTIC AMPHORA.] - -[Illustration: PLATE LIII. - -Fig. 95. SATYRS AT THE WINE-PRESS: FROM AN ATTIC AMPHORA.] - -questionable. - -The current of Chalkidian influence, which sets in vigorously about this -time, seizes also the body amphora. The arched foot becomes more -plate-like, a clay-ring unites it with the end of the body, which is -more taper; the Chalkidian wreath of buds (Fig. 71) for a time commonly -takes the place of the palmette and lotus band, which becomes scantier -and more monotonous, and as at Chalkis, a figure frieze (Fig. 95) may -occupy this space. The type belongs to the earlier ‘little master’ -period. From Exekias, who was himself in his off-hours a ‘little -master,’ comes a specimen in the Louvre with the praise of the fair -Stesias, a youthful work of this worthy successor of Klitias, on which -Chalkidian patterns are very finely worked out, without the slightest -attempt at the rendering of folds. - -The unsigned Würzburg amphora of Amasis (Fig. 95), like all the vases of -this master peculiar in shape and of perfect technique, is more -progressive and probably somewhat later than the Stesias amphora of -Exekias: the cloak of Dionysos on the obverse is laid in three folds; on -the reverse the shaggy satyrs, stylized in a quite un-Attic way, who to -the sound of the flute are gathering, pressing, and distributing into -jars the beloved gift of the god, show the same connection with the -‘Phineus’ factory as the eye kylix (p. 102). The technical perfection -and the fine decorative effect of Amasis’ vases are only surpassed by a -wonderful contemporary group, which is usually called the ‘affected’ -class, because it consciously sacrifices the living representation of -the figure world to the ornamental general effect. - -The over-elegant works of Exekias, the ‘affected’ vases, the minute -‘little master’ kylikes represent the last refinement of the silhouette -style, its last trump-card. The future belonged not to the masters of -the adorned surface, but to the delineators of the surface in movement. -In the last phase of the body amphora prior to the red-figured style, in -which the band-like handles and the narrower neck are drawn higher and -the stiff palmette pattern becomes canonical, Exekias in his riper -development passes over to rich rendering of folds; on the harmonious -amphora in Rome, which no longer praises Stesias but Onetorides (Fig. -96) he exhibits in the cloaks of the players the last possibilities of -his subtle technique with an almost incredible devotion to detail, but -even these fine clothes have their edges overlapping, and on the reverse -of the vase, besides foldless patterned clothes, appear cloaks richly -animated with folds. The amphora must be of the same period as the eye -kylix (Fig. 93); not only the feeling as a whole but the dark-red -chitons in layers on the outside point to the late activity of the -master. - -The necked amphorae complete our idea of the two great masters. The old -heavy shapes with the arched foot take up Chalkidian influences and go -through the same processes of change, which we know from Chalkis. The -old-fashioned decoration with animal stripes is retained by the -Tyrrhenian vases, that with continuous pictorial field by the ‘affected’ -group for a time, till the later Chalkidian type conquers the whole -field (Fig. 69). Amasis seems not merely to have introduced it into -Athens but also to have created the pretty variation with the flat -shoulder with a rectangular turn and the wide handles running out below -into tendrils: for these continuous tendrils are old property of his -eastern home. The handle ornament separates off the pictures on the two -sides and liberates the figures from the constraints of a frieze. The -Paris amphora with Dionysos and the interesting group of embracing -Maenads (Fig. 98) is closely connected with the Würzburg amphora (Fig. -95) not only by the double rays, which Amasis loves, - -[Illustration: PLATE LIV. - -Fig. 96. ACHILLES AND AIAS PLAYING AT DRAUGHTS: FROM AN AMPHORA BY -EXEKIAS. - -Fig. 97. ATTIC NECKED AMPHORA WITH SATYR-MASK.] - -[Illustration: PLATE LV. - -Fig. 98. - -NECKED AMPHORA WITH THE SIGNATURE OF THE POTTER AMASIS. - -Fig. 99. DETAIL FROM THE INTERIOR OF A CAULDRON BY EXEKIAS.] - -by the grouping, which in the other vase is transferred without change -to satyrs, by the beginning of himation folds, but also by many details -of the very individual style. The aversion to white colour is -interesting. On both vases the linen chiton of the god is left black; -the Paris maenads are rendered in outline only: it is but seldom that -the reaction against the old parti-coloured scheme goes so far. -Parallels are provided by the Athena of Kolchos’ jug and the girl-busts -of the ‘little masters’ (Fig. 91). Both the other amphorae of Amasis are -more advanced. The shape of the vase is slimmer, the decoration simpler, -the relation of figures to space freer. The bodies are no longer the -thick-set broad-thighed type of the older style: the eye plays no longer -so prominent a part. The short chiton is not merely laid in black and -red layers but even provided with a quite naturally waving border: the -artist thus far surpasses the standard of Exekias and even of early -red-figured masters. He need not on that account be put very late, for -the simple Ionic masters of the Caeretan hydriae, perhaps his -countrymen, made this border before him. This Ionism is in favour of -Amasis, who signs only as potter, having himself painted all his vases, -and having played the pioneer not only in vase shapes and decoration but -also in figure style. Exekias (in whose works the unity of the whole is -often expressly emphasized by the inscription ‘made and painted me’) -does not attack the problem of folds so boldly. Even on the two fine -necked amphorae, which praise the favourite of his later period, as a -good Athenian he lays the drapery in neatly-ironed layers. - -The slender Munich necked amphora (Fig. 97) goes still further beyond -the Chalkidian models (Fig. 69). The neck ornament connects it with the -late works of Exekias, the eye decoration with the kylix type of the -same time, and even the space-filling vine-tendrils, which perhaps -Amasis introduced from the ‘Phineus’ factory into Attic painting, are a -favourite motive in later times. The satyr mask, like the Dionysos mask, -probably passed from cult into decorative painting; if Klitias -represents Dionysos, and Amasis the satyr, with head in front view, the -influence of these masks is not to be mistaken. - -We have not yet named the most productive amphora painter. Nikosthenes -supplied some fine examples of the method of Amasis, some of which like -the Exekias lebes (Fig. 99) on the body of the vase help the fine black -colour to exclusive possession; besides a quantity of notably metallic -amphorae with band handles, the production of which in quantities seems -to be his speciality, though other masters adopted and modified the -shape (Fig. 104). The often very hasty and conservative decoration of -these vases cannot come from one painter. Nikosthenes, of whom almost a -hundred signed vases are extant (kraters, ‘Amasis’ and ‘Nikosthenes’ -amphorae, ‘little master’ kylikes, eye kylikes, neatly painted jugs with -white ground, and red-figured vases) must have employed a series of -painters. The only one who gives his name, Epiktetos, we shall hear of -later. - -The hydria too, which often shows its use in pretty fountain scenes -(Fig. 106), alters its form. As in Chalkis (p. 76) the egg-shaped type -of the Klitias period, shown _e.g._ on the Troilos frieze of the -François vase, gradually gives way to the later type with picture field -and horizontal, separately adorned shoulder. Timagoras, a contemporary -of Exekias, still prefers a broad-bellied shape and does not form handle -and foot as elegantly as Pamphaios. His Paris vase with the later type -of the contest with Triton (p. 67), on which he still paints the -monster’s face red for colour contrast, is very important for chronology -by a declaration of love for - -[Illustration: PLATE LVI. - -Fig. 100. FROM A LATE ATTIC BLACK-FIGURED HYDRIA.] - -Andokides, a young colleague and later chief master of the early -red-figured style. If Timagoras is the predecessor of Andokides, -Pamphaios is his rival. His slim London hydria with the slightly bent up -handles, on which the vine of Dionysos overgrows the whole picture, and -the dark-red striping of the cloak assumes pure fold-character, falls -into the red-figured period, which after the second third of the century -begins to compete with the old technique, and to which Pamphaios himself -opens his workshop. The new style did not abruptly drive out the old: -from the time of its predominance perhaps more black-figured vases are -preserved than from the preceding period. In the leading studios for a -time both techniques were practised side by side, often by the same -painters. The balance inclined quickly to the side of the style which -painted the background and not the figure, and after the transitional -time of Andokides and Pamphaios only inferior talents experiment in the -old silhouette style. But though driven out of the leading position, -this old style was still busy and productive at least to the beginning -of the 5th century: especially necked amphorae and hydriae, which the -new style did not zealously affect, keep the tradition. - -At this later date the shapes become elongated, the lotus and palmette -ornament loses colour, sweep and consistency. The hydriae bend their -handles more steeply upwards: the row of palmettes enclosed by tendrils -is preferred as framing ornament. The figures move more freely in the -space, and are also more hastily drawn; in particular the rendering of -folds becomes regular. The red stripes, which are painted quite -meaninglessly between the folds, no longer remind us that they once -indicated sewed parts of garments; white rosettes and red spots serve as -surface patterns, a red stroke as border. On the fine hydria in Berlin -(Fig. 100) probably of Euphronios’ time, which, it is true, is quite -unlike its class, the old round formation of the eye actually -approximates to the natural oval. - -The links with the red-figured style, especially common love names like -Hipparchos, Pedieus, and Leagros, help us to date this style. Thus the -circumscribed row of palmettes seems to appear in the early Leagros -period (p. 114); the Berlin vase is thus moved to the end of the -century, like a group of pelikai with charming genre scenes and a series -of other vases of red-figured shape (p. 119). - -In the new century the black-figured production gradually dies away. -Apart from the Panathenaic amphorae (p. 99) and other vases, which for -ritual reasons remain conservative, only trifling small ware keeps up -the old style. The prize vases can be followed as votive offerings on -the Acropolis, and in exported specimens down into the 4th century, -where they are dated to the year by archons’ names (one of 313 B.C. has -been found); even in late times they do not give up the old type of -Athena, but elongate it to agree with the slender proportions of the -vase, and combine other later features with the old picture. - -In Boeotia black-figured painting, alongside of primitive attempts to -imitate Attic red-figured vases, continued as long in the burlesque -parodies of myth of the so-called ‘Kabirion’ vases; black painting on a -light ground is found in the early Hellenistic ‘Hadra vases’ made at -Alexandria, and similar late phenomena occur in various localities. -These late black-figured vases show real progress in nothing but the -development of a loose freely moving vegetable ornamentation: but this -progress depended on pure brush-technique, not on the old incised -style. - -[Illustration: PLATE LVII. - -Fig. 101. ATTIC VASE, LATE BLACK-FIGURED STYLE. - -Fig. 102. PANATHENAIC AMPHORA.] - - - - -CHAPTER V. - -THE RED-FIGURED STYLE IN THE ARCHAIC PERIOD - - -How the sudden change of technique took place, how the idea suggested -itself, that instead of painting silhouettes on the ground of the clay, -figures drawn in outline should be left free to contrast with the black -background, is not yet explained. The inversion of the colour system is -not new. From Ionic, Corinthian, Attic, and Boeotian workshops we know -of light painting on a dark ground, and a plate from Thera has light -figures in added paint and a black background. But this is entirely -different from the red-figured style, which uses the ground of the clay -for its figures. Only late Klazomenian sarcophagi can be regarded as its -earlier stages, and it is quite possible that the new technique was -naturalized in Athens by East Ionic painters. - -At any rate the idea fell on fruitful soil. The archaic mixture of -colour was long worn out, the simplification of colour-effect, by -increasing limitation to the two values, clay and glaze, was in full -swing, and the effect of big glazed surfaces had been tried in the -body-amphorae and in vessels completely covered with black colour (p. -108). But more than all else the revolution in figure-drawing which was -now setting in strong in the great art was striving for expression in -vase painting. A successor of the Athenian Eumares, Kimon of Kleonai, -according to Pliny, invented oblique views and foreshortening, rescued -the body from archaic stiffness, furnished limbs with joints, for the -first time rendered veins, and represented folds and swellings of -drapery; he must belong to the last third of the century; for his -predecessor is father of the sculptor Antenor, who worked, it is true, -for the old potter Nearchos (p. 103) but also for the young Athenian -Republic (510 B.C.) Though Pliny, after the fashion of ancient -historians, is too fond of asserting ‘inventions,’ this much is clear, -that after Eumares there was a breach with tradition in Athenian -painting, and that here, for the first time in the history of the world, -bonds were once for all burst, which hitherto had hardly been touched. -Naturally the vase-painters could not be left behind; but since the old -silhouette incised style was quite unsuited for the new liberties of -drawing, but on the other hand outline drawing on light ground ran -counter to the decorative purposes of the vases which used silhouettes, -the idea of inverting the colour-scheme must have been received with -enthusiasm among the vase-painters. - -The new invention unites the enhanced freedom of movement of the -draughtsman with a decorative effect which is not inferior to that of -the old style. The warm red inner surface of the figures, which the -painter can animate by the brilliant sweeping ‘relief lines,’ splendidly -contrasts with the wonderful black lustre of the ground. The new style -too is a silhouette style, and uses the ornamental effect of the -figures. But it contains quite different possibilities, and of itself -moves away from the types of the old style and towards an individual -treatment of the figures. The contrast between the black silhouette of -the man and the white-filled figure of the woman falls away, also the -circular shape of the man’s eye connected with the incised style, the -gay dresses, and much besides. The red-figured style enters into the -characteristic working out of the human body and its parts, the study of -drapery folds and the rendering of movement in a living way. But growing -naturalism is in true Greek fashion contemporaneous with adherence to -types; formulæ once invented are retained and repeated by different -masters, until new discoveries by bolder spirits outdo them and put them -in the shade. In the archaic red-figured style this vigorous struggle -between formula and bold observation of nature offers an exciting -spectacle. Step by step the ground is won from the archaic style, till -after a struggle of about fifty years, about the time of the Persian -wars, a free rendering of nature is attained, which then lays the -foundation for the formation of a new and higher series of types, for -the style of Polygnotos and Phidias. - -This period may be regarded as the culminating point of vase-painting -altogether, if emphasis is laid on the intensity of the line, and on the -intimate relation between artist and technique. In it artistic craft had -its greatest triumphs and created the most perfect synthesis between -ornamental types and delightful naturalism. Potters and painters were -never again so conscious of their performances as in this period, never -again felt themselves so much as rival individualities. Certainly the -old black-figured masters, Timonidas, Klitias, Exekias and Amasis, -cannot be denied personal expression. But the red-figured conquerors of -nature, each of whom in his own way breaks through the old system of -type, produce a far more differentiated effect. It is also a result of -the fresh current, which now enters vase-painting, that we can more than -ever follow the development of these individualities. The signatures, -which are preserved in such number from no other period, give an -insight, not merely into the manifold production, but also into the -growth of personalities and their struggle for ever new possibilities. - -Among the signatures we must distinguish between potters and painters. -We must never assume that the ‘maker’ is responsible for the adornment -of his vases; it looks rather as if the painters had lived pretty -independently and been employed first by one and then by another -proprietor of a workshop. What it means, that now the potter signs, now -the painter, sometimes both together, and that many strong personalities -do not sign at all, cannot be made out in the present state of our -knowledge. - -The love-names help to fix the chronology of the vases still more than -in the black-figured style. We saw that Andokides was _kalos_, when -Timagoras’ workshop was in full swing. When he is a full-blown painter, -the ‘Epiktetan’ kylikes and an Oxford plate celebrate the youths -Stesagoras, Hipparchos and Miltiades. If Miltiades is the victor of -Marathon, Stesagoras his brother, and Hipparchos the archon of 496 B.C., -their ephebic years and these vases must be fixed about 520 B.C. -Memnon’s youth must fall about the same time; for one of the many -kylikes with his name, like a lekythos signed by Gales, shows the bard -Anakreon, who was entertained by the Pisistratidae, 522-514 B.C. The -painters Phintias and Euthymides praise the youth Megakles; now on a -votive pinax from the Acropolis this name was replaced later by another, -and it is a plausible guess to connect this erasure with the banishment -of a Megakles in 486 B.C., who about twenty-five years before might have -deserved these praises. The youthful beauty of Leagros is in the time of -the vase-painter Euphronios, and anyhow earlier than the destruction of -Miletos, in which a Leagros vase was shattered: the Leagros who fell in -battle as Strategos 465 B.C., must have been an ephebus in the last -decade of the 6th century. His son Glaukon, who was Strategos in 440 -B.C., dates the vases which celebrate him with his father’s name a -generation later, so about 470 B.C. The only established fact from finds -does not contradict the ‘Leagros’ chronology; in the tumulus of - -[Illustration: PLATE LVIII. - -Fig. 103. ATHENA AND HERAKLES: FROM AN AMPHORA IN THE STYLE OF THE -ANDOKIDES PAINTER. - -_From Furtwängler-Reichhold, Griechische Vasenmalerei._] - -Marathon (490 B.C.) the latest offering was a sherd of the kylix type -with simple maeander (c.p. Fig. 115) which appears in the later -‘Leagros’ period. The Acropolis finds, which are prior to the Persian -conflagration (480 B.C.), have not yet been sorted and sifted. - -According to this chronology the red-figured style must have made its -entry into Athens about fifty years before the Persian War, with which -it is customary to close the archaic period of Greek art, _i.e._, about -530 B.C. - -We saw above, that the workshops of Pamphaios and Nikosthenes open their -doors to it: neither master breaks abruptly with the old style, which -often asserts itself together with the new on the same vase. This -contrast of the two styles is made clear by no one more obviously than -the potter Andokides on his fine amphorae, which are directly in line of -succession with Exekias; never is the essence of both styles so plain as -when on such a vase the same subject is treated by the same painter’s -hand in the old and in the new technique. The unsigned, but certainly -Andokidean Munich amphora (Fig. 103) is not one of these instances in -spite of the similarity of the subject; its black-figured Herakles scene -is certainly by a different hand from its red-figured, in which the same -delicate and original artist as on most of the signed works (the -‘Andokides’ painter) expresses himself. If this painter is identical -with the potter, Andokides was not merely in shape and decoration of his -vases but also as draughtsman a pupil and successor of Exekias. He has -inherited the feeling for elegant detailed drawing and for richly -ornamented garments. In the Herakles scene we see the same joy in a -harmonious picture as in the sea-voyage of Exekias (Fig. 93) and the -game of draughts (Fig. 96), which he actually copied; and the same -intense absorption in the subject makes all other works of Andokides -charming. In much the drawing reminds us of the teacher, particularly -the flat layers of drapery, which already resolve the chitons into rich -folds and end in the border more naturally, but do not attain the -life-like waving of the late works of Amasis. The filling of the space -with vine branches also is more in accord with the old technique than -the new. But the more advanced pupil is shown not merely by the renewed -study of the body, which appears in the drawing of hand and foot, in -pointed elbow and knee, and in Herakles’ leg shown through the drapery, -but also by the more compact composition and the individual treatment of -the heads. - -The entirely red-figured vases by Andokides are not necessarily older -than the black-figured: the latest vase signed by him (in Madrid) still -combines both techniques. It must have been decorated by a third artist -less archaic in feeling, who also worked for the potter firm of Menon. -The Menon painter adds to the Andokidean framing patterns the row of -circumscribed palmettes, though not yet in their final shape, and -approximates in style to the young Euphronios and his rival Euthymides. -The ornament of the Madrid vase does not seem to have been devised as -border pattern. It must be derived from the tendril-composition, which -on red-figured vases takes the place of the Amasis ornament (Fig. 98) -and is in great favour as handle-ornament for kylikes. On the fine -amphora in Paris, which the transitional master Pamphaios made after the -patterns of Nikosthenes, and Oltos probably painted with scenes of -hetairai and satyrs (Fig. 104), it appears as handle decoration together -with an equally novel calyx and leaf ornament, which adorns the -shoulder. The free decorative method of composition, which can be traced -back through Amasis (p. 105) and Klazomenai to the Fikellura style (p. -61) is exactly in the manner of the red-figured style, which not only -shakes off the frieze constraint but - -[Illustration: PLATE LIX. - -Fig. 104. HETAIRA; SATYR AND MAENAD: AMPHORA WITH THE SIGNATURE OF THE -POTTER PAMPHAIOS.] - -[Illustration: Fig. 105. - -THE ARMING OF HECTOR: FROM AN AMPHORA BY EUTHYMIDES. - -_From Furtwängler-Reichhold, Griechische Vasenmalerei._] - -[Illustration: PLATE LX. - -Fig. 106. FOUNTAIN: FROM A RED-FIGURED HYDRIA BY HYPSIS.] - -even the pictorial field: on the amphora, which the same painter -executed for the potter Euxitheos, he discards the old frame, which now -only separates black from black, and his example is followed sooner or -later by other artists. - -It is true that the painter Euthymides, the contemporary of the young -Euphronios and gifted continuer of Andokides’ body amphorae, keeps the -frame on his vases, which are now purely red-figured. But he not only -helps the later palmette ornament to triumph over the old bands of -zig-zags and buds (Fig. 105) but enhances the unity of effect by -beginning to leave the ornament in the colour of the clay and to shape -it in red-figured manner, as was the case straight away with the handle -decoration (Fig. 104). Almost as a rule he puts in his field three -standing figures of large dimensions, in which he demonstrates to the -eye his progress in observation of nature. Under the garments bodies -begin to move, and their anatomy male and female is studied by the -artists of this period with tireless zeal. - -The fruits of this study appear on the Munich Priam vase (Fig. 105), in -the drawing of hands, in the differentiated pose of the legs, in the -bold front view of the foot, still more on the reverse in the bendings -and turnings of three naked drunken men with full indication of muscles. -Certainly the limitations of his eye for perspective appear, when the -further from sight of the two chest muscles comes under the nearer one, -when the woman’s breast is turned outwards, when the transition of the -breast seen in front view to the legs in profile is not made clear, and -the head of the man walking to the right and looking round in archaic -fashion is still turned in profile to the left; the artist, it is true, -breaks through the old scheme of the figure in one place, but his -avoidance of lines shewing depth is so strong that he prefers to put -those parts of the body, of whose front and back he is conscious, simply -one beside the other. But it is just the contrast between the bold -attempt at progress on the painter’s part and the perspective -constraint, the feeling of conflict; if you like, that gives their charm -to the vase-paintings of this period. - -Though the bodies are no longer as previously packed into the garments, -and drapery is rather subordinate to the treatment of the body, studies -in drapery also have been very fruitful. The contrast between the heavy -woollen himation, and the more delicate crinkles of the linen chiton is -plainly marked. The depths of the folds in the cloak, according as they -are close together or more freely distributed, are given in gradation by -thicker or thinner lines of colour; the chiton folds join in separate -masses and run out in the expressive so-called swallow-tail borders, -which divide the outline of the drapery much more rhythmically than the -layered borders of the ‘Andokides’ painter. - -Chalkidian painters had already rendered scenes of arming. But those of -Euthymides mark a great psychological advance. The paternal anxiety of -the bald-pated old man and the nervousness of the mother’s pet making -his first début are finely expressed. The feeling for everyday life, in -an age which suddenly recognized in common things a world of artistic -problems, was keener than ever. What cared Euthymides about his subject -“Hector’s departure”? He drew a scene from his neighbour’s door and -added heroic names. - -His best work the master left unsigned, the Munich amphora, on which -Theseus under protest from Helen (note the thumb) with gay impudence -carries off Korone (Fig. 107). The head of the ravisher, which gets its -increased liveliness not merely from the shifting of the pupil from the -centre inwards, may serve as example of the newly-conquered -possibilities of expression, and the extract from the picture may give -an idea of the charm of archaic art. - -[Illustration: PLATE LXI. - -Fig. 107. THE RAPE OF KORONE BY THESEUS; FROM AN AMPHORA BY EUTHYMIDES. - -Fig. 108. DRUNKEN SATYR: FROM AN ARCHAIC RED-FIGURED KYLIX.] - -[Illustration: PLATE LXII. - -Fig. 109. RHYTON WITH RED-FIGURED DECORATION ON THE NECK.] - -The Bonn hydria of Euthymides with the praise of Megakles shows a quite -new type of vase; in contrast to the offset black-figured shape, it -unites neck and body in an elegant curve, so that the old-fashioned -division of the decoration into two or three parts disappears. The same -fair youth is praised by his gifted colleague Phintias, whom we see from -his beginnings in the workshop of Deiniades expanding more and more -brilliantly, on a London hydria of the old shape; but the gracefully -moving boys, who in the picture while drawing water are addressed by an -older man, already carry water-pots of both types in their hands, and -Phintias himself occasionally adopted the later shape; as does the -painter Hypsis with the pretty well-house scene (Fig. 106), on which -again both vase-shapes are represented; for the girl, who is just -putting the cushion on her head, has placed a pitcher of the old type -under the lion’s head spout from which the water is pouring, while her -companion is lifting a hydria of the new shape already well-filled from -the satyr’s mouth. The intensive study of the female form is seen in -Oltos’ picture of a hetaira (Fig. 104) and in many other vase-paintings -of the period, and even when they represent girls clothed, the painters -are unwilling to sacrifice their newly-won knowledge to external -probability, and even under the drapery help the charm of the body -outline to assert itself, as Hypsis does on his well-scene (Fig. 106). - -Like the Bonn hydria, the works of Euthymides witness to the emergence -of new vase-types, the Turin psykter and the unsigned Vienna pelike. An -idea may be obtained of the psykter (which is regarded as a cooling -vessel) by the later example in Rome (Fig. 104) in which the narrower -cylindrical lower part is however missing. The pelike is a kind of small -wineskin-shaped amphora. Even the transitional artist Pamphaios gave -Oltos a stamnos (cp. Fig. 146) to paint, and the early red-figured -artist Smikros painted one. The calyx-krater, a kind of enlarged cup -with low-set handles, seems to appear in the Leagros period (Fig. 113). -The remarkable vases in the shape of a head (Figs. 101, 109) in a -smaller form served for the reception of unguents and oil even in -Protocorinthian and early Ionic styles, but seem only at this time to -become popular as bumpers in the service of the drinker, and the pretty -heads of negroes and girls with the love-names Epilykos and Leagros form -the beginning of the development, which culminates in Sotades (p. 142). - -The other drinking vessels, the kantharos, which is brandished by Duris’ -satyrs (Fig. 122), the skyphos, from which Euphronios’ hetairai are -drinking (Fig. 112) are only continuations and refinements of old shapes -(Figs. 88, 43). The favourite drinking utensil is naturally the kylix, -which even for the “little master” period in fabrication and exportation -is at the head of the vases, and now not only receives its finest -finish, but also through the abundance of specimens preserved and the -richness of inscriptions renders the most valuable service to the -historian. - -On the Andokides amphora (Fig. 103), the psykters of Euphronios (Fig. -112), and Duris (Fig. 122), the shape with offset rim appears. This late -specimen of the old type must have been more popular than the extant -painted examples lead one to suppose, but was certainly far less usual -than the shape with a single curve, which the red-figured style took -over with the eye kylikes and in the most delicate way simplified and -animated. - -The history of these kylikes, like that of the big-bellied amphorae, -begins with examples of mixed technique. Andokides actually extended his -principle of the black-figured and red-figured halves of the vase to -kylikes: but happily this procedure was extremely rare. In the early - -[Illustration: PLATE LXIII. - -Fig. 110. DRUNKEN LYRE-PLAYER: FROM A KYLIX BY SKYTHES.] - -[Illustration: PLATE LXIV. - -Fig. 111. FLUTE-PLAYER AND DANCING GIRL: FROM A KYLIX BY EPIKTETOS. - -_From Furtwängler-Reichhold, Griechische Vasenmalerei._] - -kylikes the mixture of technique is rather to be found in the fact, that -in the interior the black-figured picture, which with its circle in the -colour of the clay contrasted so decoratively with the black-covered -edge, was still retained, while outside between the eyes, and gradually -also in their place, figures were inserted in the colour of the ground. -This procedure is _e.g._ connected with the names of the potters -Nikosthenes, Pamphaios, Hischylos and Chelis, and with the painters’ -names Epiktetos and Psiax, and with the love-name Memnon. When Skythes -paints the outside in black-figured technique and the inside in -red-figured of a kylix (unsigned) dedicated to Epilykos, this is, like -the procedure of Andokides, an exception, and a conscious divergence -from the traditional relation. The transition to purely red-figured -technique compels the artists to separate the interior from the black -surroundings. Up to the Leagros period this separation is effected by a -narrow ring in the ground of the clay, which they leave uncovered by -black paint: on the kylikes the eye-decoration is gradually dropped. If -one takes the signatures of the masters of this group together with -those of the transitional kylikes and the contemporary big vases, the -number of the painters’ names comes to about a dozen, while the potters -are far more numerous; and thus in view of the mere accident of -preservation and the anonymity of other palpable artistic personalities -one can form an idea of the vigorous life, which then reigned in the -Kerameikos, the quarter of Athens where the potters lived. - -It is interesting to follow the process by which the early red-figured -kylikes from very decorative beginnings rise to even greater freedom and -objectivity. Even the insertion of the figure between the eyes, which -comes from the Ionic ‘Phineus’ fabric, is meaningless and a mere -decorative scheme; and also, when he gives up the decoration with eyes, -the painter likes to put one or three figures as central motive between -the broad ornaments of the handles. Even the exterior pictures with -numerous figures, which occur in the late period of the potter Pamphaios -and in the full activity of the painter Oltos, are by no means free from -decorative schematism; arrangement in a row and heraldry still play a -part, and occasionally, as in the ‘little master’ style, winged horses -or sirens take the centre of the representation. Even the old Ionic -scheme of the horse-holding runner revives on a kylix of this group. - -The interior too at first is still under strong decorative constraint. - -Quite in contrast to the early Attic kylikes of the Klitias period and -to the Spartan, which often take no regard to the space in the -representation, the figure always adapts itself to the circular form, -extends its masses to fit the space, often presses head and feet against -the edge, and gives the interior a decorative and very animated -appearance, to some extent comparable to a rotating wheel. One imagines -the painters had studied and sketched the bending, crouching, running, -twisting, and turning of handsome youths often only to get motives for -their interior scenes. Skythes, the master of fine black-figured votive -tablets on the Acropolis, who liked to dedicate his kylikes to his young -colleague the painter Epilykos, in the interior of the kylix at Rome -(Fig. 110) goes beyond this stage, and fills the space more loosely with -the lyre held at right angles and the freely arranged knotted stick of -his singing boy; and Epiktetos, who painted his wonderfully subtle -figures in a long working life for various potters, Nikosthenes, -Hischylos, Pamphaios, Python and Pistoxenos, in the late Python kylix in -London (Fig. 111), under the influence of later masters, goes over to -the two figure picture. One can see from their bodies that they are -prior to the time of Euphronios and Euthymides. In his - -[Illustration: PLATE LXV. - -Fig. 112. HETAIRAI: FROM A PSYKTER BY EUPHRONIOS. - -_From Furtwängler-Reichhold, Griechische Vasenmalerei._] - -[Illustration: PLATE LXVI. - -Fig. 113. HERAKLES AND ANTAIOS: FROM A KALYX-KRATER BY EUPHRONIOS. - -_From Furtwängler-Reichhold, Griechische Vasenmalerei._] - -vigorous lyre-player, whom we may identify with his favourite Epilykos, -Skythes does almost too much in the rendering of the chest-muscles and -makes the abdominal muscles seen in front view, and rendered in thinned -varnish, press against them in an impossible way; Epiktetos, who is for -a while disinclined for interior drawing, turns the breasts of his -dancing women outwards, and in their space-filling movement reminds of -old types. But the master of a Munich eye kylix has side-views of -shields, and draws a kneeling leg in back view, so that the sole is -visible and the calf almost disappears. Back views of the human body are -given also in kylikes from the workshop of Kachrylion, which takes us -over into the Leagros period just like the works of Phintias and Oltos, -whom we already know. For Phintias soon outdoes the theft of the tripod -of his early Deiniades kylix on a fine amphora at Corneto, and Oltos, -the painter of the Pamphaios amphora and most of the Memnon kylikes, -passes from the praise of Memnon to that of Leagros on the fine kylikes -from Euxitheos’ workshop. - -The Leagros period might be described as the culminating point of the -dramatic tension prevailing in the older red-figured style. In it -Phintias breaks the archaic fetters of his youth, Euthymides creates his -decisive works, and we see the development of the great master -Euphronios, whom Euthymides boasts to have beaten on the Priam amphora -(Fig. 105). All the three vases, which bear the signature of Euphronios -as painter, praise the fair Leagros, _i.e._ the Munich Geryon kylix, -which appeared in Kachrylion’s workshop, which, like the Leagros kylikes -of Oltos, has under the exterior scenes a band of circumscribed -palmettes in the colour of the ground, the Petrograd psykter with the -hetairai (Fig. 112) and the Paris calyx-krater with Herakles and Antaios -(Fig. 113). - -The harmonious indoors scene of the psykter in its quite neat and sure -drawing of the nude sets the finishing touch to the studies of Epiktetos -(Fig. 111), Oltos (Fig. 104), and their contemporaries, and does the -subject more justice than many pictures more advanced in perspective. -The leg of the thirsty Palaisto disappearing in the background recurs in -the Antaios scene, where the painter fully exhibits his anatomical -knowledge, and shows as little regard for the concealing skin as other -painters do for female drapery; the inner drawing is not even as usual -put on in thinner colour. The composition of the scene is not very -flexible. The struggle of the muscular but quite civilized Herakles with -the rugged giant (whose right hand is a masterpiece of drawing) is the -true theme, while the horrified women, who are almost old-fashioned in -their drawing, serve like club, quiver and lion’s skin, only as filling -for the triangular wrestling scheme, which was probably borrowed. A band -of palmettes, and another of palmette and lotus in the red-figured -style, vigorously frame the bold picture. The reverse of the Antaios -krater shows the artist well on the way to represent correctly the -course of the abdominal muscles from the chest to the pudenda, and thus -to give a convincing expression to the old distortion of the body. -Unfortunately we cannot further follow Euphronios on this path in the -light of signed vases, for the ten kylikes with his name, which fill the -gap between the youth of Leagros and that of his son Glaukon, were only -signed by him as potter and some of them were demonstrably handed over -to others to paint. That a progressive artist like Euphronios in this -whole period never again took brush in hand, is more than improbable, -and among the unsigned vases of the succeeding period his more mature -works must be represented. - -The kylix made in the workshop of Sosias (Fig. 114) has been variously -ascribed to Euphronios and to the painter - -[Illustration: PLATE LXVII. - -Fig. 114. ACHILLES AND PATROKLOS: FROM A KYLIX WITH THE SIGNATURE OF THE -POTTER SOSIAS.] - -[Illustration: PLATE LXVIII. - -Fig. 115. BOY CHASING A HARE: RED-FIGURED KYLIX.] - -Peithinos: the remarkable work of art must rather belong to an unknown -third person (the ‘Sosias’ painter). The composition filling the space -suggests the old style, especially the pressing of the foot against the -rim: but the boldly fore-shortened right leg of Patroklos with the foot -viewed from above, known also to Euthymides and to Phintias in his -maturity, the full development of the bunches of drapery and the -swallow-tail edges, and above all the extremely bold attempt to open the -corner of the eye, lead us into the critical phase of the archaic -red-figured painting, the Leagros period. Only an intense study of the -model could lead this master so far from the beaten track; that with the -added names of Achilles and Patroklos he came into conflict with the -Iliad, mattered little to him. Furthermore on the Sosias vase a -technical innovation comes seriously into play, which is gradually -adopted by Euphronios (Fig. 112), Euthymides (Fig. 107), Phintias and -Hypsis (Fig. 106); the outline of the hair is no longer separated from -the black ground by the old hard incised line, but by a narrow line of -the colour of the ground. Within the kylikes, which praise the fair -Leagros, a change takes place in the framing of the interior picture; in -place of the ring in the colour of the clay, of which occasionally they -attempt to increase the effect by doubling, comes the maeander in -different varieties, first simple and continuous (Frontispiece and Figs. -108, 115, 126), then ever more frequently in broken up shape (Fig. 116). -The new frame comes _e.g._ on the London kylix, which by the hare-hunt -gives such a natural motive for the space-filling movements of the -running Leagros (Fig. 115). The Leagros of the kylix agrees so exactly -with that of the Antaios krater, that one may ascribe this advance to -Euphronios; for the line of the ground giving the hair outline and the -organic connection of chest and belly are beyond the stage of the krater -in question. - -A further step forward on the part of the same master may probably be -seen in the Boston kylix, which praises both Leagros and Athenodotos -(Fig. 108). Never perhaps was the inmost nature of the satyr so fully -caught as in this fine example: he is squatting on the emptied pointed -amphora and positively breathing out an aroma of wine and wantonness. -His lifelike picture goes far beyond the Antaios krater, and a closely -connected Athenodotos kylix in Athens actually carries this vivacity -into the same subject, the wrestle of Herakles and Antaios. - -If Euphronios thus surpassed himself one may believe him also -responsible for the next step, the ‘Panaitios’ stage, to which it is a -very short distance from the Athenodotos kylikes. To the transition, -that is about the end of the 6th century, belongs the Paris Theseus -kylix, signed by Euphronios as potter but without love-name. The boldly -drawn exterior seems to form the bridge to the style of the ‘Panaitios’ -master, that vigorous painter, perhaps identical with the later -Euphronios, from whose hand comes the London Panaitios kylix with the -signature of Euphronios as potter. The rich and ornamental interior -(Frontispiece) is in a certain contrast with the exterior scenes, and is -so closely connected with the early works of Duris, that we may enquire, -whether Euphronios did not entrust the decoration of the interior to a -talented pupil with a great tendency to elaboration. But perhaps this -contrast is due only to the representative seriousness of the subject. -Young Theseus, in order to receive his rightful position as son of -Poseidon, has gone down to the bottom of the sea, and in the presence of -Athena is greeted by Amphitrite. - -The time of Panaitios and that of Chairestratos, which partly coincides -with it, remove many hard features of the Leagros stage. The turnings of -bodies lose all violence: in the frontal stand of both feet, and in the -oblique view of - -[Illustration: PLATE LXIX. - -Fig. 116. AFTER THE BANQUET: FROM A KYLIX WITH THE SIGNATURE OF THE -POTTER BRYGOS.] - -[Illustration: PLATE LXX. - -Fig. 117. A MAENAD IN FRENZY: FROM AN ARCHAIC RED-FIGURED POINTED -AMPHORA.] - -the head, new possibilities are indicated. The pupil is now always in -the inner corner of the eye, though the bold experiment of the ‘Sosias’ -painter is not generally adopted. Above all a new current enters the -drapery. The divisions of the chiton with patterns of folds gives way to -a more natural and uniform distribution: the play of folds at the edges -of the cloaks is generally emphasized by a thick pair of lines. These -tendencies become complete in the later Chairestratos and the Hippodamas -period, with which we get down to about 480 B.C. - -The masters of this later date deal now quite freely and easily with the -achievements of their predecessors: the old rude vigour gives way to -ornamental elegance or swinging liveliness. The relation of figures to -space also alters: the forms move more freely, are less confined by -space, and are surrounded with air. Thus the free decoration of the -Oltos amphora (Fig. 104) asserts itself once more. The small so-called -‘Nolan’ necked amphorae, and the popular amphorae of Panathenaic shape, -only reserve one figure or group in the black surface. The fine and -elegant effect of this ‘Nolan’ decoration often attacks other types of -vases, to which is now added the bell-krater (cp. Fig. 123 centre). - -Of these later masters, the one who keeps most the massiveness and -dignity of the older style is the ‘Kleophrades’ painter, who grew up in -the Leagros period and has furnished one of his works with the potter’s -signature of Kleophrades, son of Amasis. As an example of his style let -us take the Munich pointed amphora belonging about to the Panaitios -period: the passionate frenzy of frantic Maenads has never been more -perfectly caught than in the back-tossed head of the rushing waver of -the thyrsos (Fig. 117). The ‘Kleophrades’ painter was a pupil of -Euthymides: but for a number of his contemporaries it can be shown that -they won their spurs in the celebrated studio of Euphronios. It is true -that we only have evidence in an inscription of activity in the service -of Euphronios for one painter denoted by name, and malicious accident -has deprived us of all but the last four letters of his name. Onesimos, -as his name is usually restored, combines in simple composition on his -kylix riders and boys leading horses, and thus is the predecessor of the -‘Horse’ master. On the other hand the master of the Troilos kylix in -Perugia, which Euphronios also signed as potter (the ‘Perugia’ master) -inherited more of the fire and dramatic vigour of the ‘Panaitios’ -master. His Munich Centaur kylix is worthy of the great teacher, and the -interior (Fig. 126) is equally perfect as filling the space and as -rendering animated life. The shield in profile view, which shows -indication of shading, the Centaur’s head, and especially the grandiose -foreshortening of the horse-body, point beyond the Panaitios period. - -To this group must have belonged the ‘Brygos’ painter, who in earlier -works, _e.g._, in the clearly and vigorously composed Iliupersis in -Paris (Figs. 118 and 119), is still strongly inspired by the -achievements of the Perugia master, and later develops the fiery vigour -of his youthful period in ever more delicate and elegant shapes. He is -fond of shaded shields, hairy bodies and cloaks adorned with spots. -Perhaps the finest work of his maturity is the interior of the Würzburg -kylix (Fig. 116), on which a young Athenian, supported by the hands of a -girl, relieves himself of the wine he has imbibed too freely. The -picture not only in its free adaptation to space and in the sure hand -with which the movement of body and drapery is rendered, but especially -in the fine animation of the expression, is a worthy last note of -archaic art. The unsigned Vienna skyphos of the Brygos painter (Fig. -120) must be placed between the Paris and Würzburg kylikes. It also -gives a - -[Illustration: PLATE LXXI. - -Figs. 118 & 119. THE SACK OF TROY: FROM A KYLIX WITH THE SIGNATURE OF -THE POTTER BRYGOS. - -_From Furtwängler-Reichhold, Griechische Vasenmalerei._] - -[Illustration: PLATE LXXII. - -Fig. 120. SKYPHOS WITH THE RANSOMING OF HECTOR. - -Fig. 121. THESEUS DESERTS THE SLEEPING ARIADNE (?): FROM THE EXTERIOR OF -A KYLIX.] - -fine picture full of life: Achilles has placed under the table the dead -body of Hector, which he daily drags round the walls of Troy, is -reclining at his meal, and talking to his charming cup-bearer, as if he -did not hear the appeal of the old Priam for his son’s corpse and did -not see the presents brought in by the attendants. The clear dramatic -disposition is as much in the manner of the master as the free pose of -the cup-bearer with weight on one leg, and the delicate psychological -animation of the countenances. The kylix in Corneto (Fig. 121), the -outside of which has been interpreted as the secret departure of Theseus -from the sleeping Ariadne, is at least closely related to the works of -the ‘Brygos’ painter. In the workshop of Euphronios the youthful Duris -must also have been a pupil. For his earliest work, the Vienna kylix, -with an arming scene, painted for the potter Python, is quite under the -influence of the Panaitios master, and can only be recognized as the -work of a painter of another tendency by the greater elegance and -slimness of the figures, and the more schematic composition. - -In the kylikes with the names of Panaitios and Chairestratos, it can -still be traced to some extent, how out of the docile imitator of the -Panaitios master comes the real Duris, the routine draughtsman, who puts -down his elegant figures with almost academic objectivity and who cares -more for the uniform decorative effect of his neat silhouettes than for -complicated compositions of life. The pair of Berlin kylikes, perhaps -made by Kleophrades, and the kantharos, on which Duris signs as potter -and painter, show as plainly as possible this gradual realization of -independence, and also pass more and more, though not finally, from the -artificial fold packets of the chiton to a uniform system of wavy lines. -How entirely Duris altered his style even during the Chairestratos -period, is shown _e.g._ by the Vienna kylix, painted for Python with the -contest for the Arms of Achilles, which not merely in its more elegant -shape, but also in drawing and the relation of the figures to the space, -is widely distant from the arming scene on a kylix of the same workshop. -The fine Eos kylix in the Louvre, which Duris painted for the potter -Kalliades and dedicated to Hermogenes, the London Theseus kylix, and -probably also the fine London psykter with the love-name Aristagoras -(Fig. 122) belong to this period. The satyrs of this psykter, who -instead of joining in procession play all kinds of unprofitable tricks -behind the back of the leader of the chorus, need only be compared with -their fellows on the Boston kylix, and one can recognize at once the -routine hand and slighter artistic endowment of the master, but also the -more elegant and easy draughtsmanship of the later time. - -In the later period of the artist (about 480 B.C.) we must put along -with their congeners the kylikes with the love-name Hippodamas, the -finest of which is the Berlin school vase (Fig. 124). In the drapery of -the teachers and pupils, who are here assembled in the class-room, -nothing of archaic stiffness remains. If even the Leagros period had -made the cloak folds come to a natural end, they now bend round their -ends and pave the way for the “drapery eyes,” which in the next period -so naturally characterize the packings in the material. - -The great development, which is evidenced for Duris by his many -signatures, suggests considerations. We ask whether other masters too -did not fundamentally change, and whether _e.g._ Euphronios did not -develop out of the ‘Leagros’ stage to that of the ‘Panaitios’ master and -the Perugia painter, and on his later works include the painter’s -signature in that of the potter’s firm, _i.e._ whether works like the -Munich Centauromachy (Fig. 126) do not represent a late phase of this -gifted painter, who can be proved to have lived into the ‘Glaukon’ -period. - -[Illustration: PLATE LXXIII. - -Fig. 122. HERMES AND SATYRS: FROM A PSYKTER BY DURIS. - -_From Furtwängler-Reichhold, Griechische Vasenmalerei._] - -[Illustration: PLATE LXXIV. - -Fig. 123. DRUNKEN MAENADS: FROM A KYLIX WITH THE SIGNATURE OF THE POTTER -HIERON.] - -Of the other painters of this period, we must content ourselves with -naming three, the Berlin master, Makron, and the Bronze-Foundry master. -The ‘master of the Berlin amphora’ even surpasses Duris in elegance, and -is fond of introducing his slim elastic figures in ‘Nolan’ style, _i.e._ -isolated on a dark background. - -Makron, who painted almost all the vases on which Hieron’s signature as -potter is found, studied by choice in the Palaestra, where boys -performed gymnastics and were addressed by older men. A Berlin kylix -(Fig. 123), like several works of his hand, introduces us to Bacchic -revelry, an excited chorus of drunken and vigorously gesticulating -maenads, whose bodies are not concealed by the rustling pomp of folds: -the ‘kolpos’ or fold of the chiton drawn up through the belt, which -Brygos also is fond of, is more transparent than the upper and lower -parts of the complicated garment. These figures in which all is life, -movement and expression, should be compared with those of the Andokides -painter or even those of Euphronios, in order to realize, how in these -few decades the liberation from archaic stiffness and adherence to type -was almost tempestuously accomplished. - -We take leave of the archaic styles with the charming picture of an -anonymous painter, the ‘master of the bronze foundry,’ who on a Berlin -kylix (Fig. 125) transplants us into the interior of the workshop of a -sculptor in bronze. A workman is poking the oven, another is handling -the bellows, the assistant looks on, the master is working at a statue, -not yet fully put together: so intimate is the contact with life in this -scene. Everything interested the vase-painters of this time equally; -they have spread out before us human life, got their material from every -quarter, and wherever they laid hold of it, it was interesting. How -closely they came to grips with their subject, how they tried to be -clear, and to give a lively picture of what they saw, and how under -their hands the object at once changed into the artistic type, the human -body into the clearly defined study of the nude, the garment into a -thing of decorative life, and an assemblage of human beings into an -ornamental figure composition! - -[Illustration: PLATE LXXV. - -Fig. 124. SCHOOL-SCENE: FROM A KYLIX BY DURIS. - -Fig. 125. BRONZE-FOUNDRY: FROM A KYLIX WITH THE “LOVE-NAME” OF -DIOGENES.] - -[Illustration: PLATE LXXVI - -Fig. 126. CENTAUROMACY: FROM A RED-FIGURED KYLIX.] - - - - -CHAPTER VI. - -THE STYLE OF POLYGNOTOS AND PHEIDIAS - - -In the studio of Euphronios the so-called ‘Horse master’ painted a kylix -now in Berlin with the praise of the fair Glaukon. The outside is -decorated in the usual red-figured technique with lively scenes of -riders and stables, the inside (a youth and a girl) is rendered in -outline, with coloured interior lines and surfaces, on the ground -covered with a white slip. The progress in the rendering of bodies and -drapery is unmistakeable; the oblique view of the female breast is -almost correctly caught, the material of the cloaks is packed in lost -folds with bent-round end. But even the whole conception of the figures -goes far beyond the archaic art of the pre-Persian time: the proportions -and faces have a touch of greatness, beside which all preceding art -seems narrow and embarrassed. The simplification of the profile and the -severe long lower part of the face essentially determine one’s -impression of the heads. A new period is announcing itself: a time of -progressive naturalism and at the same time a period of noble greatness -of style and exalted types. The statements of the ancients as to the -great painting of this age, of Polygnotos and his company, lay stress on -these qualities; not only the progress, which relieves the rendering of -body and garment of the old stiffness, but the great Ethos of these -paintings is praised. So with good reason we call the vase painting of -the post-Persian generation Polygnotan, even if at the beginning of this -epoch the influence of the great art is not felt so much as at its -culmination. - -The name of Glaukon, which we have met with on the Euphronios kylix of -Berlin, recurs on a series of vases, almost always in the two-line -arrangement, which comes now into vogue, and often in combination with -his father Leagros’ name. Lekythoi, or slender oil-flasks, which now -become the regular offering for graves, and when so employed invariably -use the white-ground technique of the Berlin kylix, afford several -examples of this favourite’s name, which has become the hinge of -vase-chronology. On a Bonn fragment (Fig. 128), which in the older style -has a domestic scene, not one taken from the cemetery, and paints the -flesh in white, a woman is sitting in an arm-chair and putting on a -golden necklace, which the handmaid in front of her has offered in a -box. The face of this woman signifies a new world: the archaic types are -discarded, the old traditions replaced by a quite individual almost -portrait-like conception. The eye, which has hardly any traces of the -old full-view and puts the pupil entirely into the open inner corner, -gives the face a very natural and living effect, it is really looking: -and the hair hanging out from the cap in confusion, the profile not -dominated by any canon of beauty, and the drawing of the hands, show the -painter penetrated by the same effort after truth. It is perhaps an idle -question, what period inaugurates the history of Greek portraiture, -since each innovation taken from the model individualizes the -traditional type; but it is just the vase-paintings of the post-Persian, -Kimonian age, which went further than the later ones in thus -individualizing. The woman of the Glaukon lekythos, the old woman on a -skyphos in Schwerin from the workshop of Pistoxenos (Fig. 127) and on a -loutrophoros in Athens, the head of a warrior from a krater in New York -(Fig. 130) may be taken as symptoms of a very personal portraiture in -the age of Kimon. The effort to get rid of the traditional ideal types -led a series of these - -[Illustration: PLATE LXXVII. - -Fig. 127. OLD WOMAN: FROM A SKYPHOS WITH THE SIGNATURE OF THE POTTER -PISTOXENOS. - -Fig. 128. DETAIL OF A FRAGMENTARY WHITE-GROUND LEKYTHOS.] - -[Illustration: PLATE LXXVIII. - -Fig. 129. APHRODITE ON A GOOSE: FROM A KYLIX WITH WHITE-GROUND INTERIOR. -BEARING THE “LOVE-NAME” OF GLAUKON. - -Fig. 130. WARRIOR: FROM A RED-FIGURED KRATER.] - -masters to recast even the divine figures with a strikingly individual, -coarse and almost common effect. The master of the Boston ‘Eos’ kylix, a -successor of Makron in Hieron’s studio, makes his undistinguished -goddess of the morning be carried off by a spindly street-lad; the -Demeter, who on a Munich hydria attends the departure of Triptolemos, -betrays little of the sacred beauty of the motherly goddess; and other -vase-paintings have almost the effect of conscious caricatures of ideal -types. - -The new possibilities of ‘Physiognomy’ in differentiating character by -the facial type, however, brought the expression of divine nature to its -fullest expansion, and helped not merely to make men more human but also -gods more divine. A London white-ground kylix from Rhodes (Fig. 129) is -connected with the Bonn lekythos and the Berlin kylix of Euphronios by -the common name of Glaukon. The goddess of love, riding through the air -on her sacred bird, the goose, is of more than earthly beauty: her -hands, not only the one with the flower but the unoccupied left hand, -speak the same expressive language as her face and whole form. The -effect of this picture is comparable to that of a song. Now for the -first time the inner kinship of the art of words with that of pictures -presses itself on the observer of works of art. No one will think of -comparing the Geometric style with the Homeric Epic in value of -expression, or the ornamental style of the 7th century with contemporary -Lyric poetry, though one may see a reflection of Anacreontic and ballad -feeling in the art of the later 6th century. But the weight of the -Aeschylean pathos is as little to be mistaken in works of graphic and -plastic art as the Sophoclean glow and pure beauty of line. - -The more delicate animation, which this period could bestow on its -forms, of itself pointed away from archaic loquacity and pleasure in -narration. The genre scene is certainly as old as the historical, and -we have seen that there was no difference of principle. The nearer the -red-figured style came, the more representations of feeling were -combined with representations of action, and towards the end of the -archaic style they are no longer rarities. With the new liberation of -the style, especially with the enlivening of the eye, a different sort -of inward feeling asserts itself. Figures devoid of action, occupied -with themselves or contemplating another figure, are themes which the -painters of lekythoi in particular were never tired of inventing; and in -later times, when the cemetery scenes replaced the domestic ones on -these vases, and the privacy of the indoor scenes was transferred to the -visit to the grave, the harmony of soul between the visitor and the -dead, whose living likeness fancy could not separate from the grave, -often found an unspeakably intimate expression (p. 145). - -The quantity of pictures of ‘pure existence’ does much to determine the -altered aspect presented by post-Persian vase-painting. On the slim -‘Nolan’ amphorae and those with twisted handles, on the calyx-kraters -and the bell-kraters often decorated on the mouth with a branch, on the -‘stamnoi’ and other vases, which are decorated like the ‘Nolan,’ the -slender restful figures heighten the impression of quiet elegance. Thus -the grandeur of the new style at the same time gets a marked decorative -value, a value not without danger for the living rendering of reality. -Greatness is not every man’s affair, and the painters, who only took -over externally the big forms and the lofty simplicity, and could not -fill them with a life of their own, can only rank as decorative artists -and should by the same right be called ‘affected’ as the refined masters -of the Amasis period (p. 106). Even talented painters consciously gave -up to decorative effect the reverses of their vases, which they adorn -with quickly drawn motionless figures wrapped in cloaks. - -[Illustration: PLATE LXXIX. - -Fig. 131. THE DEATH OF AKTAION: FROM A RED-FIGURED KRATER. - -_From Furtwängler-Reichhold, Griechische Vasenmalerei._] - -The three Glaukon representations we have met with till now are pure -pictures of ‘existence.’ The ‘horse’ master dedicated to the same boy -Glaukon a second kylix, the fragments of which, found on the Acropolis, -represent the death of Orpheus at the hands of the Thracian women. The -scheme, if one may speak of such, is in so far old, as the victor moving -to the right attacks an opponent in kneeling position also moving to the -right and looking round; but an infinite nobility is poured over the old -type, and the fight is carried through with dramatic weight, though in -the faces of the fighters the inward excitement is not reflected, as on -later works of the same hand. Yet, as on the Aphrodite kylix (Fig. 129) -the living expression of the eye is already strengthened by the line of -the upper lid. - -In place of the very fragmentary Orpheus kylix, the fight in a -contemporary picture may show the progress, which scenes of dramatic -movement attain in Polygnotan times. The slaying of Aktaion by the -divine huntress Artemis was brought to great effect by the Pan master, -so called from the reverse of the same Boston bell-krater (Fig. 131). In -the stiff folds of the cloak of Artemis this vigorous and original -painter betrays his descent from the archaic style, which can be plainly -followed in his works, always full as they are of dramatic life. -Otherwise there is little archaic in this picture. The long lower part -of the face, which lends the heads their severity, the folds running -themselves out, which assert themselves even in the chiton, the surely -drawn fore-shortened foot of Artemis, the lower legs of Aktaion -disappearing in the background, show the progressive master; the -suggestive effect of the composition, and the urgent language of the -gestures are quite in the spirit of the noble new style. - -With the Centaur psykter in Rome (Fig. 132) we get perhaps beyond the -bloom of Glaukon’s beauty, and what reminds us of old times in the -grotesque movement of the battle scene is probably only individual -failings of the master, which he outweighs by many innovations. The -three-quarters view of the face, the fore-shortening of the shield, the -motive of the falling man seen from behind, are significant of the -struggle with perspective; the bestial lust for battle speaks out of the -eyes of the attackers as does the penetrating pain of the wounded; and -the pathos of the gestures is at least post-archaic. The impression of -this vase is remarkably determined by the experiments in colouring, -which the master undertakes with help of thinned colour: the helmets, -greaves, and hides he has made dark in contrast with the human skin, he -has given an effect of light to the material of the hair of head and -beard, and rounded the horses’ bodies by shading. - -These novelties of the somewhat crude and quaint master are only -intelligible as reflection of a great painting, which struggled with -problems of expression and light, as is expressly testified for the art -of the great Polygnotos and his contemporaries. Naturally at no time -were vase-painters entirely uninfluenced by the achievements of the -great art. But just now in the sixties of the 5th century, this -borrowing made itself felt more than ever, and enticed the vase-painters -often beyond the limits of their branch of art. This comes not only from -the overpowering impression of the great personalities among the -painters of this period, but especially from the fact, that -wall-painting now struck out new bold paths, on which vase-painting -could follow it less than ever. - -Among the vase-pictures, which very strongly echo these new strains, are -the later works of the ‘horse’ master. The interior of the Penthesileia -kylix (Fig. 134) only enclosed by a delicate branch, the master did not -paint as in - -[Illustration: PLATE LXXX. - -Fig. 132. BATTLE WITH CENTAURS: RED-FIGURED PSYKTER. - -Fig. 133. - -TOP-PLAYER: FROM A WHITE-GROUND KYLIX WITH THE SIGNATURE OF THE POTTER -HEGESIBULOS.] - -[Illustration: PLATE LXXXI. - -Fig. 134. ACHILLES KILLS PENTHESILEIA: INTERIOR OF A RED-FIGURED KYLIX. - -_From Furtwängler-Reichhold, Griechische Vasenmalerei._] - -the kylikes of Berlin and Athens on white ground, but he heightens the -red-figured technique by the application of thinned black glaze, by dull -red and light grey surfaces, with brown and white additions, and by -applications of gold. The four figures which are forced into this circle -almost burst the frame, not merely by the disproportion of their tall -forms, but still more by their inner greatness and passion. In the midst -of the battle-field, where the sword rages, and the ground lies full of -corpses, Achilles has overtaken the Amazon queen, and furious with rage, -plunges his sword in her heart: however much her hands and eyes plead -for mercy, it is too late. - -The features of Penthesileia betray more of inner life than those of -Orpheus: and on a second Munich kylix, on which Apollo in presence of Ge -slays her son Tityos, the master has gone a step further in physiognomy. -The three faces are as convincingly graduated in expression as for -example those on the beautiful ‘Lament for the dead,’ by a contemporary -master, in Athens. - -On the big interior of his kylikes (Fig. 134) the ‘horse’ master could -give freer play to his genius than on the exteriors, which, as in the -kylikes of Berlin and Athens, he adorned with pretty scenes from the -stable. The contrast between the great round pictures with their fine -technique, and the lightly sketched exteriors, is so great, that some -have thought of two artists working in the same studio, who divided the -work, so that the ‘horse’ master would be different from the -Penthesileia master; but the white-ground exterior of the Orpheus kylix -seems to build the bridge. It is certainly characteristic that the -exteriors of kylikes in this period no longer tempted talented painters -to such lively compositions, as in the days of the Brygos and Perugia -painters, and that even in the lifetime of the great Euphronios the -paratactic decorative style most consistently prepared by Duris laid -hold of these exteriors. The new style required big surfaces, and the -most faithful reflexions of wall-painting are to be found on large -vases. - -The most famous of these great Polygnotan vases is the Paris -calyx-krater from Orvieto (Fig. 135), the figures of which, apart from -Athena and Herakles, have not yet been certainly identified. From the -expectant attitude of the figures it has been suggested that the picture -represents the start of the Argonauts, or the preparation of the Attic -heroes for the battle of Marathon. The great mythological scene is at -any rate in the manner of the new period, which no longer has the -preference of the ancients for the crisis of action but rather depicts -preparation and after-effect, reflection on the deed accomplished and -rest from action. That a Polygnotan wall-painting preceded the -vase-painting in this psychologically refined conception, may be -regarded as proved. For the figures not only appear in all sorts of bold -foreshortenings, front and side views, not only surprise us by an -abundance of motives, which are quite beyond previous vase-painting, but -also show a series of peculiarities, which are expressly described as -innovations of the great fresco-painter. When the figures of the krater -open their mouths and show their teeth, when the stationary interior -folds, the so-called drapery eyes have shadows painted in them, this can -only be explained as imitation of the great painters, and similarly the -gnashing of teeth and the shading of the horses’ bellies on the Centaur -psykter. The Argonautic krater shows this dependence very strongly in -its composition. Great painting had not only graduated the parts of the -body in deep spatial layers, but transferred this novel deepening to the -arrangement of its groups, distributing the actors over hilly country, -which either elevated - -[Illustration: PLATE LXXXII. - -Fig. 135. THE ARGONAUTS (?). KALIX-KRATER OF POLYGNOTAN PERIOD. - -_From Furtwängler-Reichhold, Griechische Vasenmalerei._] - -the figures of the background or often partly concealed them. It is -clear that an art, which characterized the rounding of shields and -bodies and the recesses of drapery by the distribution of light and -shade, also gave actuality and effect of depth to the landscape by -shading, though in primitive fashion, and a series of ‘Polygnotan’ vases -proves the fact, by making flowers, bushes and plants spring out of the -ground. It is true the painter of the Argonaut krater does not go so -far, but he shows more strikingly than any other vase-painter the -landscape of Polygnotan paintings, which, not forgetting the surface -effect of vase-decoration, he does not shade but only indicates in -outline by the incising tool. That in other ways, too, he altered his -pattern to suit the technique of vase-painting, is proved by the freedom -in the use of colour and perspective, which on other specimens of this -period burst the barriers of vase-painting. - -Both encouraged and warned by such examples, one must look through the -vase-painting of this period for other traces of Polygnotan painting, -especially on vases which agree in subject with the wall-paintings of -which we have accounts, and not only in the freedom named, but also in -the inferiority of the execution to the conception, show of what spirit -they are the offspring. One can never expect copies. The very fact that -exact replicas never occur among the Polygnotan types, shows that the -vase-painters dealt with the borrowed property according to their own -individuality and for their definite purpose. So the two cases we have -selected must be judged individually. The ‘Penthesileia’ master was -probably stimulated to his treatment of the theme by a big Amazon -painting; but the clever painter not merely translated this impulse into -his own brilliant technique and adapted it to his circular field, but -also extended over it his personal great feeling, and translated the -picture into his personal style, so that it has the effect of a natural -continuation of his earlier works. The ‘Argonaut’ master had no concern -with this great ‘Ethos’ or the delicate polychrome technique. He -borrowed more superficially, took an extract from the big scene of his -model in his strong relief-lines, and emphasized the individual -characteristics rather than the dash of the original. In realism, his -bearded hero holding a spear is not inferior to the contemporary warrior -of the New York krater (Fig. 130). Great painting went on tempestuously -developing, and in the next age burst its fetters of colour and space in -a manner which could not but deter even the boldest vase-painter from -imitation, if he were not to shake off every sane regard for the -preservation of his surface-effect. So reflexions of wall-painting on -vases become rarer, and the ‘Polygnotan’ vases remain an episode. - -Naturally there were many vase-painters who did not enter this dangerous -ground: nay, the majority did not do so. With many the avoidance of a -big surface went so far that they divided the outside of a calyx-krater -or big ‘aryballos’ into two friezes and filled them with small figures -in defiance of constructive considerations. Out of the series of these -‘little masters,’ who beside the big-figure painters continued the -traditions of the elegant style, let us mention _e.g._ the painter who -decorated the box signed by the potter Megakles (Figs. 136-7) with -charming scenes from women’s apartments, and the lid with five comic -hares; or the author of the girl plying the top on a white-ground kylix -of the potter Hegesibulos (Fig. 133), a potter who was active as early -as the Leagros period; and especially Sotades, from whose workshop came -not only plastic vases in the shapes of horses, sphinxes, knuckle-bones, -crocodiles devouring negroes, etc., but also white-ground kylikes of -most elegant shape, whose exquisite interiors, like the friezes of -those - -[Illustration: PLATE LXXXIII. - -Figs. 136 & 137. - -LID AND SIDE OF A PYXIS WITH THE SIGNATURE OF THE POTTER MEGAKLES. - -Fig. 138. MAENADS: FROM A RED-FIGURED POINTED AMPHORA.] - -[Illustration: PLATE LXXXIV. - -Fig. 139. POLYNEIKES OFFERS ERIPHYLE THE NECKLACE: FROM A RED-FIGURED -PELIKE. - -_From Furtwängler-Reichhold, Griechische Vasenmalerei._ - -Fig. 140. - -ORPHEUS AMONG THE THRACIANS: FROM A RED-FIGURED KRATER.] - -drinking vessels, lead us to the beginning of the age of Pheidias. - -This transition is also accompanied by some painters’ signatures, which -become rarer, the more the individual performances of vase-painters are -cast in the shade by the great art. The signatures do not present us -with the first artists of the time. Hermonax is somewhat smooth and -tedious, and Polygnotos, the namesake of the great painter, to judge -from the mixed nature of his unoriginal style, must have lived by -borrowing. His pelike from Gela is a Polygnotan vase with an Amazon -scene; on the London stamnos, to be dated about the middle of the -century, advanced and old-fashioned types are combined in an unpleasing -fashion. - -Anonymous masters better represent the transition from Polygnotos to -Pheidias. The master of a krater with a dancing scene in Rome (the -‘Villa Giulia’ master), is not distinguished for temperament and -progressiveness, but is rather a correct and academic individual; but -the neatly drawn scenes of his krater and stamnoi, in the noble bearing -of the figures and the manner in which they gaze at each other, betray -the approach of a new ideal of man. Much more talented is the master, -who on a pointed amphora at Paris combined the wonderful group of two -Maenads (Fig. 138) with a scene of Bacchic revelry, as Amasis did almost -a century before (Fig. 98). The two girls are of truly royal dignity, -like each other in this, but subtly distinguished in expression. The -three-quarter view of the head is almost devoid of harshness, and only -the ladle-shaped under lip connects her with the Polygnotan female -heads. - -How even the drapery becomes a vehicle of expression and every fold -breathes the greatness of the whole picture, may become clearer if we -look at the ‘Eriphyle’ of a pelike at Lecce (Fig. 139), with which we -also pass the middle of the century. This picture must be compared to -the Corinthian Amphiaraos krater (Fig. 66) to see, how in the interval -of 120-130 years the soul of art has changed. The later master -represents not the dramatic culmination of the story but the -psychological climax, when Polyneikes offers to the wife of Amphiaraos -the seductive necklace, for which she will send her husband to death. As -often on vases of this period, two figures stand calmly facing one -another, but they are here united by most delicate psychology; Eriphyle, -simply attired in plain peplos, is full of an inner life which -circulates through her body to the finger-tips. This harmonious union of -a monumental type with intimate feeling is at the beginning of the most -Greek period of Greek art-history, the most human period of the history -of mankind, the age of Pheidias. - -If we name the following decades of the history of vase-painting after -Pheidias, we do not mean that he was in very close relations with the -art of the vase-painters. But the artist, who in the Parthenon frieze -introduced that inconceivable nobility of form, who in the West side of -the frieze developed the play of lines to new greatness, to heighten it -in the pediment to a great outburst of passion, impressed this age so -much with his nature that one cannot imagine the vase-paintings as -unaffected by this powerful influence. - -Never was Greek art so much an art of expression as at this period. As -if in response to the search for a word to describe this new expression, -the beautiful musical pictures of the time present themselves. Since the -Geometric style art had continually represented musical performers, but -it was reserved for the age of Pheidias to give pictorial expression to -the effect of musical sounds on men. The krater from Gela (Fig. 140) -belongs to the early Periclean age; the sure touch in the rendering of a -twist of the body and its rounded form is now a matter of course even in -the hasty execution of a second-rate draughtsman; the head type gets -the - -[Illustration: PLATE LXXXV. - -Fig. 141. MUSIC: RED-FIGURED NECKED AMPHORA.] - -[Illustration: PLATE LXXXVI. - -Fig. 142. SLEEP AND DEATH CARRY OUT A WARRIOR TO BURIAL: WHITE-GROUND -LEKYTHOS.] - -square outline, the shortened jaw, the long drawn nose, which are -characteristic of the age of Pheidias; the repetition of the epithet -_kalos_ shows that the custom of inscribing a love-name is dying out. -About contemporary is the London amphora with twisted handles (Fig. 141) -with the Muses Melusa and Terpsichore and the bard Musaios. Orpheus -among the Thracians and Terpsichore in a reverie with the harp are -purely pictures of lyric feeling. - -As if music had tamed them, the vase-pictures of the Periclean age -change their nature. All crudities have gone: the too bold -foreshortenings and the realistic details taken from great paintings are -less obvious: nothing any longer disturbs the free play of the lines. -The conception of men rises to its highest possible point. The figures -on the Munich stamnos (Fig. 146) are not merely masterpieces of fully -developed drawing but also ideal types of pure free humanity. Movements -are often merely motives of beauty: the fold style combines a new -naturalism with the most monumental effect. - -This new spirit also animates the finest of the white-ground lekythoi, -whose proper history begins in the Glaukon period (p. 134) and cannot be -traced far beyond the 5th century. In their first period they had -preferred to render domestic scenes, representations from the female -apartments. But the purpose of these grave vases continually asserts -itself more and more. The ferryman of the dead appears, to take goodly -men into his bark; the brothers Sleep and Death dispose of the corpse -(Fig. 142); Hermes, the conductor of souls, waits to be followed; the -dead man laments for his life. But the domestic scenes have given place -to the walk to the grave; and the visit to the tombstone, beside which -the dead man stands or sits as if alive, becomes the typical subject of -the lekythoi. The special technique of these vases produces an effect -often very different from the red-figured style, especially since the -white filling of the outlines (p. 134) is dropped. The employment of -glaze-colour in the rendering of outlines, and the transition to -brush-painting, with which from the first surfaces had been covered in -different varieties of colour, lead afterwards to an unusual -individualization of the line. One cannot say that this technique -approximates the lekythoi to the effect of wall-painting as much as it -severs it from red-figured vase-painting. Only a few exceptional late -specimens in their pictures operating freely with light and shade burst -the bounds of vase-decoration, and show clearly with what good sense the -vase-painters renounced competition with the great art, which now -victoriously solves the problems of full perspective, of giving the -effect of depth in space, with the gradation of dimensions, and the -contrasts of light and dark. - -In a Boston lekythos (Figs. 143 and 144) we have an ‘existence’ picture -in the manner of the new period (p. 136). The dead warrior stands in -Polygnotan attitude, with bent arm resting on his hip (cp. Fig. 135, -last to left), beside his altar-shaped tomb, and looks over it to the -girl, who without perceiving him approaches with funeral offerings. One -notices in the treatment of the nude, that he is the product of an age -which already had the perspective sense: so vividly do the few lines of -his contour, his muscles, and his knee-pan, give the suggestion of a -rounded body; and also the drawing of the female nude, which accident -has freed from the drapery added in perishable dull paint, in its very -realistic outline goes beyond anything previous. Since the Circe and -Phineus kylikes, and the numerous black-figured and red-figured pictures -of bathing, dancing, and drinking hetairai, art had busied itself with -the naked bodies of women as much as of men: and where nudity could not -be represented, it indicated the outlines of the body through - -[Illustration: PLATE LXXXVII. - -Figs. 143 & 144. YOUTH AND MAIDEN ON A WHITE-GROUND LEKYTHOS. - -Fig. 145. WOMAN SEATED AT A GRAVESTONE: FROM A WHITE-GROUND LEKYTHOS.] - -the cover of the drapery (p. 119). For Polygnotos we have the express -tradition of women with transparent garments, and on the Argonaut krater -even Athena’s grand forms are indicated; the great liberator of -wall-painting must also have been a pioneer in the drawing of the female -body. The new style here too brings perfection and fills the form of -women with its noble greatness and simplicity. That it too, in contrast -with the 4th century, eschews all that is typically feminine, soft and -unformed, is a proof how strong was the ideal of male beauty. - -A London lekythos (Fig. 142) also represents a dead soldier at the -grave. The winged brothers Sleep and Death with tender hand dispose of -his corpse, as they do with the dead Sarpedon in the Iliad: and the -lekythos-painter took his type also from the Sarpedon pictures; the -young warrior who had fallen far from his country, should on the vase -have the same boon of burial in his native soil, as was granted by Zeus -to the Lycian king. The fine type was then divested of its proper -meaning and received a more general signification. The London vase, -which uses lustreless colours for the outlines of its figures also, must -be somewhat later than the Boston vase, although the new technique, that -is pure brush technique, went on for a time beside the old. Though -stylistic estimates now become difficult, one fancies in the wonderful -vigour of the drawing, and in the stronger individuality of the hair, -that one is nearer to the period of the Parthenon pediments than in the -somewhat more austere Boston group. Where the way led may be shown by -the woman sitting on the steps of a tomb on a lekythos in Athens (Fig. -145), which not only by the strongly plastic suggestion of the outline -goes beyond the Pheidian period proper, but also in the grandiose -heightening of the simple motive shows itself as one of the works which -take up and cast in new moulds the pathos of the Parthenon pediments. -Every line in the very individual drawing of the woman, who is -supporting her left hand and lifting her garment with her right, while -her feet are unruly in submitting to the sitting posture, is animated by -passionate unrest. - -Though the age of Pheidias liked pictures of feeling with quiet figures -like the music-scenes, the Munich stamnos and the lekythoi, it did not -exhaust itself in them. Beside the vases with large figures, there are -others, which continue to cultivate the elegant style and prepare the -way for a class which flourishes in the last decades of the century. -Little jugs with nursery scenes, pomade boxes with pictures of female -life, globular unguent pots with lekythos-like mouth are the principal -vehicles of this style, and the “Eretria” master is a typical -representative. On great and small vases we find scenes of animated -motion, passionate scenes of conflict, which on their side too, share in -the nobility of the style of the age. The brutal vigour and hardness of -old motives seems broken, softened, often almost takes a turn to -elegance. The order of the large compositions with its arrangement of -the figures over one another and indication of the broken ground by -lines closely follows the Polygnotan system. But while the Polygnotan -depth in space was produced by a naturalistic tendency, which soon led -to complete freedom in the great art, it is continued by the -vase-painters as a mere principle of distribution and space-filling, -_i.e._, it receives a decorative character. - -One of the finest pictures of movement from this period decorates a -stamnos at Naples (Fig. 147): women who are sacrificing before a -tree-trunk dressed out as Dionysos and dancing to the tambourine. The -exact dating of this picture, like the whole chronology of the late and -post-Pheidian vases, is a matter of dispute: but this much is certain, -that it cannot be understood except as a near echo of the art of - -[Illustration: PLATE LXXXVIII. - -Fig. 146. RED-FIGURED STAMNOS. - -Fig. 147. OFFERINGS AT THE IMAGE OF DIONYSOS: FROM A RED-FIGURED -STAMNOS.] - -[Illustration: PLATE LXXXIX. - -Fig. 148. PELOPS AND HIPPODAMEIA: FROM A RED-FIGURED NECKED AMPHORA. - -_From Furtwängler-Reichhold, Griechische Vasenmalerei._] - -the Parthenon pediments. Into the noble line-drawing of the middle style -of Pheidias has come a new passionate movement, which draws the contour -in more violent curves, dissolves the hair in strong waves, throws the -drapery into great folds, and enlivens the clinging parts with -restlessly curving inner folds. The upper garment of Dionysos is given -rich effect by long border zig-zags, interspersed stars and an -embroidered wreath, the expression of his eyes is strengthened by -emphasis on the upper lid. Details added in white and liberal use of -thinned black heighten the coloured effect. This new style with its -marked enhancement of the lines is the later style of Pheidias, a -reflection of the last and highest development of the Parthenon master, -which pointed Attic art into new paths, and lived its life out and died -in the school of Pheidias. - -The amphora with twisted handles at Arezzo (Fig. 148) must be in close -connection with the last phase of the Pheidian style and cannot be far -removed from the Naples stamnos. Its shape enriches the type of the -Terpischore vase in London (Fig. 141) by sharper profiling of the mouth -and foot, but does not yet draw the lower part into the dull curve, -which robs the amphorae and bell-kraters of the end of the century of -strong and taut effect. Similarly the scene, the wild career of Pelops -and Hippodameia over the sea, heightens the tendencies of Pheidian art -without succumbing to the palsy which can be felt in the style of -Meidias. The divine horses, the gift of Poseidon, emit sparks of the -fire of the steeds on the pediments; the majestically animated attitude -of Hippodameia reminds one of the Athenian lekythos (Fig. 145); in -Pelops every line is full of passion and bold movement. Here too the -draperies are rich and elaborate, the restless billowing of the folds is -more marked than on the Naples stamnos, and the flowing chiton folds, -which cling close to the body, prepare for the exaggeration dear to -post-Pheidian sculpture and painting. Not only does the drawing of -individual forms show a plastic conception of space, but the whole scene -is inconceivable without a contemporary big painting with considerable -landscape capacities: from the tree-clad hilly coast the chariot rushes -out upon the deep sea. - -In fiery impetus only one of the vase-paintings of this period can -compare with the Pelops vase, the somewhat later Naples fragment of a -Gigantomachia (Figs. 149-151). An invention of truly Titanic force, -which is also echoed on other later vases, must be the basis of this -picture, and even the unusual division (unsuited to vases) by an arch -points to a model from another branch of art. In a rocky landscape the -fight for existence of the gods and the sons of the earth-goddess takes -place in the early morning, when Helios is rising on the vault of heaven -and Selene is sinking down into ocean, as on the east pediment of the -Parthenon. The bold movements, the twistings and bendings of the -combatants, the ‘lost’ profile, the swellings and packings of the skin -and muscles are rendered with sure touch. The plastic effect of the -middle line of chest and abdomen is increased by doubling, and -horizontal folds bring out the lower part of the forehead, the locks of -hair and tips of hide flutter as if they were alive; the breasts of the -earth-goddess are modelled out of the drapery as if bare, the eyes are -deep-set, the underlips project. - -That the rendering of the female body was now not less accomplished than -that of the male, beside the lekythos in Athens, a picture of a -different order may show. On an Oxford jug appears in the spaciousness -favoured by these vases an old theme, Satyr and Nymph (Fig. 154). One -can scarcely realize the nobility of Pheidian conception more fully than -by comparing this scene with the Phineus kylix (Fig. 74) and its -congeners. What early ages had represented - -[Illustration: PLATE XC. - -Figs. 149-151. GIGANTOMACHIA: FRAGMENT OF A RED-FIGURED KRATER.] - -[Illustration: PLATE XCI. - -Fig. 152. ADONIS AND APHRODITE: FROM A RED-FIGURED HYDRIA.] - -with drastic humour, is here refined and given a soul: even the Satyrs -and Centaurs, the rugged monsters of the woods and mountains, are tamed -by the new spirit which will not any longer endure brutality and -obscenity. - -The sleeping nymph Tragodia is not only correctly observed in her -foreshortening, in movement and distribution of the weight of the body, -she is also the vehicle of a wonderful feeling. The picture, which -immediately prepares for the works of the Meidias painter and the -‘Pronomos’ master, and beside the great style of the Pelops and Giant -vases shows us the continuance of the refined and elegant style, cannot -have been produced long after Pheidias’ death. - -The time of the School of Pheidias, of whose best works we have been -introduced to a selection, gives us again a few artists’ names. The -painter Aison gives us a Madrid kylix with the exploits of Theseus, -which must be about contemporary with the Giant vase. On the Theseus of -the interior the hair is dissolved into lively curls, which stand out -dark on a lighter ground, and the plastic swelling of the belly goes to -the utmost limit of what is possible; in his protectress Athena we see -already the contrast between the leg that bears the weight and is -covered by hanging folds, and the free leg, which is closely covered by -the drapery; which is exaggerated by Aristophanes, whom the potter -Erginos employed, just as is the hair with light under-painting, and the -chiton clinging as if moist and blowing back. Aison, who began his -activity even in Pheidian days, draws more elegantly than his younger -colleague, but neither master initiated a new development of kylix -painting. The greatness of both lay in exploiting as artizans accessible -types. - -With the works of Aristophanes we probably go further from the time of -Pheidias than with the Naples fragment: the works of the ‘Meidias’ -painter take us to the time of the Nike balustrade, _i.e._, the two -last decades of the 5th century. They too are an echo of the art of the -Parthenon pediments, but in travelling along the road this echo has lost -its vigour. On the unsigned Adonis hydria in Florence (Fig. 152) all the -figures exuberate in lazy grace and fine motives of beauty. Particularly -the groups, Adonis in the lap of Aphrodite, and Hygieia with Paidia, -remind us of the Parthenon, the wonderful melting forms of the ‘Fates’ -and other pediment figures. But what there was born of passion, is here -become fashion, and is playfully treated. The excitement of the faces -with wide nostrils, the bowing and bending of bodies conscious of their -beauty, the supporting of arms and play of fingers, the whole extent of -the carelessly united society on the wavy hill-lines (p. 141) in spite -of all its grace has something of the formula about it. The style of the -drapery is certainly an indication of the weakening of earlier vigour. -The many and over elegant broken-up folds, which cling unnaturally close -to breast and free leg, the curling of the cloak folds, and the -independent movement of the tips, is a long way off the Parthenon -pediments, which inaugurate this enhancement of style, but without loss -of vigour and by a kind of natural evolution. The effort for fine -effect, which is expressed in the rich patterning, is in noticeable -contrast to the restlessness of the drapery. A certain inclination to -pomp is characteristic of the post-Pheidian style. The raised gilt -details of the clay, which we know already on the white ground lekythoi -(Fig. 134), the box of Megakles (Fig. 137) and the works of the Eretria -master (p. 148), are now in high honour, and are plentifully employed on -the Adonis vase. - -The Meidias painter also produced a series of similar pure pictures of -‘existence’ on hydriae, _e.g._, the fair Phaon, the singer ‘Thamyris,’ -Paris with the goddesses, - -[Illustration: PLATE XCII. - -Fig. 153. THE GIANT TALOS OVERCOME BY THE DIOSKUROI: RED-FIGURED -VOLUTE-KRATER.] - -the Eleusinian deities, and decorated other vases also in this manner. -These scenes, on which the figures move less vigorously than the lines, -are more successfully rendered than the pathos of the scene of abduction -on the London hydria signed by the potter Meidias. He was no bold -progressive artist; his technically exquisite and very delicately drawn -pictures recast in new shapes the new phenomena of art: in him the -series of masters of the type of the ‘Sotades’ painter and the Eretria -master comes to an end. - -His contemporary, who may after the chief figure of the Satyric play -vase at Naples be called the ‘Pronomos’ master, likes figures of -‘existence’ in pretty poses, but he draws them with more spirit and does -more justice to the vehement style of his time. On the Naples vase, a -showy volute-krater with rich profiling, he puts on the obverse the cast -of an Attic theatrical performance in two almost equal rows one above -the other, and thus starts a principle of composition which was taken up -by the vase-painting of Lower Italy (Fig. 158). Liberal use is made of -thinned colour, the centre of the scene is denoted by a white figure, -the luxuriantly ornamented dresses confuse the general impression. In -respect of shape and decoration one may speak of a decay of the finer -tectonic sense, which reminds us surprisingly of the vases of Lower -Italy. The perspective side-view of the footstool and of the tripod -column are liberties taken by the great art, which generally Attic -vase-painters consciously avoid so as to keep to the surface treatment. - -The tripod-column, which transplants us into the Theatre of Athens, as -the Athena of the Panathenaic vases to the Acropolis, recurs after -Polygnotan times often in the midst of mythological scenes, and brings -the vases, which show it, anyhow in relation to dramatic exhibitions. - -It has been proposed to recognise the effect of the stage on -vase-painting, _e.g._ in the increased pomp of the dresses. This effect -might at the most have taken place indirectly; for that the -vase-painters often took as their patterns votive paintings of -victorious Choregi, is more than probable. And in general one may draw -conclusions as to the great art from many a fine invention, which is -seen on vase-paintings at second-hand, _e.g._ from the Bacchic scenes on -the reverse of the ‘Pronomos’ vase. This conclusion is certainly also -justified in view of the Talos vase (Fig. 153) which transforms the -mighty echoes of the late Pheidian art into the pompous, as the Meidias -vases into the ornamental-elegant. The vase-shape is closely allied to -that of the ‘Pronomos’: the central figure in white, so popular in this -period, recurs, and in its spatial effect is enhanced by shaded -modelling far above the proportions of the other figures, which show -plainly the conscious restraint of the vase-painters. Though the ‘Talos’ -master altered the composition of his pattern to suit his vase, he must -have preserved with tolerable faithfulness the grandiose invention of -the centre group; the passionate impetus, which fills the whole scene -and catches even the cloaked figures of the reverse, is here most -convincing. - -With this fine masterpiece, which almost exaggerates the element of -show, not separated by more than two decades from the Parthenon -pediment, we close the history of the vases that show the style of -Pheidias. Nay, one may regard the proper history of Greek vase-painting -as closed with these post-Pheidian vases. Not merely does the potter -make his vases untectonic by excessive profiling and elaborate -extension, but the painter too, interrupts the unity of the vase-surface -with the white-painted and plastically modelled central figure; thus in -a sense the silhouette style is declared bankrupt. - -[Illustration: PLATE XCIII. - -Fig. 154. SATYR AND SLEEPING MAENAD: FROM A RED-FIGURED JUG. - -Fig. 155. WOMEN AT THE BATH: FROM A LATE ATTIC PELIKE. - -_From Furtwängler-Reichhold, Griechische Vasenmalerei._] - - - - -CHAPTER VII. - -LATE OFFSHOOTS - - -We should unnaturally shift the centre of gravity in our narrative if we -treated the late period of Greek vase-painting with anything like the -same fulness as its development from the Geometric to Meidias. The fully -developed and often almost playfully treated vase-shapes give no longer -any really tectonic ground for the silhouette style, which had exhausted -the qualities compatible with its inward nature: the elegance of the -vases feels the pictorial decoration to be a burden, as does the style -of the figures feel the tectonic compulsion. Even in the last third of -the 5th century examples are multiplied of the transition to free brush -technique. The Pelops amphora (Fig. 148) adorns its black neck with a -sphinx added in white, the Talos vase (Fig. 153) and with it a multitude -of other vases seek to fix the impression by a white central figure, to -which the others rendered in ordinary technique are only a pale foil. In -the course of the 4th century this foil too, was dropped, and black -glazed vases of elegant shape were decorated only with figures or -ornaments loosely added in white. The brush technique, both the black of -Boeotian vases (p. 110) and the white of Attic and Lower Italian, made a -new development in ornamentation, which culminates in spiral tendrils -and branches with depth of space, in combination of figures and foliage -of plastic effect. Besides these freely decorated vases the red-figured -long continue. But the centre of gravity of the manufacture lies no -longer in Athens. Even in the time of Pheidias the Attic school sent a -branch to Lower Italy, which took root in the Periclean colonies of -Lucania, extended to various places in Lucania, Campania, Apulia, and -Southern Etruria, and soon grew up as a strong plant. In this -production, which in the 4th century completely supplanted Attic -importation, few really original artists took part, who all seem to -belong to the early period, and perhaps were emigrated Athenians; the -master of the Paris ‘Tiresias’ krater is one of them. From the early -group, in which good Attic tradition is strongly felt, we select two -bell-kraters. The full, and rather empty heads, the very general -conception of the divine types leave us no doubt as to the Italian -origin of the Paris ‘Orestes’ vase found in Lucania (Fig. 156), while -the wonderful group of the sleeping Erinyes, Klytemnestra urging them to -vengeance, and the purified Orestes, show us not only a fine model but a -clever hand. From the drawing and shape of the vase it may very well -belong to the end of the 5th century, like the closely analogous London -krater (Fig. 157). This vase with much humour introduces to us one of -the favourite Italian farces (the Phlyakes) and begins a long series of -similar representations from different workshops. Thus _e.g._ the -painter Assteas painted two Phlyax vases, one of which in comic parody -gives the violation by Aias of Kassandra, while the other is a serious -theatrical scene, which with its detailed rendering of the stage clearly -demonstrates the influence of the drama on vase-painting. - -The activity of this painter, who from the stiff variety of the style -and the localities of the finds must be localized in South Campania, -belongs to a later phase, which does not concern us. For the more these -Italo-Greek vases in shape, decoration and representation develop local -peculiarities and depart from their purely Attic starting point, the -less do they belong to our survey, which excludes provincial varieties. -Out of the mass of Lower Italian vases of the 4th century, which in -shape partly run parallel with the Attic, - -[Illustration: PLATE XCIV. - -Fig. 156. ORESTES AND THE FURIES: FROM A LUCANIAN BELL-KRATER. - -Fig. 157. COMEDY SCENE: LOWER-ITALIAN BELL-KRATER.] - -[Illustration: PLATE XCV. - -Fig. 158. ACHILLES AND THERSITES: APULIAN VOLUTE-KRATER.] - -partly develop noticeably baroque and locally limited peculiarities, -which in their chiefly sepulchral representations, influenced by -Orphic-Dionysiac cults, often fall into coarseness, stiffness, or -effeminate insipidity, let us take only one example. The Boston volute -krater, 1¼ metres high (Fig. 158) belongs to a group of Apulian grand -vases, which elongate the shape of the Talos vase (Fig. 153) and add -rich ornament in white colour. On the reverse bearers of offerings above -one another in the favourite borrowed motives (sitting, standing, -running, leaning on a pillar, drawing up one foot) surround a -white-painted Heröon with the dead man: the obverse combines a similar -building with a mythological scene, the slaying of Thersites by -Achilles, and thus gives a mythical prototype to the dead man, for whose -grave the vase is designed. The liberal use of white paint, the ‘black -ground’ ornamentation of the neck and foot with branches and tendrils -are progressive elements, which lead the way for Hellenistic products -like the Apulian Gnathia vases; in the increased pathos of the faces is -traced, though provincially coarsened, the stronger weight given to -sentiment in the 4th century; and the perspective rendering of the -building operating with light and shade, which often extends to the -ornament, points to a period, which had won complete freedom in space, -and certainly could distribute figures over the landscape more naturally -than the vase-painter, who filled the tall space with them only in a -superficially decorative way. - -Sentiment and light, the great achievements of 4th century art, were the -ruin of the decorative silhouette style, whose figure world can admit of -pathos, as little as the bursting of its vase sides by perspective views -corresponds to its surface decoration. Even in Athens, where out of the -successors of the Meidias, Pronomos and Talos styles an after-bloom -developed (Figs. 155 and 159), which from the rich exports in the Black -Sea is usually called the Kerch style, the new tendencies of art were -fatal to the red-figured style. To be sure this was in a different -direction to Lower Italy. The figure world of the elegant Attic vases, -which in the new naturalness of motives and drapery, in the strong -emphasis on female forms, is far removed from the types of Pheidias, -betrays little of the enhanced pathos of the great painting, which one -would have to deduce from the sculpture of Skopas and Praxiteles, even -if it were not expressly witnessed to by literary tradition. From the -same finer decorative sense the Attic masters made no use of the full -perspective of their time, and interrupted the vase-surface neither by -buildings or ornaments drawn in perspective nor by composition in -several planes, but following the old manner simply arranged above and -beside each other on the surface their generally large and restful -figures. As in the post-Pheidian style they like to pick out single -figures by white colour, and do not despise gilded additions, nay, they -even often heighten the decorative effect of colour by the application -of light blue, green and rose, occasionally also by figures in relief -and painted (as Xenophantos did in his aryballos with hunting Persians, -meant for Eastern customers, in signing which he emphasizes his Athenian -citizenship). The varying shades of the colour scale give one an inkling -of the new problems of light, which were certainly struggling for -expression not only in sculpture; in the drawing of the figures, -rendered in strong relief strokes, nothing of this is observed. Thus the -‘Kerch’ masters ensure to their vases a finer general aspect than the -Southern Italians, just as their commonest figures are distinguished -from the Italian by a certain nobility; but they are far behind the huge -advances of the great art, which now in its methods of expression -attained the heights perhaps of Titian and Tintoretto, and have an -_arrieré_ effect, listless and - -[Illustration: PLATE XCVI. - -Fig. 159. LATE ATTIC KALYX-KRATER. - -Fig. 160. HELLENISTIC CUP.] - -dull. Just as the new style could express itself better by the applied -than by the reserved ornamentation, which in spite of new formations has -a stiff and lifeless effect, so too the red-figured style, which as is -proved by finds at Alexandria, continued to exist down into the early -Hellenistic age, was no longer the congenial vehicle of the expression -of its age; and it was only seldom that notable personalities attempted -to practise it. - -Rightly recognising that the days of the draughtsman and his decorative -figure style were past and gone, the ceramic workshops of the late 4th -century, and the Hellenistic, which appeared in several spots of the now -decentralized Greek world, more and more gave up the red-figured -technique. The great increase of the means of colouring, which is to be -assumed for the late painting, the complete suppression of formal -tendencies in favour of impressionism did not permit the silhouette -style even a subsidiary place. The future belonged to free brush -technique, that which painted in black, and that which had a black -ground (pp. 110 and 157). - -The figured world, the representations, no longer play any part; the -Hellenistic painters prefer to put on their elegant, often playfully -treated vases tendrils, festoons, hanging branches and fillets, wreathes -and masks in loose arrangement. With these products of the mere -craftsman, which are often of fascinating effect (cp. Fig. 160), but -often in shape and decoration cause one to miss the delicate taste of -earlier times, ends the history of Greek vase-painting; by pottery with -relief ornament (already heralded by the completely black channelled -vases of the 4th century and works like the aryballos of Xenophantos), -which now gains ground more and more, painted pottery is completely -driven off the field. - - - - -NOTE - - -Thanks are due to Messrs. F. Bruckmann, of Munich, for permission to -reproduce several drawings from Furtwängler-Reichhold, _Griechische -Vasenmalerei_. - - - - -INDEX OF ILLUSTRATIONS - - -PLATE I. Interior of a kylix signed by Euphronios as potter: from -Caere; Paris, Louvre, G 104. Diameter 0,39. From _Furtwängler-Reichhold_ -5. _Frontispiece_ - - -CHAPTER I.: THE STONE AND BRONZE AGES:-- - -Pl. II. Fig. 1. Bowl from Sesklo: Athens. Height 0,20. Dark painting on -lemon-coloured ground. From Tsountas, _Dimini and Sesklo_ (Greek), pl. -22 - -Fig. 2. Face-urn from Troy II.-V.: Berlin. Height 0,30. From _British -School_ yellowish clay. From _H. Schliemann’s Sammlung Trojanischer -Altertümer, Hubert Schmidt_, _No._ 1,080 and 1,084....._To face page 2_ - -Pl. III. Fig. 3. Beaked jug from Syros: Athens, Nicole 123. Height 0,16. -Light-brown painting on yellow ground. From _Ephemeris Arch._ 1899, pl. -10. No. 8 - -Fig. 4. Beaked jug from the sixth shaft-grave at Mycenae: Athens, Nicole -189. Height 0,30. Turned on the wheel, polished, lustreless brown (and -red) painting. From Furtwängler and Löschcke, _Mykenische Tongefässe_, -pl. IX. No. 44......4 - -Pl. IV. Fig. 5. Vase of Kamares style from the palace of Knossos: -Candia. Height, 0,22. Painting white, orange and carmine-red on black -glaze. From _British School Annual_ IX, p. 120. - -Fig. 6. Unpainted kylix with yellow smoothed surface, from the fourth -shaft-grave at Mycenae: Athens, Nicole 164. Diameter 0,12. From -Furtwängler and Löschcke, _Mykenische Tongefässe_, pl. V. No. 22.....6 - -Pl. V. Fig. 7. Funnel-vase of late Minoan I. from a house at -Palaikastro: Candia. Height 0,10. Turned on the wheel, _Annual_ IX, p. -311, fig. 10 - -Fig. 8. Funnel-vase of late Minoan I. from house on the island of -Pseira: Candia. From Seager, _Excavations on the island of Pseira_, p. -25, fig. 8 - -Fig. 9. Vase (Pithos) of Kamares style from Phaistos: Candia. Height -0,50. Red and white painting on black glaze. From _Monumenti Antichi_ -XIV., pl. XXXV. b......_To face page_ 8 - -Pl. VI. Fig. 10. Stirrup-vase of late Minoan I., from a house at -Gournia: Candia. Height 0,20. From H. Boyd Hawes, _Gournia_, pl. H. - -Fig. 11. Amphora of late Minoan I., from a house on Pseira. With many -details overpainted in white. From Seager _op. cit._, pl. VII......10 - -Pl. VII. Fig. 12. Amphora of Palace style from a grave of Knossos. From -_Archæologia_, 1905, pl. CI. - -Fig. 13. Amphora of Palace style from a grave of Knossos. From -_Archæologia_, 1905, pl. C......12 - -Pl. VIII. Fig. 14. Late Mycenean Cup from Ialysos (Rhodes): London. -Height 0,20. Dark-brown glaze-colour on yellow ground, details in white. -From Furtwängler-Löschcke, _Mykenische Vasen_, pl. VIII., 49. - -Fig. 15. Late Mycenean stirrup-vase from Ialysos (Rhodes): London. -Height 0,23. Yellowish-red glaze-colour on yellow ground. The tentacles -of the cuttle-fish from a peculiar ornament on the reverse, a bird by -the side of it. From Furtwängler-Löschcke, _Mykenische Vasen_, pl. IV., -24......14 - -Pl. IX. Fig. 16. Late Mycenean vase with ribbed handles from Ialysos -(Rhodes): London. Height 0,34. Dark-brown glaze-colour (in parts burnt -red) on yellow ground. From Furtwängler-Löschcke, _Mykenische Vasen_, -pl. VI., 32. - -Fig. 17. Late Mycenean vase with ribbed handles from Rhodes: Munich 47. -Height 0,45. Brown, partly red, glaze-colour on yellow ground. Biga -with driver and companion. _Münchener Vasensammlung_ I., p. 6, fig. -7....._To face page_ 16 - - -CHAPTER II.: THE GEOMETRIC STYLE:-- - -Pl. X. Fig. 18. Attic Geometric Amphora (Dipylon class): Munich 1,250. -Height O,50. From photo. - -Fig. 19. Geometric Amphora, said to come from Melos, probably Attic -(Black Dipylon): Munich. Height O,73. _Münchener Jahrbuch_, 1909, II., -p. 202, fig. 1.....20 - -Pl. XI. Fig. 20. Upper half of a Dipylon grave-vase: Athens, -Collignon-Couve 214. Height I,23. From _Monumenti dell’ Istituto_ IX., -pl. 40, 1 - -Fig. 21. Frieze from the upper half of a bowl from Thebes, of which the -rest is only decorated with stripes: London. From _Journal of Hellenic -Studies_, 1899, pl. 8.....22 - -Pl. XII. Fig. 22. Rhodian Geometric jug, said to come from Crete: Munich -455. Height O,22. _Münchener Vasensammlung_ I., p. 44, fig. 57 - -Fig. 23. Protocorinthinian Geometric cup (skyphos) from Greece: Munich. -Height O,12. _Münchener Jahrbuch_, 1913, I., p. 78.....26 - -Pl. XIII. Fig. 24. Attic Geometric kylix from Athens: Munich. Diameter -O,18. _Münchener Jahrbuch_, 1913, I., p. 78. - - -CHAPTER III.: THE SEVENTH CENTURY:-- - -Fig. 25. Cretan hydria from Praisos: Candia. Height O,30. From _British -School Annual_, IX., pl. 9c - -Fig. 26. Cretan jug from Praisos: Candia. Height O,33. White on glaze. -From _B.S.A._ IX., pl. 9d.....28 - -Pl. XIV. Fig. 27. Cretan miniature jug with female head: Berlin 307. -Height O,10. From _Athenische Mitteilungen_, 1897, pl. 6 - -Fig. 28. Fragment of a jug from Aegina: Athens. Nicole 848. Diameter ca. -0,25. _Athenische Mitteilungen_, 1897, pl. VIII......_To face page 30_ - -Pl. XV. Fig. 29. Fragment of a plate from a grave at Praisos: Candia. -Original diameter ca. 0,35. Wrestle with a sea monster. From _B.S.A._ -X., pl. III. - -Fig. 30. Krater of Aristonothos: Rome, Palazzo dei Conservatori. Height -0,36. From _Mélanges d’Archéologie et d’histoire_, 1911, pl. I......32 - -Pl. XVI. Fig. 31. Protocorinthian lekythos: London, B.M. Height 0,07. -From _Journal of Hellenic Studies_, XI., pl. I., 2 - -Fig. 32. Protocorinthian lekythos, said to come from Corinth: Berlin -336. Height 0,06. From _Archäologische Zeitung_, 1883, I. - -Fig. 33. Protocorinthian jug of post-Geometric style from Aegina: Munich -225a. Height 0,18. _Münchener Vasensammlung_ I., p. 11, fig. 17.....34 - -Pl. XVII. Fig. 34. Protocorinthian lekythos, said to come from Thebes: -Boston. Height 0,07. From _American Journal of Archæology_, 1900, pl. -IV......36 - -Pl. XVIII. Figs. 35-7. Protocorinthian jug, from the neighbourhood of -Rome: Rome, Villa di Papa Giulio. Height 0,26. From _Antike Denkmäler_ -II., pls. 44 and 45.....38 - -Pl. XIX. Fig. 38. Protocorinthian or Corinthian jug: Munich 234. Height -0,44. From photo. - -Fig. 39. Corinthian alabastron, from Greece: Cambridge, Fitzwilliam -Museum 30. Height 0,20. From _Catalogue_, pl. IV. - -Fig. 40. Corinthian aryballos, from Greece: Cambridge, Fitzwilliam -Museum 36. Height 0,20. From _Catalogue_, pl. IV......40 - -Pl. XX. Fig. 41. Animal frieze from an early Corinthian jug: Munich 228. -_Münch. Vasens._ I., p. 12, fig. 18 - -Fig. 42. Animal frieze from a Corinthian jug of wine-skin shape: Munich -246. _Münch. Vasens._ I., p. 16, fig. 24....._To face page_ 42 - -Pl. XXI. Fig. 43. Corinthian skyphos, from Samos: Boston. Height O,08. -From photo. - -Fig. 44. Scene from the late Corinthian flask of Timonidas, from Kleonai -(Peloponnese): Athens, Collignon-Couve 620. Height of vase 0,14. From -_Athenische Mitteilungen_, 1905, pl. VIII......44 - -Pl. XXII. Fig. 45. Pinax (votive-tablet), from Corinth, signed by -Timonidas: Berlin 846. Height 0,22. From _Antike Denkmäler_ I., pl. 8, -13 - -Fig. 46. Frieze of an early Phaleron jug, from Analatos (Attica): -Athens, Collignon-Couve 468. From _Jahrbuch_, 1887, pl. 3.....46 - -Pl. XXIII. Figs. 47-8. Neck and body designs of an early Attic Amphora, -from Athens: Athens, Collignon-Couve 657. Height 1,22. From _Antike -Denkmäler_ I., pl. 57.....48 - -PI. XXIV. Fig. 49. Early Attic Amphora, from Piraeus: Athens, -Collignon-Couve 651. Height 1,10. From _Ephemeris_, 1897, pl. 5 - -Fig. 50. Cycladic (Euboic) Amphora: Stockholm. Height 0,59. From -_Jahrbuch_, 1897, pl. 7.....50 - -Pl. XXV. Fig. 51. Jug with griffin’s head, from Aegina: London, B.M., A -547. From photo......52 - -Pl. XXVI. Fig. 52. Chief design on a “Melian” amphora, from Melos: -Athens, Collignon-Couve 475. Height of amphora 0,95. From Conze, -_Melische Tongefässe_, pl. IV......54 - -Pl. XXVII. Fig. 53. Herakles and Iole (?) on a “Melian” amphora, said to -come from Crete: Athens, Collignon-Couve 477. From _Ephemeris_, 1894, -pl. 13 - -Fig. 54. Early Rhodian jug, from Rhodes: Hague, Scheurleer Collection. -Height 0,22. From photo......55 - -Pl. XXVIII. Fig. 55. Rhodian jug: Munich 449. Height 0,33. _Münch. -Vasens._ I., p. 42, fig. 54 - -Fig. 56. Late Rhodian jug, from Rhodes: Munich 450. Height 0,33. _Münch. -Jahrb._, 1911, II., p. 200 - -Fig. 57. Euphorbos plate, from Rhodes: London, B.M. Diameter 0,38. From -Photo......_To face page_ 56 - -Pl. XXIX. Fig. 58. Late Rhodian cauldron (lebes), from Italy: Paris, -Louvre. Height 0,35. From photo......58 - -Pl. XXX. Fig. 59. Gorgon plate, from Rhodes: London, B.M. From _J.H.S._, -1885, pl. 59. - -Fig. 60. Sherd from Naukratis: Oxford. (Busiris’ head painted red on -white slip, details by leaving the parts unpainted). From _J.H.S._, -1905, pl. VI., I. - -Fig. 61. Naukratite sherd found on the Acropolis of Athens: Athens, -Acropolis 450a. Yellow, red and white painting on bright ground. From -_Akropolisvasen_ I., pl. 24.....60 - -Pl. XXXI. Fig. 62. Amphora, from Rhodes (Fikellura): London, B.M., A -1311. Height 0,34. From _Münchener Archäol: Studien_, p. 300, fig. 24. - -Fig. 63. Amphora (Fikellura): Altenburg. Height 0,31. From Böhlau, -_Nekropolen_, p. 56.....62 - - -CHAPTER IV.: THE BLACK-FIGURED STYLE:-- - -Pl. XXXII. Fig. 64. Two friezes of a Corinthian krater, from Caere: -Paris, Louvre E. 635. Height 0,46. After photo. - -Fig. 65. Corinthian krater, from Corinth: Munich 344. Height 0,31. -_Münch. Jahrb._, 1911, II., p. 290, fig. 1......70 - -Pl. XXXIII. Fig. 66. Frieze of a Corinthian krater, from Caere: Berlin -1655. Height 0,46. From _Monumenti_ X., pl. 4, 5.....72 - -Pl. XXXIV. Fig. 67. Corinthian plate: Munich 346a. Diameter 0,28. -_Münch. Vasens._ I., p. 31, fig. 46 - -Fig. 68. Chalkidian hydria, from Italy: Munich 596. Height 0,46. From -photo......_To face page_ 74 - -Pl. XXXV. Fig. 69. Chalkidian amphora, from Vulci: Würzburg. Height -0,41. From photo......_To face page_ 74 - -Pl. XXXVI. Fig. 70. Chalkidian amphora, from Caere: London, B.M., B 155. -Height 0,45. From photo. - -Fig. 71. Scene from Chalkidian amphora of Italian provenance: Munich -592. _Münch. Vasens._ I., p. 65, fig. 75......78 - -Pl. XXXVII. Fig. 72. Ionic eye kylix, from Italy: Munich 589. Height -0,10. From photo. - -Fig. 73. Head of Athena, from Ionic eye kylix: Munich 590. _Münch. -Vasens._ I., p. 64, fig. 74......80 - -Pl. XXXVIII. Fig. 74. Phineus kylix, from Vulci: Würzburg. Diameter -0,39. From _Furtwängler-Reichhold_ 41......82 - -Pl. XXXIX. Fig. 75. Ionic b.f. fragments, from Kyme (Asia Minor): -London, B.M. From photo. - -Fig. 76. Neck design of an Ionic b.f. Amphora, from Italy: Munich 586. -_Münch. Vasens._ I., p. 62, fig. 73......84 - -Pls. XL.-I, Figs. 77-8. Obverse and reverse of an Ionic b.-f. Amphora, -from Italy: Munich 585. From _Münch. Vasens._ I., p. 59, figs. 69 and -70......86 & 87 - -Pl. XLII. Fig. 79. Chief design on a Caeretan hydria: Vienna, Museum für -Kunst und Industrie 217. From _Furtwängler-Reichhold_ 51. - -Fig. 80. Spartan kylix, from Italy: Munich 382. Height 0,15. From -_Münch. Vasens._ I., p. 34, fig. & 48.....88 - -Pl. XLIII. Fig. 81. Caeretan hydria, from Caere: Paris, Louvre E 701. -Height 0,43. From photo......89 - -XLIV. Figs. 82-3. Obverse and reverse of a Pontic amphora, from Italy: -Munich 837. Height of vase 0,33. From _Furtwängler-Reichhold_ -21......90 - -Pl. XLV. Fig. 84. Spartan kylix, from Corneto: Berlin. From _Jahrbuch d. -D. Instatus_ 1901, pl. III. - -Pl. XLVI. Fig. 85. Spartan kylix (Arkesilas), from Vulci: Paris, Cabinet -des Médailles 189. Diameter 0,29. From _Monumenti_ I., pl. 47ᴬ - -Pl. XLVII. Fig. 86. Fragments of a cauldron (lebes) by Sophilos: Athens, -Acropolis. Gräf 587. Height of the frieze 0,09. From Gräf, -_Akropolisvasen_, pl. 26 - -Fig. 87. Attic tripod vase, from Athens: Munich. Height 0,12. From -_Münch. Jahrb._, 1911, II., p. 291, fig. 5......94 - -Pl. XLVIII. Fig. 88. Boeotian b.-f. kantharos: Munich 419. Height 0,19. -From _Münch. Vasens._ I., p. 40, fig. 52 - -Fig. 89. Detail of the François vase. From _Furtwängler-Reichhold_, -13.....96 - -Pl. XLIX. Fig. 90. François vase, from Chiusi: Florence, Museo -archeologico. Height 0,66. From _Furtwängler-Reichhold_, pl. 3, -10.....98 - -Pl. L. Fig. 91. ‘Little Master’ kylix, from Vulci: Munich, Jahn 36. -Height 0,15. From photo. - -Fig. 92. Attic b.-f. kylix with knob handles: Boston. From -photo......100 - -Pl. LI. Fig. 93. Interior of an eye kylix of Exekias, from Vulci: -Munich, Jahn 339. Diameter 0,30. From Gerhard, _Auserlesene Vasenbilder_ -I., pl. 49.....102 - -Pl. LII. Fig. 94. Scene from an Attic b.-f. Amphora, from Vulci: Berlin -1685. Height of vase 0,49. From Gerhard, _Etruskische und Kampanische -Vasenbilder_, pl. 21.....104 - -Pl. LIII. Fig. 95. Scene from an Attic b.-f. Amphora, probably from -Vulci: Würzburg, Urlichs 331. From photo......105 - -Pl. LIV. Fig. 96. Amphora of Exekias, from Vulci: Rome, Museo -Gregoriano, Helbig 1220. Height of vase 0,80. From photo. - -Fig. 97. Attic b.-f. necked Amphora, from Italy: Munich. Height 0,40. -From photo......_To face page_ 106 - -Pl. LV. Fig. 98. Necked Amphora of Amasis: Paris, Cabinet des Médailles -222. Height 0,33. From photo. - -Fig. 99. Detail from interior of a cauldron of Exekias, from Caere: -formerly Castellani Collection, Rome. From _Wiener Vorlegeblätter_, -1888, pl. 5, 3 b.....107 - -Pl. LVI. Fig. 100. Chief scene on a late b.-f. hydria, from Vulci: -Berlin, 1897. Height of vase 0,44. From Gerhard, _Auserlesene -Vasenbilder_ IV., pl. 249-50.....108 - -Pl. LVII. Fig. 101. Attic vase in shape of negro’s head with late b.-f. -decoration of neck: Boston. From photo. - -Fig. 102. Panathenaic Amphora, from Vulci: Munich, Jahn 655. Height -0,62. From photo......110 - - -CHAPTER V.: THE RED-FIGURED STYLE IN THE ARCHAIC PERIOD:-- - -Pl. LVIII. Fig. 103. Scene on an Amphora in the style of the Andokides -painter, from Vulci: Munich, Jahn 388. Height 0,535. From -_Furtwängler-Reichhold_ 4.....114 - -Pl. LIX. Fig. 104. Amphora of the potter Pamphaios (Nikosthenes’ shape), -from Etruria: Paris, Louvre G 2. Height 0,38. From photo......116 - -Pl. LX. Fig. 105. Scene on an Amphora of Euthymides, from Vulci: Munich, -Jahn 378. Height 0,60. From _Furtwängler-Reichhold_ 14. - -Fig. 106. Shoulder scene on a hydria of Hypsis, from Vulci: Rome, -Torlonia Collection. From _Antike Denkmäler_ II., pl. 8.....117 - -Pl. LXI. Fig. 107. Detail of Amphora of Euthymides, from Vulci: Munich, -Jahn 410. From photo. - -Fig. 108. Detail from interior of an archaic r.-f. kylix, from Orvieto: -Boston. From photo......118 - -Pl. LXII. Fig. 109. Rhyton (in shape of a horse’s head) with r.-f. -decoration of neck: Boston. From photo......_To face page_ 119 - -Pl. LXIII. Fig. 110. Interior of a kylix by Skythes, from Caere: Rome, -Villa di Papa Giulio. Diameter of interior O,10. From _Monuments Piot -XX._, pl. 7.....120 - -Pl. LXIV. Fig. 111. Interior of a kylix by Epiktetos, from Vulci. -London, B.M., E. 38. From _Furtwängler-Reichhold_ 73, 1.....121 - -Pl. LXV. Fig. 112. Part of the design on the psykter of Euphronios, from -Caere. Petrograd, Hermitage, 1670. From _Furtwängler-Reichhold_ -63.....122 - -Pl. LXVI. Fig. 113. Obverse of a kalyx-krater of Euphronios, from Caere. -Paris, Louvre G 103. Height of krater O,46. From _Furtwängler-Reichhold_ -92.....123 - -Pl. LXVII. Fig. 114. Kylix signed by the potter Sosias, from Vulci: -Berlin 2278. Diameter 0,32. From photo......124 - -Pl. LXVIII. Fig. 115. Interior of a r.-f. kylix, from Caere: formerly -Branteghem Collection, now London, B.M., E 46. From Hartwig, -_Griechische Meisterschalen_, pl. VIII......125 - -Pl. LXIX. Fig. 116. Interior of a kylix of Brygos, from Vulci: Würzburg, -Urlichs (1872) 346. From photo......126 - -Pl. LXX. Fig. 117. Detail of an archaic r.-f. pointed amphora, from -Vulci: Munich, Jahn 408. From Photo. - -Pl. LXXI. Figs. 118-9. Exteriors of a kylix of Brygos: Paris, Louvre. -From _Furtwängler-Reichhold_ 25.....128 - -Pl. LXXII. Fig. 120. R.-f. skyphos, from Italy: Vienna, Museum für Kunst -und Industrie 328. From photo. - -Fig. 121. Exterior of a kylix, from Corneto: Corneto. From _Monumenti -XI._, pl. 20.....129 - -Pl. LXXIII. Fig. 122. Scene on a psykter of Duris, from Caere: London, -B.M., E. 768. Height of vase O,29. From _Furtwängler-Reichhold_ -48.....130 - -Pl. LXXIV. Fig. 123. Kylix of Hieron, from Vulci: Berlin 2290. Diameter -O,33. From photo......131 - -Pl. LXXV. Fig. 124. Kylix of Duris, from Caere: Berlin 2285. Diameter -0,28. From photo. - -Fig. 125. R.-f. kylix, from Vulci: Berlin 2294. Diameter 0,30. From -photo. ....._To face page_ 132 - -Pl. LXXVI. Fig. 126. Interior of a r.-f. kylix, from Vulci: Munich, Jahn -368. Diameter 0,305. From _Furtwängler-Reichhold_ 86.......133 - - -CHAPTER VI.: - -THE STYLE OF POLYGNOTOS AND PHEIDIAS. - -Pl. LXXVII. Fig. 127. Figure on a skyphos of Pistoxenos, from Caere: -Schwerin. From _Jahrbuch des D. Instituts_ 1912, pl. 6 - -Fig. 128. Detail of a fragmentary white-ground lekythos, from Attica: -Bonn. From _J.H.S._ 1896, pl. 4.....134 - -Pl. LXXVIII. Fig. 129. Kylix with white-ground interior, from Rhodes: -London, B.M. D 2. Diameter 0,24. From photo. - -Fig. 130. Detail of a r.-f. krater: New York. From photo......135 - -Pl. LXXIX. Fig. 131. Obverse of a r.-f. krater, from Sicily (?): Boston. -Height of vase 0,36. From _Furtwängler-Reichhold_ 115, 1.....136 - -Pl. LXXX. Fig. 132. Fragmentary r.-f. psykter, from Falerii: Rome, Villa -di Papa Giulio. From photo. - -Fig. 133. Interior of a kylix, of the potter Hegesibulos: Brussels: -_Münch. Jahrb._ 1913, II., p. 89.....138 - -Pl. LXXXI. Fig. 134. Interior of a r.-f. kylix, from Etruria: Munich, -Jahn 370. Diameter 0,425. From _Furtwängler-Reichhold_ 6.....139 - -Pl. LXXXII. Fig. 135. Obverse of a r.-f. kylix-krater, from Orvieto: -Paris, Louvre G 341. Height of vase 0,55. From _Furtwängler-Reichhold_ -108.....140 - -Pl. LXXXIII. Figs. 136-7. Design on lid and sides of a pyxis of -Megakles: Bibliothèque Royale, Brussels. Height 0,063. Diameter 0,085. -From Fröhner, _Coll. Barre_, pl. VII. - -Fig. 138. Detail of a r.-f. pointed amphora: Paris, Cabinet des -Médailles 357. From _Furtwängler-Reichhold_, pl. 77,1....._To face page_ -142 - -Pl. LXXXIV. Fig. 139. Scene on a r.-f. pelike, from Rugge (Apulia): -Lecce. From _Furtwängler-Reichhold_ .....66 - -Fig. 140. Scene on a r.-f. krater, from Gela: Berlin. Height of vase -0,50. From _50 Berliner Winckelmannsprogramm_ (1890).....143 - -Pl. LXXXV. Fig. 141. R.-f. Amphora, from Vulci: London, B.M., E 271. -Height 0,57. From photo......144 - -Pl. LXXXVI. Fig. 142. White-ground lekythos, from Attica: London, D 58. -Height ca. 0,48. From photo......145 - -Pl. LXXXVII. Figs. 143-4. Youth and maiden on a white-ground lekythos, -from Attica: Boston 8440. Height of vase, 0,40. From photo. - -Fig. 145. Detail of a white-ground lekythos: Athens, Collignon-Couve -1822. From Furtwängler-Riezler, _Weissgrundige Lekythen_, pl. 93.....146 - -Pl. LXXXVIII. Fig. 146. R.-f. stamnos, from Vulci: Munich, Jahn 382. -Height 0,445. From photo. - -Fig. 147. Scene on a r.-f. stamnos, from Campania: Naples, Heydemann -2419. From photo......148 - -Pl. LXXXIX. Fig. 148. Scene on a r.-f. Amphora, from neighbourhood of -Arezzo: Arezzo. Height of vase 0,54. From _Furtwängler-Reichhold_, pl. -67.....149 - -Pl. XC. Figs. 149-51. Three details of a fragmentary r.-f. vase: Naples. -From three photos, in the Munich Vase Collection.....150 - -Pl. XCI. Fig. 152. Scene on a r.-f. hydria, from Populonia: Florence. -Height of vase 0,46. From Milani, _Monumenti scelti_, pl. 4.....151 - -Pl. XCII. Fig. 153. R.-f. volute amphora, from Ruvo: Ruvo, Jatta -Collection 1501. Height of frieze 0,35. From _Furtwängler-Reichhold_ -38......152 - -Pl. XCIII. Fig. 154. Scene on a r.-f. jug: Oxford. Height of vase 0,21. -From _J.H.S._ 1905, pl. 1. - - -CHAPTER VII.: LATE OFFSHOOTS:-- - -Fig 155. Scene on a late Attic pelike, from -Kerch (Crimea): Petrograd, Hermitage -1795. Height 0,38. From -_Furtwängler-Reichhold_ 87,2......_To face page_ 154 - -Pl. XCIV. Fig. 156. Lucanian bell-krater, from the -Basilicata: Paris, Louvre. Height -0,53. From photo. - -Fig. 157. Lower Italian bell-krater with -comedy scene (Phlyax vase), from -Apulia. London, B.M., F. 151. -Height of vase 0,39. From photo......156 - -Pl. XCV. Fig. 158. Apulian volute amphora, from Bari: -Boston. Height 1,25. From photo......157 - -Pl. XCVI. Fig. 159. Late Attic kalyx-krater, from -Greece: Munich. Height 0,41. From -_Münch. Jahrb._, 1913, 1., p. 79 - -Fig. 160. Hellenistic cup with designs painted -in white: Munich. Height 0,09. -From _Münch. Jahrb._, 1909, II. p. -204, fig. 8......158 - - - - -INDEX OF NAMES - -The names of painters and potters are printed in italics. All are -Athenian, unless it is otherwise stated. - - -Achaeans, 16. - -Achilles, 46, 65, 68, 125, 128, 129, 139, 157. - -Acropolis (of Athens), 99, 103, 110, 114, 115, 122, 137, 153. - -Acropolis sculptures, 50. - -Adonis, 152. - -Ægean Sea, 17. - -Ægina, 6, 14, 26, 32, 42, 49, 50, 52, 53, 60. - -Æolians, 17. - -Æolis, 90. - -Africa, 89, 92. - -Aias, 68, 79, 156. - -_Aison_, 151. - -Aktaion, 137. - -Alabastron, 44. - -Alexandria, 110, 159. - -Alkmaion, 73. - -Altenburg, amphora at, 61, 84. - -_Amasis_, 97, 102, 103, 105, 106, 107, 108, 113, 116, 127, 136, 143. - -Amazons, 75, 81, 84, 139, 141. - -Amphiaraos, 67, 71, 72, 73, 143, 144. - -Amphitrite, 126. - -Amphora, 24, 49, 52, 54, etc.; - (big-bellied), 50, 74, 104; - (necked), 51, 74; (pointed), 126, 127; - (Nolan), 127, 136; - (with twisted handles), 149; - (Panathenaic), 99, 110, 127, 153. - -Anakreon, 114, 135. - -_Andokides_, 58, 108, 109, 114, 115, 117, 118, 120, 121. - -_‘Andokides’ painter_, 115, 131. - -Antaios, 123, 124, 125, 126. - -Antenor (sculptor), 112, 131. - -Aphidna (Attica), 6. - -Aphrodite, Temple of, 42. - -Aphrodite, 135, 137, 152. - -Apollo, 25, 54, 55, 65, 139. - -Apulia, 156. - -Apulian vases, 157. - -Arezzo, amphora at, 149. - -Argive alphabet, 59. - -Argolid, The, 5, 6, 7, 12, 19, 26, 33, 42. - -_Argonaut Master, The_, 140-2. - -Argonauts, The, 140, 147. - -Argos (giant), 86. - -Argos (town), 14, 26, 33. - -Ariadne, 22, 129. - -Aristagoras (kalos), 130. - -_Aristonothos_ (? Aristonoos, perhaps Argive), 33, 38. - -_Aristophanes_, 151. - -Arkesilas, king, 92. - -Artemis, 55, 137. - -Artemis the Persian, 54. - -Aryballos, 44, 142, 158. - -Asia Minor, 5, 6, 15, 17, 19, 42, 55, 80, 87, 101. - -Assarlik, 19. - -_Assteas_ (Campanian painter), 156. - -Astyanax, 65. - -Athena, 49, 65, 66, 67, 68, 71, 81, 99, 100, 106, 110, 126, 147, 153. - -Athenodotos (kalos), 126. - -Athens, 19, 51, 96, 99, 106, 111, 121, 157. - -Athens, Vases in, 139, 147, 149. - -Attica, 6, 25, 42, 51. - - -Barbotine, 8. - -Beaked jug, 5. - -Bellerophon, 39, 40, 64. - -_Berlin amphora, Master of the_, 131. - -Berlin, Vases in, 92, 104, 109, 130, 131, 133, 134, 135, 139. - -Black Sea, 28, 56, 89, 158. - -Boeotia (Boeotians), 2, 22, 26, 42, 52, 60, 94, 96, 110, 155. - -Bonn, Vases in, 119, 134, 135. - -Boreas, 82. - -Boreas, Sons of, 82. - -Boston, Vases in, 45, 100, 126, 130, 135, 137, 146, 147, 157. - -Bowl (Schüssel), 22, 66. - -Bronze Age, 2, 3, 4. - -_Bronze-foundry Master_, 131. - -_Brygos painter_, 128, 129, 131, 139. - -Bucchero ware, 90. - -Busiris (Pharaoh), 89. - -_Butades_ (Sicyonian), 69. - - -Cable pattern (Guilloche), 30, 35. - -Caere, 42, 68. - -Caeretan hydriae, 87-9, 107. - -Campania, 156. - -Carthage, 42. - -Castle Ashby, Amphora at, 86, 87. - -Centaurs, 22, 39, 86, 89, 98, 128, 140, 150. - -Centauromachy, 91, 130. - -Chairestratos (kalos), 126, 127, 129. - -Chalkidian style, 69, 70, 75-80, 94, 96, 97, 100, 104, 105, 106, 107, 118. - -Chalkis, 71, 75, 76, 77, 80, 94, 96, 99, 100, 105, 106, 108. - -_Chares_ (Corinthian painter), 45. - -_Charitaios_, 101, 103. - -_Chelis_, 121. - -Chigi jug, 38, 40, 45, 59, 66. - -Chimaera, The, 39, 40. - -Circe, 100, 146. - -Corfu, 44. - -Corinth, 26, 34, 42, 50, 56, 69, 70, 90, 94, 100. - -Corinthian style, 43, 50, 70-75, 90, 94, 96. - -Corneto, Vases in, 123, 129. - -Cretans, 10, 12, 34. - -Crete, 1, 2, 13, 14, 15, 16, 17, 19, 27, 33, 55. - -Cyclades, 15, 25, 94. - -Cycladic (pottery, etc.), 5, 6, 25, 52, 54, 80. - -Cyprus, 5, 6, 14, 15, 17, 26. - -Cyrene, 92. - - -‘Daedalic’ types, 34. - -Daedalus, 31. - -Daphne, 86. - -Deianeira, 34. - -_Deiniades_, 119, 123. - -Delian (or Euboic) ware, 53, 81. - -Delos, 25, 54, 55, 98. - -Delphi, 26. - -Delta, The, 56, 59. - -Demeter, 135. - -Dimini, 2. - -Diomede, 79. - -Dionysos, 66, 82, 96, 97, 100, 106, 108, 148, 149. - -Dipylon (Athens), 1, 24, 27, 35. - -Dörpfeld (Wilhelm), 4. - -Dorians, The, 17, 19. - -_Duris_, 120, 126, 129, 130, 131, 139. - - -Egypt, 9, 15, 83. - -Egyptian, 89. - -Eleusis, 6, 25, 26. - -Eos, 130, 135. - -Ephesian sculpture, 88. - -_Epiktetos_, 108, 114, 121, 122, 123, 124. - -Epilykos (kalos), 120-3. - -Eretria, 25, 52, 94. - -_Eretria master, The_, 148, 152, 153. - -_Erginos_, 151. - -_Ergoteles_, 101. - -_Ergotimos_, 97, 100, 101, 103. - -Eriphyle, 73, 143, 144. - -Ethos, 133, 142. - -Etruria, 90, 91, 94, 99, 156. - -Etruscan, 1, 35, 90. - -Euboea, 25, 52. - -Euboic (or Delian) ware, 53. - -_Eucheiros_, 101. - -_Eumares_, 111, 112. - -Euphorbos plate, 58. - -Euphrates, The, 12. - -_Euphronios_, 18, 109, 114, 116, 117, 120, 122-9, 131, 133, 134, 135, 139. - -Europa, 68, 88. - -Eurytios, 72, 79, 97. - -_Euthymides_, 114, 116-9, 122, 123, 125, 127. - -_Euxitheos_, 117, 123. - -_Exekias_, 68, 101, 102, 103, 105, 107, 108, 113, 115. - - -Face urns, 4. - -‘Fates,’ The, 152. - -Fibulae, 22. - -Fikellura (Samian) ware, 60-2, 83, 116. - -Flamed ware, 7. - -Florence, Vase in, 97. - -François vase, 71, 95, 96, 97-9, 100, 101, 103, 104, 108. - -Funnel vase, 12. - -Furtwängler, Adolf, 20, 64. - - -Gales, 114. - -Ge, 139. - -Gela, 143, 144. - -Geometric style, 16, 17, 18, 19, 20, 22-8, 29, 31, 41, 54, 56, 69, 135, 144. - -Geryon, 78, 79. - -Gigantomachia, 150. - -Glaukon, son of Leagros (kalos), 114, 124, 130, 133, 134, 135, 137, 138, 145. - -Gnathia vases, 157. - -Gorgon, 44, 50, 58, 101. - -Gorgon lebes, 49, 66, 97, 100. - -Griffin head jug, 53. - - -Hadra vases, 110. - -Halimedes, 73. - -Hamilton, Sir William, 1. - -Harpies, 50, 82. - -Head, Vases in shape of, 120, 142 (Figs. 101, 109). - -Hector, 59, 118, 129. - -_Hegesibulos_, 142. - -Helen, 22, 23, 118. - -Helios, 150. - -Hellenistic painting, 159. - -Hephaistos, 66, 67, 71, 88, 98. - -Herakles, 39, 50, 54, 60, 64, 65, 66, 67, 71, 72, 75, - 79, 89, 99, 115, 116, 123, 124, 126. - -Hermes, 40, 49, 86, 88, 145. - -Hermogenes (kalos), 130. - -_Hermonax_, 143. - -Heröon, 157. - -Hesiod, 22. - -Hetairai, 116, 119, 120, 123, 146. - -_Hieron_, 131, 135. - -Hipparchos (kalos), 109, 114. - -Hippodamas (kalos), 127, 130. - -Hippodameia, 149. - -_Hischylos_, 101, 121, 122. - -Hissarlik (Troy), 4. - -Homer, 16, 22. - -Homeric poems, 17, 71, 135 (see _Iliad_ and _Odyssey_). - -_Horse master_, 128, 133, 137, 138, 139. - -Hydria, 67, 74, 108, 109, 119. - -Hygieia, 152. - -Hymettos, 48. - -Hymn (Homeric), 55. - -_Hypsis_, 119, 125. - - -Ida, Mt., 8. - -Iliad, The, 59, 65, 125, 147. - -Iliupersis, 67, 104, 128. - -Io, 86. - -Iole, 72, 73. - -Ionia, 47, 94. - -Ionians, 17, 62. - -Ionic art, 25, 55-62, 79-89, 120. - -Isocephalism, Law of, 68. - -Italy, 15, 26, 42, 60, 90. - - -Japanese art, 12. - -Jug with rotelle, 41-3, 57; - wine-skin-shaped, 41. - - -Kabirion, 110. - -_Kachrylion_, 123. - -Kalistanthe (kale), 102. - -_Kalliades_, 130. - -Kallinos, 92. - -Kaloi, 102, 114. - -Kamares style, 5, 8, 9, 10, 11, 13. - -Kantharos, 96, 120, 129. - -Kassandra, 156. - -Kavusi, 27, 30. - -Kerameikos, 121. - -Kerch style, 158. - -Kimon (statesman), 134. - -_Kimon of Kleonai_, 111. - -Klazomenai, 83, 84, 87, 116. - -Klazomenian sarcophagi, 87, 111. - -Klazomenian style, 83, 84. - -_Kleanthes_ (Corinthian painter), 65, 67. - -_‘Kleophrades’ painter_, 127. - -_Kleophrades, son of Amasis_, 127, 129. - -_Klitias_, 18, 97, 98, 101, 103, 104, 108, 113. - -Klytemnestra, 156. - -Knossos, 10, 14. - -_Kolchos_, 87, 103, 104, 107. - -Korone, 118. - -Krater, 15, 33, 34, 71, 72, 73, (a colonnette) 74, (calyx) - 123, 136, 140, 142, (bell) 127, 136, 149, 156, (volute) 157. - -Kyknos, 78. - -Kylix (bird), 26, 52, 94, (eye) 81, (with offset rim) 91. - -Kyme (Italy), 27, 28, 42, 53. - -Kypselos, Chest of, 67, 71, 78, 95. - - -Lanuvian Juno, 90. - -Leagros, father of Glaukon (kalos), 109, - 114, 115, 120, 121, 123, 124, 125, 126, 127, 130, 134, 142. - -Lebes (cauldron) 49, (bronze) 53, 57, 66, - 71, (with stand) 74, 86, 91, 95, 108. - -Lecce, Pelike at, 143. - -Leto, 55. - -Leukas, 5, 6. - -Lion Gate, The, 7. - -_Little Masters_, 101, 102, 105. - -London, Vases in, 58, 61, 78, 108, 119, - 122, 125, 126, 130, 135, 143, 145, 147, 149, 156. - -Lotus, 11. - -Loutrophoros in Athens, 134. - -Louvre (see Paris). - -Lower Italy, Vases of, 153, 155, 158. - -Lucania, 156. - -_Lydos_ (the Lydian), 103. - - -Madrid, vases in, 116, 151. - -Maenads, 66, 100, 106, 127, 131, 143. - -_Makron_, 131, 135. - -Marathon, 114, 115, 140. - -Marina (Hagia), 5, 6. - -Massilia, 28. - -Mattmalerei (lustreless painting), 6. - -Medusa, 49, 50. - -Megakles (Alkmaeonid), 114, 119. - -_Megakles_ (potter), 142, 152. - -_Meidias_, 18, 149, 151, 157. - -Meleager, 98. - -‘Melian’ vases, 53-5, 81. - -Melos, 5, 9, 12, 14, 25, 53. - -Melusa, 145. - -Memnon (epic hero), 65. - -Memnon (kalos), 114, 121, 123. - -Menelaos, 104. - -_Menon, painter_, 116. - -Metallic effect in vase shapes, 76. - -Metope maeander, 57, 61. - -Metopes, 21. - -Miletus, 25, 30, 55, 56, 114. - -Minoan style (1), Early, 5, 7; - (2), Middle, 8, 9; - (3), Late, 10, 12, 13, 14. - -Minos, 7. - -Minotaur, 66, 104. - -Minyan ware, 6. - -_Mnasalkes_ (Theban), 52. - -Mochlos (Crete), 7. - -Monochromy, 33, 44, 48. - -Munich, Vases in, 76, 78, 86, 96, 102, 107, - 115, 117, 118, 123, 127, 128, 130, 135, 138, 139, 145, 148. - -Musaios, 145. - -Muse, 95, 145. - -Mycenae, 6, 7, 12, 14. - -Mycenean, 1, 7, 8, 13, 14-19 (late). - - -Naples, 1. - -Naples, Vases in, 148, 150, 153. - -Naturalistic style, 11, 13. - -Naukratis, 43, 51, 58, 59, 60, 61, 83, 88, 91, 101. - -Nauplia, 19. - -_Nearchos_, 101, 103, 104, 112. - -Neolithic, 2, 5. - -Neoptolemos, 104. - -Nereids, 89. - -Nessos vase, 47, 48, 49, 50, 51. - -New York, Vase in, 134, 142. - -Nike balustrade, 151. - -_Nikosthenes_, 87, 101, 103, 108, 115, 116, 121, 122. - -Nile, The, 9, 12. - -Nolan style, 131. - -Nudity, 20. - -Nymph, 82, 150. - - -Odysseus, 79, 100. - -Odyssey, 32. - -Oichalia, 72. - -_Oltos_, 116, 119, 122, 123, 124, 127. - -Olympia, 15, 53, 67. - -Olympos, 65, 66, 67, 71. - -_Onesimos_ (?), 128. - -Onetorides (kalos), 106. - -Orchomenos (Boeotia), 5, 6, 14. - -Orestes, 156. - -Oriental art, 29-32, 35, 37. - -Orpheus, 137, 139. - -Orvieto, Calyx-Krater from, 140. - -Oxford, Vases in, 114, 150. - - -Paidia, 152. - -Palace style (second late Minoan), 13, 14. - -Palaisto, 124. - -_Pamphaios_, 101, 103, 108, 109, 115, 116, 121, 122, 123. - -_‘Pan’ Master, The_, 137. - -Panaitios (kalos), 126, 127. - -_‘Panaitios’ Master, The_, Frontispiece, 126, 128, 129, 130. - -Panathenaea, The, 99. - -Panathenaic amphorae (see _Amphora_). - -Paris (of Troy), 22, 40, 152. - -Paris , Vases in: (1) Louvre, 49, 58, 72, 79, - 91, 94, 105, 108, 116, 123, 126, 128, 130, 140, 156; - (2) Cabinet des Médailles, 92, 106, 143. - -Parthenon, 144, 147, 148, 150, 151. - -Patroklos, 125. - -Pausanias (Descriptio Graeciæ), 71. - -Pedieus (kalos), 109. - -Pegasus, 39. - -_Peithinos_, 124. - -Peleus, 32, 33, 71, 95. - -Pelias, 67. - -Pelike, 110, 119, 143. - -Peloponnese, 17, 90. - -Pelops, 149, 150, 155. - -Penthesileia, 81, 138. - -_Penthesileia Master, The_, 139, 141. - -Periclean age, 144. - -Perseus, 49, 59, 64. - -_Perugia Master, The_, 128, 130, 139. - -Petrograd, Psykter in, 123. - -Phaistos, 10, 14. - -Phaleron style, 47, 48, 49, 54. - -Phaon, 152. - -Pheidias, 113, 142, 143, 144, 148, 151, 154. - -‘Phineus’ style, 80-3, 102, 105, 107, 121. - -Phineus kylix, 76, 79, 80, 81, 93, 146, 150. - -_Phintias_, 114, 119, 123, 125. - -Phlyakes, 156. - -Phocis, 2, 5. - -Phœnicia, 15. - -Phœnician metal work, 30, 47, 55, 58. - -Physiognomy, 135, 139. - -Pinax (votive tablet), 46, 51, 114. - -Piraeus amphora, 49. - -Pisistratidae, 114. - -Pisistratus, 99. - -_Pistoxenos_, 122, 134. - -Plate (Teller), 32, 58. - -Pliny, 111, 112. - -Polychromy, 8, 10, 60, 93 (see _Kamares_, _Naukratis_.) - -Polygnotan vases, 140, 141. - -_Polygnotos_, 123, 133, 138, 143, 146. - -_Polygnotos_ (vase painter), 143. - -Polyneikes, 144. - -Polyphemus, 33. - -‘Pontic’ vases, 89, 90. - -Pontus, 43. - -Poseidon, 65, 126. - -Praisos, 31, 32, 36, 46, 59. - -Praxiteles, 158. - -Priam, 104, 117, 123. - -_‘Pronomos’ Master, The_, 151, 153, 154; - -Protocorinthian, 26, 27, 34, 36, 37, 38, 41, - 42, 43, 44, 47, 49, 53, 56, 59, 71, 75, 120. - -_Psiax_, 121. - -Psykter, 119, 120, 123, 130, 137, 140. - -Pylos, 14. - -_Pyros_ (Theban), 52. - -_Python_, 122, 129. - - -Ram jug, 32, 53. - -Rankengeschling, 36. - -Rays, Circle of, 35. - -Red-figured style, 87, 102, 109, 111-3. - -Rheneia, 25, 54. - -Rhodes, 1, 15, 17, 26, 30, 42, 61, 135. - -Rhodian ware, 56-9, 81. - -Rome, Vases in, 105, 122. - -Rotelle, 41, 57. - -Russia, South, 83, 158. - - -Samos (see Fikellura), 30, 43, 61, 91. - -Sarcophagi (see Klazomenai). - -Sarpedon, 65, 147. - -Satyrs, 45, 66, 75, 79, 82, 84, 88, 92, 96, - 98, 100, 107, 116, 119, 120, 126, 130, 150. - -Schliemann, Heinrich, 4, 7. - -Schwerin, Vase in, 134. - -Scythians, 75, 81, 84, 89. - -Selene, 150. - -Sesklo, 2. - -Shaft graves (Mycenæ), 6, 7, 12. - -Sicily, 15, 26, 42, 60. - -Sicyon, 34 (see _Butades_). - -Sicyonian-Corinthian metal work, 41. - -Silenus, 81. - -Silhouette, 31, 32, 37. - -Silphion, 92. - -Sirens, 45, 95. - -Skopas, 158. - -Skyphos (two-handled cup), 35, 38, 45, 120, 128, 134. - -_Skythes_ (the Scythian), 121, 122, 123. - -Sleep and Death, 145, 147. - -_Smikros_, 120. - -_Sophilos_, 71, 95, 96, 97, 99, 104. - -Sosias kylix, 79, 124, 125. - -_‘Sosias’ painter_, 125, 127. - -_Sotades_, 120, 142, 153. - -Sparta, 26, 47, 90. - -Spartan ware, 90-3, 122. - -Spata, 14. - -Sphinx, 39, 40, 45. - -Stamnos, 119, 136, 143, 145, 148. - -Stesagoras (kalos), 114. - -Stesias (kalos), 105. - -Stesichoros, 99. - -Sthenelos, 79. - -Stirrup-vase, 12, 19. - -Stockholm, Vase in, 52. - -Stone Age, 1, 2, 3, 7. - -Stylized ornament, 11. - -Syracuse, 28, 34, 42. - - -Taleides, 104. - -Talos vase, 154, 155, 157. - -Tectonic style, 11, 13. - -Terpsichore, 145, 149. - -Textile influence, 23. - -Thamyris, 152. - -Thera, 9, 12, 25, 26, 27, 42, 53, 111. - -Thebes, 14, 22. - -Thersites, 157. - -Theseus, 22, 66, 98, 118, 126, 129, 130, 151. - -Thessaly, 2, 3, 5, 6. - -Thetis, 32, 65, 71, 95, 97. - -Thorikos (Attica), 14. - -Thracian women, 137. - -_Timagoras_, 67, 108. - -_Timonidas_ (Corinthian), 45, 46, 51, 72, 113. - -Tintoretto, 158. - -Tiresias, 156. - -Tiryns, 5, 33. - -Titian, 158. - -Tityos, 139. - -_Tleson_, 101. - -Tragodia, 151. - -Triada Hagia (Crete), 14. - -Tripod vase, 96. - -Triptolemos, 135. - -Triton, 67, 89, 108. - -Troilos, 45, 65, 81, 91, 98, 108. - -Troy, 4, 5, 6, 17, 129. - -Turin, Psykter in, 119. - -‘Tyrrhenian’ vases, 99, 100, 103, 106. - -Tyrtaios, 92. - - -Vaphio, 14. - -Vase shapes (see Alabastron, Amphora, Aryballos, Beaked jug, - Bowl, Face urn, Funnel-vase, Head, Hydria, Jug, Kantharos, - Krater, Kylix, Lebes, Loutrophoros, Pelike, Plate, Psykter, - Skyphos, Stamnos, Stirrup vase, Tripod vase). - -Veii, 42. - -Vienna, Vases in, 119, 128, 129. - -_Villa Giulia Master, The_, 143. - -Volo, 14. - -Vurvá vases, 47, 50, 51, 83, 93, 95, 100. - - -Wall painting (see Butades, Eumares, Kimon of Kleonai, - Kleanthes, Polygnotos), 16, 31, 33, 67, 68, 138, 158. - -Warrior vase (from Mycenae), 15, 33. - -Würzburg, Vases in (82), 105, 106, 128. - - -Xenophantos, The Athenian, 158. - - -Zeus, 65, 147. - - -PRINTED BY HERBERT REIACH, LTD., 24 FLORAL ST., COVENT GARDEN, LONDON, -W.C.2. - - - - - - -End of the Project Gutenberg EBook of Greek vase-painting, by Ernst Buschor - -*** END OF THIS PROJECT GUTENBERG EBOOK GREEK VASE-PAINTING *** - -***** This file should be named 61986-0.txt or 61986-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/1/9/8/61986/ - -Produced by Turgut Dincer, Chuck Greif and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Greek vase-painting - -Author: Ernst Buschor - -Contributor: Percy Gardner - -Translator: George Chatterton Richards - -Release Date: May 1, 2020 [EBook #61986] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK GREEK VASE-PAINTING *** - - - - -Produced by Turgut Dincer, Chuck Greif and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - -<hr class="full" /> - -<p class="figcenter"> -<a href="images/cover_lg.jpg"> -<img src="images/cover.jpg" alt="[Image of -the book's cover unavailable.]" /></a> -</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" -style="border: 2px black solid;margin:auto auto;max-width:50%; -padding:1%;"> -<tr><td> - -<p class="c"><a href="#CONTENTS">Contents.</a></p> -<p class="c"><a href="#INDEX_OF_NAMES">Index of Names</a></p> -<p class="c"><a href="#INDEX_OF_ILLUSTRATIONS">Index of Illustrations</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers] -clicking on the image will bring up a larger version.)</span></p> -<p class="c">(etext transcriber's note)</p></td></tr> -</table> - -<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span> </p> - -<p><span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span> </p> - -<p class="cigb">GREEK VASE-PAINTING</p> - -<p class="ills"><a name="plt_I" id="plt_I"></a></p> -<div class="figcenter"> -<a href="images/frontispiece_lg.jpg"> -<img src="images/frontispiece_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE I.</p> - -<p>Frontispiece: THESEUS, ATHENA AND AMPHITRITE: KYLIX WITH THE SIGNATURE -OF THE POTTER EUPHRONIOS</p> - -<p><i>From Furtwängler-Reichhold, Griechische Vasenmalerei.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span></p> - -<div class="block1"><div class="block2"> - -<h1>GREEK<br /> -VASE-PAINTING<br /> -by ERNST BUSCHOR</h1> -<p class="c"> -WITH C·L·X ILLUSTRATIONS<br /> -TRANSLATED BY G. C. RICHARDS<br /> -M.A., F.S.A., FELLOW OF ORIEL<br /> -COLLEGE OXFORD & WITH A<br /> -PREFACE BY PERCY GARDNER<br /> -LITT.D., F.B.A., PROFESSOR OF<br /> -CLASSICAL ARCHÆOLOGY<br /> -IN THE UNIVERSITY<br /> -OF OXFORD</p> -</div> -</div> - -<p class="c">LONDON<br /> -CHATTO & WINDUS<br /> -1921</p> - -<p><span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span> </p> - -<p><span class="pagenum"><a name="page_v" id="page_v">{v}</a></span> </p> - -<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2> - -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><td colspan="3"> </td><td class="rt">Page</td></tr> - -<tr><td colspan="3" valign="top">Preface</td><td class="rt" valign="bottom"><a href="#page_vii">vii</a></td></tr> - -<tr><td valign="top">Chapter</td><td valign="top" class="rt"><a href="#CHAPTER_I">I.</a></td><td valign="top"><a href="#CHAPTER_I">The Stone and Bronze Ages</a></td><td class="rt" valign="bottom"><a href="#page_1">1</a></td></tr> - -<tr><td class="c" valign="top">”</td><td valign="top" class="rt"><a href="#CHAPTER_II">II.</a></td><td valign="top"><a href="#CHAPTER_II">The Geometric Style</a></td><td class="rt" valign="bottom"><a href="#page_18">18</a></td></tr> - -<tr><td class="c" valign="top">”</td><td valign="top" class="rt"><a href="#CHAPTER_III">III.</a></td><td valign="top"><a href="#CHAPTER_III">The Seventh Century</a></td><td class="rt" valign="bottom"><a href="#page_29">29</a></td></tr> - -<tr><td class="c" valign="top">”</td><td valign="top" class="rt"><a href="#CHAPTER_IV">IV.</a></td><td valign="top"><a href="#CHAPTER_IV">The Black-Figured Style</a></td><td class="rt" valign="bottom"><a href="#page_63">63</a></td></tr> - -<tr><td class="c" valign="top">”</td><td valign="top" class="rt"><a href="#CHAPTER_V">V.</a></td><td valign="top"><a href="#CHAPTER_V">The Red-Figured Style in the Archaic Period</a></td><td class="rt" valign="bottom"><a href="#page_111">111</a></td></tr> - -<tr><td class="c" valign="top">”</td><td valign="top" class="rt"><a href="#CHAPTER_VI">VI.</a></td><td valign="top"><a href="#CHAPTER_VI">The Style of Polygnotos and Pheidias</a></td><td class="rt" valign="bottom"><a href="#page_133">133</a></td></tr> - -<tr><td class="c" valign="top">”</td><td valign="top" class="rt"><a href="#CHAPTER_VII">VII.</a></td><td valign="top"><a href="#CHAPTER_VII">Late Offshoots</a></td><td class="rt" valign="bottom"><a href="#page_155">155</a></td></tr> - -<tr><td colspan="3" valign="top"><a href="#INDEX_OF_ILLUSTRATIONS">Index of Illustrations</a> </td><td class="rt" valign="bottom"><a href="#page_161">161</a></td></tr> - -<tr><td colspan="3" valign="top"><a href="#INDEX_OF_NAMES">Index of Names</a></td><td class="rt" valign="bottom"><a href="#page_174">174</a></td></tr> -</table> - -<p><span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span> </p> - -<p><span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span> </p> - -<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2> - -<p class="nind"><span class="letra">A</span> HISTORY of Greek vase-painting has been for a long time a desideratum -of students of Greek art and antiquity. Many years ago I planned such a -work, but the difficulty of the necessary illustration caused the plan -to break down. In the meantime an extensive literature has grown up on -the subject, mainly in German, but with contributions from other -countries. In his first chapter Dr. Buschor has shewn how the result of -excavation in Greece and Italy has been to throw our starting-point -further and further back, until it lies in the Neolithic age. But it is -not only in regard to the earlier phases of Greek vase-painting that -research has brought light: the red-figured vase-painting which is one -of the most perfect fruits of Greek art in the fifth century has been -far more minutely and intensively studied. The result has been to fix -the outlines, and more than the outlines, of the history of a fourth -great branch of Greek artistic activity; the history of architecture, of -sculpture and of coinage having been already thoroughly investigated. -And this fourth branch is not merely vase-painting; but since the fresco -and other paintings of the great age of Greece have almost entirely -perished, we may fairly say that it includes almost all that we can ever -know of the history of early Greek painting. Vase-paintings can but -feebly image the colouring of the great painters of Greece; but they can -give us invaluable information as to the principles of grouping and -perspective adopted by them; they can reflect the extreme beauty of -their figure-drawing; and they can shew us how they treated subjects -from the vast repertory of Greek mythology and poetry.<span class="pagenum"><a name="page_viii" id="page_viii">{viii}</a></span></p> - -<p>Most of those who take up the study of Greek art are strongly attracted -by vases, the subjects of which are more varied, and the treatment freer -than is the case with sculpture. For mythology, religion, athletics, -daily life, they are first-hand authorities. Yet one may fairly say -that, until a few years ago, satisfactory study of them was impossible. -Vase-paintings, in consequence of the shape of the vessels themselves, -can very seldom be adequately reproduced by photography. And the -published drawings of them, until about 1880, were quite untrustworthy; -partly because the draughtsmen had insufficient sense of style, partly -because most of the vases in the great museums were more or less -restored, often in a most misleading way.</p> - -<p>Thus merely to reproduce published engravings of the vases was quite -misleading. The truth about them could only be known from a technical -examination of the originals scattered through Europe. Yet one must say -that in nearly all our English classical books and dictionaries, old -engravings are uncritically reproduced. It is a fouling of the springs; -and however practically inevitable such a course may often have been, -the result is that the reader never knows whether he is treading on firm -ice or on a mere crust. Anything more reckless and misleading than the -procedure of the publishers and editors of illustrated classical books -can scarcely be imagined. The errors resulting can only be weeded out by -slow degrees.</p> - -<p>Since about 1880 things have slowly mended. The German Archæological -Institute, and the French and English Societies for the promotion of -Hellenic Studies have published really careful drawings of a multitude -of vases, Mr. F. Anderson in England being one of the most accurate and -careful of the artists employed. In the last few years the catalogues of -vases in Berlin, Paris, Munich, London and other places have given -authoritative informa<span class="pagenum"><a name="page_ix" id="page_ix">{ix}</a></span>tion as to restorations. A fresh era in the -knowledge of technique and subject was begun by the magnificent -publication of Furtwängler and Reichhold, with its splendid plates. At -present the most authoritative works on early red-figured vases are -those of an Oxford man, Mr. J. D. Beazley, and an American, Mr. J. C. -Hoppin. Mr. Beazley has been good enough carefully to revise the present -translation.</p> - -<p>We have reached a stage at which, for all but specialists, what was most -needed was a general history of Greek vases in all their periods, -compiled by a trustworthy authority, and so fully illustrated (no easy -matter) as to enable a reader to follow the text throughout. Thus would -the whole subject be mapped out, and the approach to any particular -province be made easy. Such a book is that of Dr. Buschor. His examples -are carefully chosen; his text shews full mastery of the subject; and it -is very unlikely that his treatment will be superseded for a long time -to come. It is, however, a book not adapted for a mere cursory reading, -but for careful consideration and study.</p> - -<p>I may add a few words by way of introduction to the subject. We may -divide the whole history of Greek pottery into two sections, which are -separated one from the other by the line which divides primitive from -mature Greece, about the middle of the sixth century.</p> - -<p>Before that time, before the age of Crœsus and the rise of the Persian -Empire, the history of Greece is very imperfectly known to us, through -the traditions of the temples and the old families, which are seldom -wholly to be trusted. Where history is uncertain it is of untold value -to have monuments and works of human manufacture to supplement it. These -provide a skeleton of fact with which to compare legend and tradition. -It is now generally recognized that before writings in the form of -inscriptions<span class="pagenum"><a name="page_x" id="page_x">{x}</a></span> and coins come into general use, pottery furnishes the -most continuous and most trustworthy material for the dating of sites, -indications of commercial intercourse, the movements of peoples. In -recent years the study of prehistoric Greece has made immense strides, -primarily owing to the excavations of Schliemann, Evans and other -investigators. The subject seems to fascinate the younger generation of -archæologists; and the pottery found in the graves of the early -inhabitants of Greece and Asia Minor has been worked at with great -minuteness and to much result. It has revealed to us the outlines of the -early history of Crete, the Troad, Laconia, Thessaly, and a number of -other districts. Constant comparison with the results of finds in Egypt -which can be dated from inscriptions has revealed in a measure the state -of the civilization of the Ægean in century beyond century, back to -Neolithic times.</p> - -<p>When Greek civilization became fully established, in the sixth century, -when inscriptions and coins begin to give us far more exact information -than that which can be derived from pottery, the interest attaching to -the latter does not cease, but it changes in character. We no longer go -to it to determine the outlines of the history of civilization. But it -has now become a thing precious in itself because of its beauty, its -close relation to the poetry, the religion and the life of Greece. The -elegant forms of Greek vases and the charm of the designs painted on -them have caused them to be sought after by great museums and wealthy -collectors. The graves of Italy, Sicily, Hellas, have poured out a -constant supply of these works of art, some of them beyond value. -Classical archæologists have naturally given much attention to them; and -of late years the assignment of examples to noted masters, and the study -of their technique have been zealously prosecuted. They belong too -wholly to a civilization which has passed away to be readily under<span class="pagenum"><a name="page_xi" id="page_xi">{xi}</a></span>stood -by ordinary visitors of museums; but those who have once been bitten -with their charm find in them an occupation, a delight and a solace -which are great helps in life. Greece is the classical land of art in -all its forms, and the principles of art which were established by the -successive schools of art there can never be wholly neglected. If we set -aside the pottery of China and Japan, which is, in another sphere, of -unsurpassed beauty, the pottery of Greece is the only perfectly -developed and thoroughly consistent pottery in the world; and the noted -productions of modern Europe seem in comparison poor and half-civilized.</p> - -<p>Dr. Buschor’s general plan has compelled him to write but in a summary -way of the works of red-figured style, which are incomparably the most -beautiful. In fact, in such small and rough illustrations as are -possible in a handbook, their quality could not be reproduced. For them -the reader must go on to other works, or visit the vase-rooms of -museums. A conspectus of successive styles and periods was all that was -possible. And I think that enough is here accomplished to arouse the -interest of those who love art and have some sympathy with the Greek -spirit.</p> - -<p>The old supremacy of the Classics in education has passed away, and in -future they will have to hold their own not by prescriptive right but in -virtue of their intrinsic value, on which more and more stress is being -laid by those who feel what their neglect in the modern world would -mean. It is time to strengthen their hold by shewing how they lie at the -very root of philosophy, literature and art. Our successors will not be -satisfied with drilling boys in Greek and Latin grammar, but will have -to insist on the place held by ancient peoples, the Jews, the Greeks and -the Romans, in the evolution of all that is valuable and delightful in -the modern world. We have to widen the field of Classics, and illustrate -the literature from every point of view. And if<span class="pagenum"><a name="page_xii" id="page_xii">{xii}</a></span> it be felt that the -object of education is not merely to enable boys and girls to earn a -living, but to help them to lead a worthy and happy life, then I have no -fear that the Classics will be permanently eclipsed.</p> - -<p>Mr. Richards’ work as a translator was very difficult. In spite of -kindred origin, the German mind in literary production moves on -different lines from the English. Not only is the order of words in a -sentence different, but the sentences themselves are much more involved, -and German scientific writers aim at an exactness in the use of terms -which we seldom attempt. Mr. Richards’ version is very accurate; but it -must be allowed to be not always easy reading. He preferred to retain as -much as possible of the meaning, even if it involved some stiffness in -the text. Students will thank him for this; and if the general reader -finds that he has to give the text a closer attention than he is used to -give to books, he will in fact have his reward.</p> - -<p>Dr. Buschor’s work is a solid stone for the temple of knowledge, and the -main lines of the subject are now so firmly fixed by induction, that -they are not likely to suffer very much change in the future.</p> - -<p class="r"> -<span class="smcap">P. Gardner.</span><br /> -<span class="pagenum"><a name="page_1" id="page_1">{1}</a></span></p> - -<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.<br /><br /> -THE STONE AND BRONZE AGES</h2> - -<p class="nind"><span class="letra">S</span>TUDENTS of the history of Greek vases have been gradually led backwards -from a late period to earlier and earlier stages of civilization by the -course of circumstances. First of all graves were opened in Lower Italy; -the first great collection of vases, formed by Sir William Hamilton, -British ambassador in Naples, and published in 1791-1803, contained -chiefly the output of later Italian manufactories. Next, from 1828 -onwards, the doors of Etruscan graves were unlocked, and their contents -proved to be the rich treasures of Greek red and black-figured vases, -procured in such numbers by the Etruscans of the 6th and 5th centuries. -About twenty years later a bright light was thrown on eastern Greek -pottery of the 7th century by the discovery of a cemetery in Rhodes. -About 1870 the ‘Geometric’ style became known and the Dipylon vases at -Athens were revealed. In the seventies and eighties Schliemann’s spade -unearthed the Mycenean civilization, and in the beginning of the present -century we were introduced to the culmination of this period in Crete. -Finally in quite recent times finds of vases of the Stone Age in Crete -and in North Greece have given us a view of vase-production in the third -millennium B.C. If therefore we wish to retrace this long road, we must -begin at a period, of which the investigation has only just begun and -which presents most difficult problems.</p> - -<p>The excavations in Northern Greece, <i>i.e.</i>, in North<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span> Boeotia, Phocis -and above all Thessaly, have introduced us to a purely <i>Neolithic</i> -civilization. Here alongside of the two simpler prehistoric techniques, -unornamented (monochrome) and incised ware, was discovered, even in the -oldest strata, a richly developed painted style, with linear ornaments -painted either in red on vases with a white slip or in white on vases -made red by firing. The monochrome, red or black vases are often -brilliantly polished and of excellent workmanship. In the later layers -of the Stone Age finds this civilization differs considerably according -to locality. One class of painted (and incised) vases is very prominent: -it was found chiefly at Dimini and Sesklo, and shows quite a new -principle of decoration (Fig. <a href="#fig_1">1</a>). It combines curvilinear patterns, -especially the spiral motive, with rectilinear decoration (zig-zag, step -pattern, chequers, primitive maeander, etc.); the colouring varies, -white on red, black on white, brown on yellow. Side by side with this -style we find in other places the greatest variety of painted and -unpainted vases: even polychrome decoration appears. In the early Bronze -Age all this splendour vanishes and gives place to the production of -coarse unpainted ware.</p> - -<p>It appears that this Stone-Age Ceramic of North Greece has no connection -with the finds of South Greece, and is rather to be traced to the North -and the civilization of the Danube valley.</p> - -<p>The South presents us with a much more primitive picture. The large -layer of Stone Age finds, which came to light in Crete, produced vases -with incised geometrical ornament, alongside of coarse undecorated -pottery, but curvilinear patterns of Thessalian type are completely -absent and painted vases are rare. The reason for a less elaborate -development of Neolithic civilization in Crete seems to be that it gave -place to the Bronze Age comparatively</p> - -<div class="figcenter"> -<a href="images/i_fp002-a_lg.jpg"> -<img src="images/i_fp002-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE II.</p> - -<p><a name="fig_1" id="fig_1">Fig. 1</a>. STONE AGE BOWL FROM THESSALY.</p></div> -</div> - -<p class="ills"><a name="plt_II" id="plt_II"></a></p> -<div class="figcenter"> -<a href="images/i_fp002-b_lg.jpg"> -<img src="images/i_fp002-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p><a name="fig_2" id="fig_2"></a>Fig. 2. FACE-URN FROM TROY II-V.</p></div> -</div> - -<p><span class="pagenum"><a name="page_3" id="page_3">{3}</a></span></p> - -<p class="nind">early: in Thessaly it seems to go down far into the second millennium.</p> - -<p>According to these early vase finds one has thus to picture to oneself -the beginnings of ceramic art. First, the most essential household -vessels are fashioned by hand out of imperfectly cleansed clay, and -burnt black in the open fire, and before long the outer surface is also -polished, probably with smooth stones. Rectilinear ornaments are pressed -or incised into the soft clay, and by degrees the method of filling and -indicating the incised lines by a white substance is learned; the clay -is also treated plastically, for instance channelled. Gradually the clay -is made less impure, is more cleanly polished and more evenly baked in -the oven, and by the actual firing has various colours, red, black, -grey, yellow and brown, imparted to it. Thus a ground is also obtained -for painting, on which the rectilinear ornaments are imposed with -colour. Greater solidity and brighter colouring are obtained by covering -the vase with a slip, which moreover sets off the painting excellently. -The invention of the wrongly styled ‘varnish,’ a black colour glaze -which, though technically undeveloped, appears even in North Greece of -the Stone Age, is of the highest importance for the whole history of -Greek vase-painting. The forms are primitive, little articulated, but -already very various: the decoration covers uniformly almost the whole -vase.</p> - -<p>But the different techniques do not regularly succeed each other; -inventions are not immediately communicated from one locality to -another; primitive methods subsist alongside of more advanced, nay even -sometimes drive them out again. This much is clear, that a section taken -through these contemporaneous prehistoric civilizations would present a -highly variegated aspect.</p> - -<p>The Stone Age is succeeded by the Bronze Age, here<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span> earlier and there -later; here more quickly, there more slowly; i.e., metals are gradually -introduced, and with them new techniques and a new civilization. It is -evident that to the earlier Bronze Age belong a series of innovations -which are of decisive importance for the history of vases, the invention -of the potter’s wheel, the perfection of the so-called ‘varnish,’ and -the imitation of metal forms in clay. In most places the potter’s oven -and the painting of vases appear only in the early Bronze Age.</p> - -<p>Into the early Bronze Age fall the finds from the earliest layers at -Troy. In the unalterable faith that he was discovering the world of -Homer, with the strong and weak points of a dilettante, Heinrich -Schliemann began to dig at Hissarlik, and in the excavations of 1871, -1878, 1890 and 1893 Dörpfeld and he investigated the rubbish hill, which -has become so famous, the nine superimposed settlements of which -represent as many successive civilizations down to Roman times. The -numerous ceramic finds of the five lowest layers show the transition -from rude hand-made and ill-baked ware with impressed linear patterns to -ever more developed stages. The potter’s wheel and oven finally succeed -in producing brilliant red, black, grey, brown vases of the finest -technique. The variety of shapes is very great, some are already quite -developed; the imitation of metal forms is to be traced here and there. -A notable speciality is found in the so-called Face-urns (Fig. <a href="#fig_2">2</a>), rude -imitations of the human form, produced by adding eyes, nose, mouth, -ears, nipples and navel; and there are also other vase-types, which are -not repeated in Western Greece. Painting is rare, the vases are either -monochrome or adorned with incised linear ornaments, which are often -applied in the manner of necklaces, or divide the vase vertically.</p> - -<p>The Bronze Age civilization of the second city up to the fifth, which, -judging by the rich finds of metal utensils and</p> - -<p class="ills"><a name="plt_III" id="plt_III"></a></p> -<div class="figcenter"> -<a href="images/i_fp004-a_lg.jpg"> -<img src="images/i_fp004-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE III.</p> - -<p><a name="fig_3" id="fig_3"></a>Fig. 3. JUG FROM SYROS.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp004-b_lg.jpg"> -<img src="images/i_fp004-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p><a name="fig_4" id="fig_4"></a>Fig. 4. JUG FROM MYCENÆ.</p></div> -</div> - -<p><span class="pagenum"><a name="page_5" id="page_5">{5}</a></span></p> - -<p class="nind">gold ornaments, was by no means primitive, recurs in the whole of N.W. -Asia Minor and in Cyprus. Its last phase cannot be separated in time -from the western civilization of the shaft graves (<a href="#page_7">p. 7</a>).</p> - -<p>Parallel with Troy II-V and the mainland civilization of Marina (below), -on the islands of the Aegean is the so-called Cycladic civilization. Its -pottery, however, presents a much more variegated picture: beside the -primitive vases there are vases incised and painted with rich, not -exclusively rectilinear, ornamentation: glazed (‘varnished’) vases also -occur. The forms are very varied: bronze and stone vessels often serve -as models; the structure of the vases and the distribution of the -ornamentation show unmistakeably definite artistic intention. There is -great difference between various islands and a comprehensive view of the -development is not yet possible. Specimens like the beaked jug from -Syros (Fig. <a href="#fig_3">3</a>) are probably contemporary with the early Minoan style of -Crete (<a href="#page_7">p. 7</a>), but the pans with engraved spirals, circles, ships and -fish are later. On Melos, which has quite a separate position of its -own, the influence of the Cretan ‘Kamares’ civilization (<a href="#page_8">p. 8</a>) in -technique and decoration is obvious.</p> - -<p>We return to the mainland and Central Greece. Hagia Marina in Phocis is -the chief place in which a pottery, following on the Neolithic, has been -found, hand-made with a black or red glaze, with or without rectilinear -ornaments in white. This was called ‘Primitive varnish ware,’ before the -Neolithic preceding stages had become known. ‘Marina’ ware superseded -the Neolithic in Boeotia (Orchomenos) and Thessaly also; similar vases -have been found in the western islands (Leukas) and in the Argolid -(Tiryns). It is also related to the Cycladic civilization, as is -indicated by the jug imitated from metal models, which is common to both -styles.<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span></p> - -<p>The ‘Marina’ layer is succeeded at Orchomenos by a ware of a totally -different kind, which probably spread from this locality and is -therefore called ‘Minyan,’ dark-grey and grey or yellow vases, -especially (<i>a</i>) drinking-cups, with tall channelled foot, and (<i>b</i>) -profiled two-handled cups (Fig. <a href="#fig_6">6</a>), turned on the wheel, and in shape -more plainly even than the Marina ware dependent on metal models. The -wide extension of this already finely developed ware combines a series -of bronze-age sites into a chronological unit, the so-called ‘Shaft -grave’ stage (<a href="#page_7">p. 7</a>). In Northern and Central Greece as well as in Leucas -it follows on the ‘Marina’ ware, in Attica and Aegina it takes the place -of the monochrome and incised ware, in the islands it supersedes the -Cycladic pottery, in Troy it is parallel with the ware of Asia Minor and -Cyprus, in the Argolid the Marina finds of Tiryns are followed by the -shaft graves of Mycenae with Minyan vases.</p> - -<p>Almost everywhere along with the Minyan ware we find vases not so finely -constructed, generally hand-made, which are neither burnt dark nor -glazed, but show a decoration applied in dull colour. This lustreless -painting (<i>Mattmalerei</i>) in Central and Northern Greece, and also in -Attica (white-ground ware of Aphidna, Eleusis), uses only geometrical -ornaments; in the Argolid on red or light clay vases linear patterns, -wavy lines, running spirals or even figured decorations (<i>e.g.</i> birds, -Fig. 4) are painted in brown colour. The decoration generally emphasises -the shoulder; the lower part of the vase is unadorned and separated by -stripes from the upper.</p> - -<p>The next stage is that Minyan ware and lustreless painting are almost -everywhere driven out by Creto-Mycenean ‘Varnish’ pottery. In many -places this process did not take place till the end of the Bronze Age, -as in Thessaly, Central Greece and Attica (Eleusis). It was apparently</p> - -<p class="ills"><a name="plt_IV" id="plt_IV"></a></p> -<div class="figcenter"> -<a href="images/i_fp006-a_lg.jpg"> -<img src="images/i_fp006-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE IV.</p> - -<p><a name="fig_5" id="fig_5">Fig. 5</a>. KAMARES VASE FROM KNOSSOS.</p></div> - -<a href="images/i_fp006-b_lg.jpg"> -<img src="images/i_fp006-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> -<p><a name="fig_6" id="fig_6">Fig. 6</a>. KYLIX FROM MYCENÆ.</p></div> -</div> - -<p><span class="pagenum"><a name="page_7" id="page_7">{7}</a></span></p> - -<p class="nind">the lords of the Argolid who first and most freely opened their gates to -Cretan importation and influence; in the shaft graves of Mycenae, famous -for their rich treasure of gold, discovered by Schliemann in 1874 behind -the Lion Gate, the oldest Cretan import in the shape of vases of the -first late Minoan style (<a href="#page_10">p. 10</a>), appears beside Minyan and lustreless -ware (Figs. <a href="#fig_4">4</a> and <a href="#fig_6">6</a>).</p> - -<p>By the side of these local products, the ‘Varnish’ vases in the shaft -graves appear like children of a strange and sunnier world, -representative of a quite different and superior style of art. The idea -that they came from Crete has been confirmed by the excavations carried -on since 1900, which in different parts of the island disclosed a -compact civilization of markedly un-Greek character, developing without -a break from the third millennium to the end of the second, which is in -striking contrast to that of the mainland. This civilization has been -named Minoan after the fabulous king Minos, the builder of the -labyrinth, and it has been divided into three epochs, of which the first -two precede the period of the shaft graves.</p> - -<p>In the early Minoan period, following on the miserable Stone Age (<a href="#page_2">p. 2</a>) -the Cretans must have laid the foundation of their riches, if an -inference may be drawn from the stone vases and goldsmith’s work of -Mochlos. The ceramic art enters on two paths, which have a future before -them. The vases were hitherto unpainted and only incised. Now <i>either</i> -they are covered with brilliant black paint (‘varnish’) on which the old -patterns are painted in tenacious white colour, a technique which -celebrated its triumph in the subsequent period, or the vases are left -in the colour of the clay and painted with bands of ‘varnish’; to this -so-called ‘Mycenean’ technique belongs the whole late period (<a href="#page_10">p. 10</a>). -There is a special group of flamed ware, the patterns of which, like -much that is Minoan, are far nearer<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> to modern applied art than to -Greek. Even in the first half of this period the kiln seems already to -be known; the potter’s wheel appears in the second, which is -characterized by the first appearance of curvilinear patterns, -especially the wave series and running spiral.</p> - -<p>The Middle Minoan period, a pure and richly-developed bronze -civilization, is the height of polychromy: the clay is finely cleansed, -the black glaze is at its very best, red in different shades occurs -besides white. A transition leads to the brilliant period of the Kamares -style, named after the first discoveries in the Kamares cave on Mt. Ida. -The ‘Mycenean technique’ occurs not infrequently alongside of the -polychrome; but as it often edges the ornaments with incised lines or -puts white spots on them, it does not reject the tendency to richer -effect, which is a feature of the age and is also expressed in the -relief-like ornamentation of many vases (Barbotine). The ornamentation -is still very fond of linear patterns, and also develops the spiral -still further, and lays the foundation of the numerous decorative -motives which characterize the later periods; living creatures also -(birds, fishes, quadrupeds) are represented in painting. The motive of -drops falling from the brush, which would be inconceivable in Greek -vase-painting proper, occurs already. There is a simultaneous use of -decoration in bands, and without division; the emphasizing of the -shoulder by ornamentation is found in contrast with the lower part -decorated, if at all, with stripes (Figs. <a href="#fig_3">3</a> and <a href="#fig_4">4</a>). The stock of forms -increases, and the imitation of metal-work is often unmistakeable.</p> - -<p>In the Kamares style proper (Figs. <a href="#fig_5">5</a> and <a href="#fig_9">9</a>) polychromy (white, red, and -dark yellow on black) reaches its highest development, the greatest -variety of plastic decoration appears, the Mycenean technique (dark on -light) is relegated to the background.</p> - -<p class="ills"><a name="plt_V" id="plt_V"></a></p> -<div class="figcenter"> -<a href="images/i_fp008-a_lg.jpg"> -<img src="images/i_fp008-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE V.</p> - -<p><a name="fig_7" id="fig_7"></a> -<a name="fig_8" id="fig_8"></a> -Figs. 7 & 8. FUNNEL-VASES OF LATE MINOAN I STYLE. FROM PALAIKASTRO AND -PSEIRA.</p> -</div> -<a href="images/i_fp008-b_lg.jpg"> -<img src="images/i_fp008-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> -<p><a name="fig_9" id="fig_9">Fig. 9</a>. KAMARES PITHOS FROM PHAISTOS.</p></div> -</div> - -<p><span class="pagenum"><a name="page_9" id="page_9">{9}</a></span></p> - -<p>The shapes become continually more delicate, metal vases are often -directly copied; cups, beaked jugs, beaked saucers, and amphorae with -handles at the mouth are specially common. The list of ornaments is much -increased and can scarcely be described in few words. By the side or in -the place of geometrical motives, crosses, zig-zags, groups of strokes, -and richly developed circle, bow and spiral motives, appear vegetable, -leaves, branches, rosettes, and most important of all, the continuous -wavy tendril. Even living beings appear occasionally.</p> - -<p>The plant ornamentation of the Kamares vases is in a peculiar relation -to nature. Though nature is here for the first time consistently -imitated, the reproduction is not at all ‘naturalistic’ but thoroughly -and from the first severely stylized. Not only does the colouring bear -no relation to the object represented, not only is the combination of -vegetable and geometric motives of purely decorative character, but the -natural object imitated is often barely recognizable. The Kamares potter -only aims at a pretty combination of colour and line, not at -representations. Nor is he concerned with structural arrangement: -division by bands and emphasizing the lower part of the vase by leaves -pointing upward are uncommon. Usually the decoration spreads freely over -the field and is not subordinated to the structure of the vessel. This -undisputed predominance of the ornamentation is in the sharpest contrast -to the procedure of Greek art proper.</p> - -<p>The Kamares civilization, starting from Crete, exercised influence over -the islands of the Aegean: the importation and imitation of its ware can -be proved for Thera and Melos. Isolated finds in Egypt are of -importance, first because they prove the relation of Crete to the Nile -valley, and secondly because they give a fixed date (XII Dynasty). The -technique did not disappear with the Middle Minoan<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span> Age, but was long -maintained alongside of the new style.</p> - -<p>The Kamares finds come mostly from the older palaces of Phaistos and -Knossos. The investigation of their ruins has shown that these buildings -were destroyed by fire and soon afterwards replaced by still finer new -edifices. The vase finds in these later palaces show a complete break -with the old style. Polychromy is no longer the principal attraction; it -is given only a secondary place: the new style (Middle Minoan III and -Late Minoan I, Figs. <a href="#fig_7">7</a>, <a href="#fig_8">8</a>, -<a href="#fig_10">10</a> and <a href="#fig_11">11</a>), which is no longer satisfied with -gay ornamentation, but with fresh vigour essays the conquest of Nature -and her excellences, throws off the bands of the old technique, and with -bold freedom depicts the newly discovered world in dark colour on light -clay. In contrast to the Kamares style, it did not arise on the vases -themselves by the enrichment of an ornamental style, but it is to be -understood as the reflection of higher techniques. Vase-painting gives -only a small extract from the rich array of subjects, which the other -lesser arts and the wall-painting of the period conjure before our eyes. -Of the wonderfully vivid representations of men and animals, in which -the Cretans were masters, nothing is to be found on the vases. This is -certainly not an accident, but a sign of the purely decorative feeling -of these artists. They did not want to stylize the human or animal body -till it became decorative, to distort it for the eye by placing it on a -curved surface, and by combining figures to upset the ease and flow of -the decorative scheme. Thus they entirely gave up all reproduction of -them, and are thus in marked contrast with Greek vase-painting, the -history of which may be regarded as a constant struggle to represent -mankind and animal creation. The Cretans took to other objects instead, -which could be represented in the vigorous way they aimed at, and yet -also filled the field decoratively, without any loss to the picture from -the</p> - -<p class="ills"><a name="plt_VI" id="plt_VI"></a></p> -<div class="figcenter"> -<a href="images/i_fp010-a_lg.jpg"> -<img src="images/i_fp010-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE VI.</p> - -<p><a name="fig_10" id="fig_10">Fig. 10</a>. STIRRUP-VASE OF LATE MINOAN I STYLE FROM GOURNIA.</p> -</div> -<a href="images/i_fp010-b_lg.jpg"> -<img src="images/i_fp010-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> -<p><a name="fig_11" id="fig_11">Fig. 11</a>. AMPHORA OF LATE MINOAN I STYLE FROM PSEIRA.</p></div> -</div> - -<p><span class="pagenum"><a name="page_11" id="page_11">{11}</a></span></p> - -<p class="nind">curve of the vessel. The vegetable world had entered the decoration of -vases in the Kamares period: now it does so afresh, but in a totally -different spirit. Grasses, branches, ivy, crocuses, lilies as they grow -and wave in nature, surround the vases. But these people were specially -concerned with the sea, marine plants and live creatures. Lotus flowers, -sea-weeds and reeds wave in the water, the cuttle-fish stretches out his -feelers, the nautilus swims about, starfish and snails, corals and -sea-anemones surround the living objects, and dolphins gambol around.</p> - -<p>What impelled the Cretan vase-painters thus unweariedly to represent the -marine world exclusively on vases? The explanation can only be sought in -that supreme law of the development of artistic style, the talent for -invention in a few pioneer brains and the slowness in invention of the -many. The excellent idea of having the cool liquid in the vases -surrounded by this decorative play of marine life, which filled the -field and was so life-like, perhaps came from a single gifted brain. The -idea became popular, and the common run of vase-painters created -countless variations of the theme.</p> - -<p>The excellent naturalism directly inspired by nature, which it transfers -with a bold brush to the vases, is limited to a short creative period: -immediately the schematic and conventional assert themselves; life -disappears, but fixed decorative formulæ remain, and to them the future -belongs. Moreover, the stylized ornamentation never ceased to exist -alongside of the natural; nay, often appears on the same vase in -conjunction with it, in the shape of wavy lines, spirals in different -combinations, continuous tendrils (which are also treated naturally) or -stylized plants. Thus two methods of decoration are in contrast, one -‘tectonic’ with arrangement in bands, another, which freely scatters -naturalistic representations over the vase, a kind of ornament which<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> -has made almost everyone who has spoken of it adduce the parallel of -Japanese art. The freely adorned vases are also most characteristic of -the art of the Cretans, and show most plainly their gay and heedless -manner, their free decorative work, their direct relation to nature, -foreign to abstraction and idea: they set this art in contrast with the -contemporary old civilizations of the Nile and Euphrates as well as with -the Greek.</p> - -<p>The naturalism of the first Late Minoan period has narrower limits than -has been usually estimated. Not only is the stock of themes scanty (Fig. <a href="#fig_11"> -11</a> is an exception); but also the reproduction of nature is purely -superficial, knows nothing of perspective or shading, and stylizes the -forms into the style of decorative drawing: thus, for instance, the -marine world is represented without any indication of water. Of course, -this does not mean that such abstraction from reality is not an -advantage from the point of view of decorative art. Often the -vase-shapes show a cultivated feeling for form in the way the body -swells and contracts, but appear simple and constrained when compared -with the fine lines of contour in the next period. Among new types that -emerge may be mentioned the ‘stirrup vase’ (Fig. <a href="#fig_10">10</a>) and the ‘funnel -vase’ (Figs. <a href="#fig_7">7</a> and <a href="#fig_8">8</a>).</p> - -<p>The superiority of these Cretan vases to all contemporary ceramic output -showed itself in a vigorous export. The Egyptian finds of this ware give -as a date the XVIII dynasty, approximately 1500 B.C., a date confirmed -by some Egyptian objects found in Crete. Cretan vases were also exported -in quantities to Melos and Thera: there the native industry loses itself -in imperfect imitations of this imported ware. The Cretan civilization -also enters the Greek mainland, especially the Argolid. The shaft graves -of Mycenae (<a href="#page_7">p. 7</a>), from which the Late Minoan civilization transplanted -to the mainland has been named ‘Mycenean,’</p> - -<p class="ills"><a name="plt_VII" id="plt_VII"></a></p> -<div class="figcenter"> -<a href="images/i_fp012-a_lg.jpg"> -<img src="images/i_fp012-a_sml.jpg" alt="[Image unavailable.]" /></a> -<a href="images/i_fp012-b_lg.jpg"> -<img src="images/i_fp012-b_sml.jpg" alt="[Image unavailable.]" /></a> - -<div class="caption"><p>PLATE VII.</p> - -<p><a name="fig_12" id="fig_12"></a> -<a name="fig_13" id="fig_13"></a> -Figs. 12 & 13. AMPHORÆ OF THE PALACE STYLE FROM KNOSSOS.</p> -</div> -</div> - -<p><span class="pagenum"><a name="page_13" id="page_13">{13}</a></span></p> - -<p class="nind">are the oldest instance of this fact. The imported vases of the six -graves are distributed over the whole of the first Late Minoan (early -Mycenean) period, containing late specimens of Kamares style and early -specimens of the Palace style: but the bulk of the ‘varnish’ vases found -on the mainland belong to the succeeding period.</p> - -<p>The second Late Minoan period of vase production in Crete, the so-called -Palace style (Figs. <a href="#fig_12">12</a> and <a href="#fig_13">13</a>) is not so sharply divided from the first, -as the latter is from the Kamares style. Both phases are connected by -several transitional forms and run parallel for a time. An important -difference is that the last traces of the Kamares technique (the -imposition of white, red and orange on a black ground) disappear: there -is simply painting in black on light clay (Mycenean technique). The -decoration neglects the neck and foot of the vessel and emphasizes the -shoulder, particularly with the characteristic half-branches. The -animated reproductions of nature in the preceding style are treated in a -fanciful way; they become fixed and are changed into ornaments and -patterns for filling; the significant unity of the design is interrupted -by foreign elements; the marine and plant ornamentation now never covers -the whole vase but retires into a single band. In short, the -naturalistic style gives place to a tectonic style, the representations -are not the chief thing aimed at, which is the filling of the space. -Beside the ornaments produced by the schematizing of living natural -forms come new ones, which often look like a borrowing of architectural -forms; moreover, the juxtaposition and combination of the ornaments show -the same spirit, and also the emphasis now laid on the shape of the -vase, in which the structure and the swinging contour reach their -highest form of elegance, as can be seen most plainly in the amphorae.</p> - -<p>This art had a wide influence outside Crete. To the<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span> beginning of the -period, the transition from the first to the second Late Minoan style, -belong many mainland finds, especially from domed tombs, in Peloponnese -(Vaphio, Argos, Mycenae, Old Pylos), in Attica (Athens, Thorikos, -Spata), in Boeotia (Thebes, Orchomenos) and in Thessaly (Volo). The -finds continue during the period of the developed Palace style. The -majority of these ‘varnish’ vases seem not to have been imported from -Crete but made by Cretan artizans in the country. The Mycenean local -princes, who from their lofty citadels controlled the surrounding -country, surrounded themselves more and more with the splendour of this -southern civilization, ordered weapons, ornaments, precious vases from -Crete, used them in life, gave them to the dead in graves; they also -took into their service foreign artists, and gave employment to Cretan -masons, painters and potters.</p> - -<p>The islands too acquire Cretan vases: they were exported as far as -Aegina, Melos, distant Cyprus, and the sixth city of Troy.</p> - -<p>About the end of the second Late Minoan period the Cretan palaces of -Phaistos, Knossos, and Hagia Triada are destroyed, and with the -destruction of these and other sites the Palace style decays.</p> - -<p>The pottery of the Late Mycenean (or third Late Minoan) period (Fig. <a href="#fig_14"> -14-17</a>) is very inferior to that of the Palace style. The technique is at -first neat but afterwards falls off: the smooth yellowish clay takes a -green tinge, the brilliant glaze colour, often burnt red, becomes a -lustreless black. The ornamentation consists of the last remains of the -naturalistic decoration, now become quite lifeless and poor, with which -are associated purely geometrical patterns of the simplest kind, wavy -lines, spirals, concentric circles. Rectilinear patterns (groups of -strokes, hatched triangles) become ever more prominent. The decoration -is generally</p> - -<p class="ills"><a name="plt_VIII" id="plt_VIII"></a></p> -<div class="figcenter"> -<a href="images/i_fp014-a_lg.jpg"> -<img src="images/i_fp014-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE VIII.</p> - -<p><a name="fig_14" id="fig_14">Fig. 14</a>. LATE MYCENEAN CUP FROM RHODES.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp014-b_lg.jpg"> -<img src="images/i_fp014-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p><a name="fig_15" id="fig_15"></a>Fig. 15. LATE MYCENEAN STIRRUP-VASE FROM RHODES.</p></div> -</div> - -<p><span class="pagenum"><a name="page_15" id="page_15">{15}</a></span></p> - -<p class="nind">very loose, emphasizes the shoulder band, and usually puts on the lower -half of the vase only a few stripes: vertical division of the field into -‘metopes’ is common.</p> - -<p>But, on the other hand, figured representations are not unusual on late -Mycenean vases. Two classes can be distinguished off-hand:—(<i>a</i>) animal -representations, in traditional ornamental style and very ‘geometrical’ -in treatment, particularly birds with cross-hatched bodies, certainly -continuations of the old lustreless painting (cp. Fig. <a href="#fig_4">4</a> with <a href="#fig_15">15</a>); -and (<i>b</i>) larger compositions taken over from wall-painting, often -provided with ornaments to fill the field, like the chariot-race on the -krater from Rhodes (Fig. <a href="#fig_17">17</a>). The best-known example is the Warrior vase -from Mycenae representing the departure for the battle-field.</p> - -<p>Apart from these figured representations, one may say that Cretan -vase-painting, after its brilliant achievements in the Kamares, shaft -grave, and Palace styles, sinks down to that primitive level from which -it started: it becomes once more a geometrical style.</p> - -<p>The area over which we find this pottery is enormous, being practically -the whole Mediterranean basin, Crete, Egypt, the Cyclades, the coast of -Asia Minor (sixth city of Troy) and its adjacent islands (<i>e.g.</i> -Rhodes), Cyprus (where the Mycenean supersedes an old and plentiful -pottery akin to that of Troy), Phoenicia, Italy, Sicily, and especially -all important sites of the Greek mainland. In many places, where the -‘varnish’ painting did not enter earlier, it now comes into contact with -the old indigenous technique, with the monochrome, incised and -lustreless vases: many backward settlements, like Olympia, seem to have -had practically no acquaintance with the Mycenean style.</p> - -<p>Here again the Egyptian finds give us a date: they last from about the -end of the 15th down into the 12th century.<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> But since it is not -conceivable that we should date the Geometrical period, which followed -the Mycenean, back into the second millennium, the late Mycenean style -must have lasted at least four centuries; the rate of development, which -in the time of great achievements had been very rapid, must have become -considerably slower.</p> - -<p>To arrange the huge mass of late Mycenean vases in this long development -is impossible, until the material has been sifted and worked through. -But one thing already can be said with certainty, that it was not merely -exported from Crete; indeed it is more than questionable, whether Crete -played the leading part. In this period the native seat of the brilliant -Minoan civilization is no longer in the foreground; the centre of -gravity has shifted to the mainland, in particular the Argolid. Even in -the period of the shaft graves we see the Peloponnesians eagerly -adopting Cretan civilization; in the following period the mainland vies -with Crete in the production of Mycenean vases, and finally must have -wrested the lead from the southern outpost. This applies not merely to -civilization but to political conditions. A hypothesis, in favour of -which there is much to be said, connects the destruction of the Cretan -palaces with the invasion of conquering ‘Achaeans,’ the name Homer -applies to the lords of the mainland. Just as the wall-painting -originally borrowed from Crete was still flourishing on the mainland, -when it had died out at home, so the late Mycenean pottery must have -been produced mainly in continental Greece, and the new style must have -been formed by the Peloponnesians. Thus we can explain the non-Minoan -elements, the strong geometrical influence on the decoration, and the -taking over of figured scenes from wall-painting, which was rejected by -the old Cretans.</p> - -<p>So it was probably the ‘Achaeans’ who spread the late Mycenean pottery -all over the Mediterranean.</p> - -<p class="ills"><a name="plt_IX" id="plt_IX"></a></p> -<div class="figcenter"> -<a href="images/i_fp016_lg.jpg"> -<img src="images/i_fp016_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE IX.</p> - -<p><a name="fig_16" id="fig_16"></a> -<a name="fig_17" id="fig_17"></a> -Figs. 16 & 17. LATE MYCENEAN VASES FROM RHODES.</p></div> -</div> - -<p><span class="pagenum"><a name="page_17" id="page_17">{17}</a></span></p> - -<p class="nind">They had become a seafaring nation on a great scale. Of their entry into Crete we -have just spoken, of their united campaigns of conquest in Asia Minor, -in which the Cretan king has the Argive Agamemnon as his overlord, the -Homeric poems tell us, and of their colonizing expansion in the -Mediterranean the vase finds among other things give evidence, as they -justify conclusions about new localities of manufacture (Troy, Rhodes, -Cyprus, etc.).</p> - -<p>In the beginning of the first millennium the scene is totally altered. -On the coast of Asia Minor and the islands are settled Hellenic races, -among which the Aeolians and Ionians are probably descendants of the -emigrated Achaeans, while the Dorians represent a new tribe come in from -the north, which subdued the Peloponnese and Crete and extended to the -south of the Aegean Sea.</p> - -<p>These shiftings of population, the so-called Dorian invasion, with which -Greek historians begin the history of their country, mark the end of the -Bronze Age and of the Mycenean civilization. Iron weapons, only -sporadically to be found in the late Mycenean age, take the place of -bronze; the Mycenean vase style vanishes all along the line, and gives -way to a new style, the Geometric.<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span></p> - -<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II.<br /><br /> -THE GEOMETRIC STYLE</h2> - -<p class="nind"><span class="letra">N</span>OW for the first time the history of Greek vases proper begins. In the -pottery of the geometric style are latent the forces, which we see -afterwards expanding in contact with the East, as well as the oldest -beginnings that we can trace of that brilliant continuous development, -which led to the proud heights of Klitias, Euphronios, Meidias. Its -producers may be unreservedly described as Greeks: Hellas has come into -being. However primitive the civilization of this early Greece may have -been, however patriarchal is the picture which Homer, the great genius -of this period, gives us of this world, however much the works of art -described by him point to Mycenean reminiscences and Phoenician -importation, yet in the department of ceramics the art of this time was -thoroughly original and highly developed, and it is from the vases that -this early phase gets its name.</p> - -<p>We should like to have a glimpse of the origin of the Geometric style, -but its beginnings are shrouded in darkness. It cannot be regarded as -simply a descendant of the pre-Mycenean Geometric pottery, which in -outlying parts continued throughout the Bronze Age; for in its ‘varnish’ -technique, its forms and decoration, it is totally different from those -primitive vessels. As little is it a direct continuation of the Mycenean -style, from which it took over the technique of painting. However much -towards the end of its development the latter inclined to decoration in<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> -bands and the geometrizing of ornament, it was an outworn poor style -that arose out of schematizing of living forms, in complete contrast -with the clear concise Geometric style, which consistently unfolds and -exhausts its individuality.</p> - -<p>Naturally the Mycenean style did not disappear abruptly from the face of -the earth, and there are transitional forms, which cannot be nicely -divided. They must not be too highly estimated; they are, it is true, at -the beginning of the new development, but do not influence it. Thus the -‘Salamis’ vases, and their parallels from Athens, Nauplia, and Assarlik -in Southern Asia Minor, show this transition, retaining in part Mycenean -forms like the stirrup vase, and Mycenean ornaments like the spiral, but -being in fact an insignificant ware, of bad workmanship and meagre -decoration. More interesting is the survival of Mycenean traditions in -Crete, the home of the Minoan style, and in the Argolid, the chief seat -of late Mycenean civilization: certain vase-shapes, hatched triangles, -concentric circles and semi-circles on the shoulder are retained from -the old style.</p> - -<p>From these and other Mycenean reminiscences the unfolding of the new -style cannot be explained any more than by a revival of pre-Mycenean -Geometric styles. We must rather bring in, to explain the phenomenon, -those movements of peoples, the driving out of southern Mycenean -civilization by races advancing from the North, and the new mixture of -blood, which strengthened and made dominant the northern European -element. Though the Dorians did not develop the style as conspicuously -as other tribes, there arose out of the ferment caused by their -appearance on the scene the new creative vigour, the Greek element -proper, which, out of the frozen traditions of the mainland and the -lifeless relics of Mycenean art created a new style and a firm basis for -a fine development.<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span></p> - -<p>The Geometric style makes a virtue of the necessities of rude -beginnings; out of the simple decorative material at its disposal, it -creates a rich system. Angular patterns, rows of dots, strokes, -‘fish-bones,’ zig-zags, crosses, stars, hooked crosses, triangles, -rhombi, hook maeanders, maeanders broken up in different ways, maeander -systems, chequers, net patterns are most common; alongside of them are -circles and rosettes neatly made with the compass. The wavy line, which -like the snake edged with dots perhaps comes from Mycenean polyps, takes -a second place; all other free ornamentation is eschewed; the place of -continuous spirals is taken by circles connected by tangents. Thus the -ornamentation appears to be steeped in mathematics, and the same is the -case with the representation of living beings. Man and animal alike -appear in stylized silhouettes, which bring the various parts of the -body into the simplest possible scheme, and set them off sharply against -one another. Thus the human breast appears as an inverted triangle and -is shown frontally, but the legs and head are in profile. The head, -which is only emancipated from the silhouette style in the succeeding -period, already often has a space reserved in it to indicate the eye. As -a rule the human body is represented naked, while towards the end of the -period, the instances of clothing, especially of women, become more -numerous. There has been division of opinion as to whether this nudity -reproduces actual life. That is certainly not the case. “This is the -nudity of the primitive artist, of the abstract linear style. It is not -man as he actually is, but the concept ‘man’ which is to be rendered, -and clothes are no part of this concept.” (Furtwängler). These oldest -Greek representations of man are not, properly speaking, reproductions -of nature, but a kind of mathematical formulæ;, which gradually in the -course of centuries of fresh observation of</p> - -<p class="ills"><a name="plt_X" id="plt_X"></a></p> -<div class="figcenter"> -<a href="images/i_fp020-a_lg.jpg"> -<img src="images/i_fp020-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE X.</p> - -<p><a name="fig_18" id="fig_18">Fig. 18</a>. ATTIC GEOMETRIC AMPHORA (DIPYLON CLASS).</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp020-b_lg.jpg"> -<img src="images/i_fp020-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> -<p><a name="fig_19" id="fig_19">Fig. 19</a>.</p> - -<p>GEOMETRIC AMPHORA, PROBABLY ATTIC (BLACK DIPYLON CLASS).</p></div> -</div> - -<p><span class="pagenum"><a name="page_21" id="page_21">{21}</a></span></p> - -<p class="nind">nature become richer, corporeal, living, spiritual. Animal -representation begins also in the same formulistic manner. The choice is -in contrast with the Minoan animal world: there is complete absence of -the Oriental animal world of fancy; we only see the Northern fauna; -horses, roes, goats, storks, geese. The animals stand upright, graze, or -rest with neck turned round. The technique is always that of the pure -silhouette; only the birds often, as in the pre-Mycenean and late -Mycenean styles (Figs. <a href="#fig_4">4</a> and <a href="#fig_15">15</a>), show hatched or cross-hatched inner -drawing of the body.</p> - -<p>These geometric ornaments and abstract silhouettes of men and animals -form the complete stock out of which the artist of the period provides -for the decoration of his vases. With them he fills the bands into which -he loves to divide the vase (Fig. <a href="#fig_18">18</a>); or at all events the shoulder or -handle band, constructively the most important, in which case he covers -the lower part of the vase with black (Fig. <a href="#fig_19">19</a>) or with parallel rings -(Fig. <a href="#fig_23">23</a>). The bands, the breadth of which is varied, are filled in two -ways. Either we have continuous ornaments, and processions of animals, -chorus dancers, warriors, chariots and horses, which in this style are -essentially nothing but ornament; or he divides the bands, and -particularly the handle bands (Fig. <a href="#fig_19">19</a>) vertically into rectangular -fields, metopes as they are called. The metope naturally takes a -different scheme of filling the space from the band; if the latter -prefers a continuous series, the former requires ornaments complete in -themselves, like circles and rosettes, or in the case of figures, the -antithetical group, the heraldic opposition of two different fields of -figures, or of two figures in the same field. The figures connected by -compulsion of space are then more closely united by a central motive, -and there arise ornamental compositions not at all drawn from actual -life, <i>e.g.</i> two birds both holding in their beaks a fish or a snake, -two<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span> horses with crossed fore-legs, rearing towards each other, tied to -a tripod, or held by a man with a bridle, two roes with raised fore-legs -leaning against a tree. Band and metope with their compulsory schematism -no longer suffice for the growing need of representation: in the large -vases the chief band is often made very high, or in the upper part of -the vase a rectangle adorned with ornament or figures is left out from -the surrounding black: thus arises the vase with special field for -subjects.</p> - -<p>Legend, which in this period found its brilliant expression in the Epics -of Homer and Hesiod, is still very much in the background in these -vase-paintings. Centaurs only begin to be represented on late Geometric -vases. Scenes such as the embarkation on the bowl from Thebes (Fig. <a href="#fig_21">21</a>) -cannot be interpreted otherwise than mythically, as the rape of Helen by -Paris or of Ariadne by Theseus, since on Geometric bronze fibulæ from -Boeotia it is certain that legendary scenes are intended. The battle -scenes too, with their duellists surrounded by spectators and their -fights on a large scale by land and sea, must be inspired by the Heroic -Saga. But far more numerous are the scenes of daily life, which are -connected with the sepulchral purpose of the vases. We see the dead man -lying on the bed of state, covered with a big cloth; men, women, and -children, with arms raised to their heads in token of grief, are -standing, sitting and kneeling around him; we see the bier placed on the -hearse, and amid loud lamentation of the populace driven to the -cemetery, while, in honour of the deceased, chariot-races and mimic -battles are represented and dances are performed to the sound of flutes -and lyres.</p> - -<p>As the human form is rendered without any feeling for bodily shape, so -all the representations are without any spatial sense. Chariot floors -and table surfaces are not fore-shortened, the breast of the dead man -lying on the bier</p> - -<p class="ills"><a name="plt_XI" id="plt_XI"></a></p> -<div class="figcenter"> -<a href="images/i_fp022-a_lg.jpg"> -<img src="images/i_fp022-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XI.</p> - -<p><a name="fig_20" id="fig_20">Fig. 20</a>. UPPER HALF OF A DIPYLON GRAVE-VASE.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp022-b_lg.jpg"> -<img src="images/i_fp022-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_21" id="fig_21">Fig. 21</a>. ‘THE RAPE OF HELEN,’ ON A BOWL FROM THEBES.</p></div> -</div> - -<p><span class="pagenum"><a name="page_23" id="page_23">{23}</a></span></p> - -<p class="nind">is represented in front view, the covering of the corpse is visible in -its complete extent, as if it hung down upon it; in the case of pairs of -horses the off horse is simply moved forward and represented smaller; -masses of men are rendered by files of similar figures; figures to be -thought of as in the background, <i>e.g.</i> the hinder rows in the Helen -bowl (Fig. <a href="#fig_21">21</a>) are placed high up. The space, which contains the -figures, is an ideal tectonic space, the surface of the vase to be -adorned. Where the figures do not suffice to fill this space, the -Geometric artist regards it as a gap in the decoration of the vase and -fills the void with dots, rows of zig-zags, hooked crosses, rosettes -with a central point, and actually paints birds or fishes between the -legs of horses or between the chariot and the bier which rests upon it -(Fig. <a href="#fig_20">20</a>).</p> - -<p>This even covering of the surface gives the vases of this period a -carpet-like appearance, and this textile impression is strengthened by -the geometry of the ornamentation, by the angular stylization of the -living beings, by the decorative schemes and the division into bands. -But on this account to derive the whole style from the imitation of -works of the loom would be a mistake; the stylistic limitations of the -style cannot be identified straight off with the technical limitation of -weaving. As in all primitive civilizations so in the formation of the -Geometric vase style, simple linear patterns may have been taken over -from weaving and plaiting: but this is not the case with circles and -rosettes, and anyhow such a consistent and systematic perfection as that -of the Geometric vase style is inconceivable as an imitation of a -foreign technique.</p> - -<p>Greek ceramic art never completely lost this ‘textile’ character, and -never quite renounced the Geometric school through which it passed, -though by centuries of labour it freed itself from the defects and -crudities of that<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span> school. Vase-figures long exhibit their origin out of -the ornamental silhouette; the decorative schemes of arrangement in rows -and of antithetic groups are always breaking out afresh; the principle -of using up the space is applied superficially for some time and only -gradually refined; the decoration in bands subsists for a long time -beside the vases with a pictorial field, and remains of it exist till -late; the disinclination for deepening the field, based on a correct -structural feeling, goes through the whole history of Greek vases and -keeps the ornamental figure world of the vases always at a distance from -the much less constrained world of free painting.</p> - -<p>The Geometric vases have not merely a historical meaning, but a value of -their own. They are not a preliminary stage, but something complete. In -them Greek art in true Greek fashion worked out a thought; expressed -itself for the first time in a classical way, if the phrase may be used; -out of a clumsy rustic style with poor ornamentation developed vases of -technical perfection, compact and clear in form, consistently thought -out in the decoration now lavishly, now sparingly spread over them, in -their austere beauty true children of the Greek genius.</p> - -<p>But this style did not put out everywhere equally fine flowers. It was -not, like the late Mycenean, an ‘imperial’ style, but, from the -first—and this is significant for Greek art—differentiated and -conditioned by locality; each region had its own manufacture of vases, -and its own Geometric style. Already the lead is taken by that place, -which later was to drive out of the field all competitors, viz., Athens. -The Dipylon vases—the name usually given to Attic Geometric vases from -the fact that most of them were found in the cemetery before the Dipylon -Gate,—rise in form, technique and decoration to the greatest perfection -and highest richness. In the magnificent amphoræ, as<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span> much as two metres -in height, which are worthy of their monumental use as tomb decoration, -the Geometric style perhaps reaches its culmination; in the so-called -black Dipylon vases, often only sparingly decorated on the shoulder or -neck and otherwise covered black, we get already an effect of colour -which became popular much later; the stock of forms is ampler, the -maeander more developed, the delight in telling a story and in -representing a scene greater than in other Geometric styles. Beside the -Dipylon there is a second site in Attica, Eleusis, though not so -important; Boeotia too must be mentioned, the pottery of which makes a -provincial impression, and is dependent in forms, patterns and subjects -on Attica and the Aegean islands, as also that of the neighbouring -Eretria in Euboea.</p> - -<p>The prototypes of the big Boeotian and Eretrian amphoræ with high stem -and broad neck have been found particularly in Delos and Rheneia, richly -ornamented vases ‘de luxe,’ in which the painting is laid on a white -slip. In the same place, where the cult of Apollo had a great -attraction, several other Geometric classes were also found, among them -the precursors of the art which flourished in the 7th century and which -is usually ascribed to the island of Melos. On the Delian vases horses -and human representations occur, but generally in this class there is a -disinclination to represent figures. The same disinclination and the -frequent use of a light slip characterize the pottery of the Dorian -island of Thera, which developed a very definite though sober and -monotonous Geometric style that seems to have obstinately persisted till -well into the 7th century. The rich finds of other classes bear witness -to an active trade with the mainland, other Cyclades, and the Ionic -East, the pottery of which has many points of contact with the Cycladic. -We know it from Miletus and other places on the Asiatic coast, but above -all from the island of<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span> Rhodes. The Rhodian Geometric vases are -distinguished from the Cycladic by the absence of the light slip, and -seem in spite of many points of contact never to have reached the same -level. An isolated vegetable ornament, the so-called palm-tree, points -to relations with Cyprus. Cross-hatched rhombi and birds are very much -in vogue; they appear also in loose arrangement on the ‘Bird kylikes,’ -which in post-Geometric times extended from Rhodes over the Ionian -region and so made their way to the Greek mainland, Italy and Sicily.</p> - -<p>The most important Peloponnesian manufactures are: (1) that of Sparta, -which now to some extent adopts the white slip later predominant; (2) -that of Argos, which soon discards its Mycenean reminiscences and -develops on parallel lines with the Attic ware without attaining to the -heights and richness of the Dipylon vases; (3) above all, the so-called -Protocorinthian.</p> - -<p>This Geometric style, which next to the Attic had the greatest future -before it, seems to be at home in the Northern Argolid (<a href="#page_34">p. 34</a>). Its -early Geometric beginnings we do not know. It is akin to its Argive -neighbour in many points, in the scantiness of its stock of forms, in -shapes like the metallic krater with a stirrup-handle. Unfortunately -little has been left to us of the large-sized vases, kraters, cauldrons, -amphoræ and jugs. The two-handled cup (Fig. <a href="#fig_23">23</a>), the round box, the -globular oil-flask, the deep drinking-cup, the jug with flat bottom -(Fig. <a href="#fig_33">33</a>) are the favourite smaller shapes. The limitation of the -decoration to the upper margin, and the decoration of the rest with -parallel stripes is characteristic. This ware was more exported than any -other Geometric class; it entered the southern Argolid, went by way of -Corinth and Eleusis to Boeotia and Delphi, and was exported to Aegina -and Thera, Italy and Sicily. On Italian soil, in the Euboean</p> - -<p class="ills"><a name="plt_XII" id="plt_XII"></a></p> -<div class="figcenter"> -<a href="images/i_fp026-a_lg.jpg"> -<img src="images/i_fp026-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XII.</p> - -<p><a name="fig_22" id="fig_22">Fig. 22</a>. RHODIAN GEOMETRIC JUG.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp026-b_lg.jpg"> -<img src="images/i_fp026-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_23" id="fig_23">Fig. 23</a>. PROTOCORINTHIAN GEOMETRIC SKYPHOS.</p></div> -</div> - -<p><span class="pagenum"><a name="page_27" id="page_27">{27}</a></span></p> - -<p class="nind">colony of Kyme, it certainly founded a branch factory, which quickly -took on a local character and exported in its turn; but in various other -places also the style evoked local imitations.</p> - -<p>The Protocorinthian style owed its brilliant future both to the -Geometric foundation, and, as will appear, to the strong influence of -Cretan Art. In Crete, after the settlement of the Dorians in the island, -no definite Geometric style was formed: the Mycenean traditions were too -strong and the relations with the East too close. After the purely -Geometric vases, among which wide-bellied amphoræ without a neck are -common, there soon appear vases showing Cyprian influence, particularly -small jugs with concentric circles on the body (precursors of <a href="#fig_27">Fig. 27</a>); -thus a pitcher from Kavusi, which by an exception has figures on it (a -charioteer and mourning women in a metope-like arrangement) is -apparently, in shape as well as in the ornament which consists of a row -of ‘S’s’ on their backs and the un-Geometric drawing of its silhouettes, -dependent on similar Cyprian models.</p> - -<p>Crete with its loosely-rooted Geometric style took up the new elements -more freely than other localities, where at first they are placed side -by side with the native ones, like the palm-tree on Rhodian vases, the -Cyprian circles on Attic and Protocorinthian jugs, the precursors of the -tongue pattern on Attic and Theran vases, the unsystematic rays on Attic -and Protocorinthian ware, the running spiral probably borrowed from -metal work on Protocorinthian and Theran vases. Moreover, figured -representations from an alien world of ideas creep into the fixed -Geometric systems, as for instance the two lions devouring a man on a -Dipylon vase, the goddess flanked by two animals on a Boeotian amphora, -the fabulous creatures on Rhodian vases.</p> - -<p>These foreign elements, which have their root in<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span> Oriental art, are the -harbingers of a complete revolution, and in them is heralded the end of -the Geometric style. It is obvious that a decorative style like the -Geometric could have no future: its possibilities were quickly -exhausted, even where the style was most richly developed. Its -dissolution would have come, even if superior civilization with richer -methods of decoration had not been in close contact of trade and -intercourse with this early Greek world, and exercised on it a -persistent influence. The Cretans and Eastern Greeks lived in the -immediate neighbourhood of Egypt and Asia, the islands and the mainland -were united to the East by active trade relations. In particular -Phoenician merchants, while the Geometric style was flourishing, handed -on to the Greeks the products of Oriental art, as both the Epic and the -finds testify. Nor did the Greeks remain at home either, but had long -become a seafaring people; Attic, Boeotian and Protocorinthian painters -proudly place representations of ships on Geometric vases; the -statistics of the finds of the various Geometric wares show a constantly -growing trade intercourse. Colonisation too has already begun, and is -ever expanding; according to the earliest vase finds Syracuse, Kyme, and -perhaps also Massilia and the Black Sea coast received settlers, while -their mother-cities still had Geometric pottery. Since Syracuse was -founded in the second half of the 8th century and its oldest graves -contain late Geometric vases, we obtain an approximate date for the end -of the Geometric style.</p> - -<p>The objects of Oriental Art, which were brought before the eyes of the -Greeks by this active intercourse, powerfully stimulated their fancy. -The crowd of decorative motives from vegetation, the world of fantastic -animals, and the superiority of Oriental Art in the rendering of life, -drew Greek vase-painting out of Geometric uniformity and pointed it to -new paths.</p> - -<p class="ills"><a name="plt_XIII" id="plt_XIII"></a></p> -<div class="figcenter"> -<a href="images/i_fp028-a_lg.jpg"> -<img src="images/i_fp028-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XIII.</p> - -<p><a name="fig_24" id="fig_24">Fig. 24</a>. ATTIC GEOMETRIC KYLIX.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp028-b_lg.jpg"> -<img src="images/i_fp028-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_25" id="fig_25"></a> -<a name="fig_26" id="fig_26"></a> -Figs. 25 & 26. CRETAN JUGS IN THE FIRST ORIENTALISED STYLE.</p></div> -</div> - -<p><span class="pagenum"><a name="page_29" id="page_29">{29}</a></span></p> - -<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III.<br /><br /> -THE SEVENTH CENTURY</h2> - -<p class="nind"><span class="letra">A</span>S the Oriental motives pour into the Greek world, a new development -begins, which in the details of its course is still hard to grasp, the -collision of the native Geometric style with Oriental influence, the -fusion of both elements into a new unity, and the growth of the archaic -style. In contrast with the quiet and consistent unfolding of Geometric -style, the process to anyone who goes deep into its details takes on the -character of a restless fermentation, and an almost dramatic tension. It -occupies, roughly speaking, the 7th century. Without forgetting how -arbitrary divisions in the history of Art must always be, let us here -treat as one the period from the end of the Geometric style to the -abandonment of filling ornament, the change in technique of clay and -colouring, and the formation of the established body of black-figured -types.</p> - -<p>The smelting process took on a different character in the different -regions, according to the tenacity with which the old style was -retained, and the intensity of the contact with the East. In most places -there follows first a period of hesitation and experimentalism, out of -which finally the new style is formed. Nowhere does the Oriental element -simply take the place of the Greek Geometric; the acquisitions of the -old style, the fixed vase shapes, the principles of decoration, and the -technique, remain and are further developed. Greek pottery was much too -highly and richly developed, too firmly rooted, to find it necessary to<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> -imitate Oriental clay vases. The stimuli were of much more general -nature; they are chiefly visible in the ornamentation and pictorial -types, they are taken from metal vases and richly embroidered materials, -from costly carpets, articles of jewellery, engraved gems, and other -fine things, which the foreign trader or the seafaring Greek brought -from the Near or Far East or saw with his own eyes abroad. It became -apparent to him, that the Geometric style was really poverty-stricken -and mathematical. The feeling for finely-drawn line and vivid -reproduction of life awoke in view of the freer Art of the East; the -Greek made the Oriental models his own and created out of them and the -mathematical element a new Art. Not all stimuli come direct from the -East; perhaps only comparatively few, which were then passed on, were -constantly altered and took on varied local colour. It looks as if the -stream of Oriental influence took two different routes, one by way of -the Greek East (Rhodes, Samos, Miletus) and another by way of Crete, -which evidently had a strong influence on the Cyclades and Peloponnesus.</p> - -<p>In Crete Phoenician metal objects have been found, which were imported -during the Geometric period, and the Cretan Geometric pottery soon takes -up motives of decoration borrowed from the Oriental or Orientalizing -metal industry. The row of ‘S’s,’ which plays a part in Geometric -bronzes, appears as we have seen on the Kavusi jug (<a href="#page_27">p. 27</a>). Its climax -is the cable pattern (<i>guilloche</i>), which is obviously borrowed from -Phoenician metal vessels (Fig. <a href="#fig_26">26</a>). The tongue pattern (Fig. <a href="#fig_25"> 25-27</a>) -which surrounds the lower part and the shoulder of the vases, like the -rays similarly used (Fig. <a href="#fig_31"> 31-35</a>), goes back ultimately to Egyptian -plant calyces. The connection with bronze patterns is fully proved by -the dots often placed on the ornaments, by the technique of adding white -on black painted vases (Fig. <a href="#fig_29">29</a>)</p> - -<p class="ills"><a name="plt_XIV" id="plt_XIV"></a></p> -<div class="figcenter"> -<a href="images/i_fp030-a_lg.jpg"> -<img src="images/i_fp030-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XIV.</p> - -<p><a name="fig_27" id="fig_27">Fig. 27</a>. CRETAN MINIATURE JUG.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp030-b_lg.jpg"> -<img src="images/i_fp030-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_28" id="fig_28">Fig. 28</a>. THE FLIGHT FROM THE CAVE OF POLYPHEMUS, FROM A JUG FROM -ÆGINA.</p></div> -</div> - -<p><span class="pagenum"><a name="page_31" id="page_31">{31}</a></span></p> - -<p class="nind">which aims at a metallic effect, and by the change of the vase shapes. -These often get a quite non-ceramic appearance (Fig. <a href="#fig_25">25</a>), and in their -rounding and contouring, especially by the emphasis on the foot (Figs. -<a href="#fig_25">25</a> and <a href="#fig_27">27</a>), they are in contrast with the Geometric forms. The Praisos -jug (Fig. <a href="#fig_26">26</a>) is obviously under Cypriot influence, as is the delicate -Berlin jug (Fig. <a href="#fig_27">27</a>), in which a previously described class (<a href="#page_27">p. 27</a>) -reaches its high water mark. The Praisos pitcher (Fig. <a href="#fig_25">25</a>) to the -Orientalizing patterns enumerated already adds the hook spirals, which -are characteristic of the 7th century, and the Berlin jug adds also the -volute and the palmette. The plastic head which crowns this little -bottle, and is entirely inspired by the Egypto-Phoenician ideas of form, -inaugurates a new era in the representation of man. We are now in the -time when Greek sculpture was born, in that notable period when Greek -art under the influence of Oriental art took to the chisel, to enter on -a century of development which ended in giving shape to the loftiest and -most delicate creations that can move the spirit of man. It is -noteworthy that Greek tradition embodied the beginnings of this -development in a Cretan, Daedalus, and to a kinsman of this ancestor of -all Greek sculptors it traced back the invention of the great art of -painting, without the influence of which we cannot conceive of -vase-paintings henceforward.</p> - -<p>The first period of the transitional style betrays little of this -influence. The reproduction of living beings is dominated by the -decorative figures of the East, especially monsters and fabulous beings, -which now make their entry into Greek art, and exercise a powerful -attraction not only on plastic art, but on poetic and mythopœic fancy. -Thus the Geometric silhouette is superseded. If even the preceding age -had felt the need of leaving void a hole to indicate the eye, now the -head is completely rendered by<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> an outline and made lifelike by interior -drawing (Fig. <a href="#fig_30">30</a>). The next stage is that the whole body also is -rendered in contour. To make the transition plain, we show here a -vase-fragment, the Cretan origin of which is not established, but which -must be in close connection with Cretan art, the Ram jug from Aegina -(Fig. <a href="#fig_28">28</a>). The animal frieze, with its hook spirals, dot rosettes, -rhombi and triangles to fill the space, is characteristic of older -Oriental art; the drawing of the rams is far beyond Geometric technique; -in the body too the silhouette is given up, and indication of the hide -is attempted. This animal frieze is no longer an end in itself: by the -men clinging to them the ornamental rams become mythical rams, the rams -of the Odyssey. The fugitives are not very closely connected with their -saviours, and the giant must have been more than blind not to notice -them. But on the other hand the artist has drawn them very clearly, has -put both arms and both legs in view of the spectator, and even, where a -small detail would not otherwise have shown well, made a small nick in -the belly of the ram. This shows how the artist of the period could with -difficulty do without a clear outline.</p> - -<p>These attempts are perfected in the outlined figure of a plate from -Praisos, which is certainly Cretan (Fig. <a href="#fig_29">29</a>). The childishly -disproportioned structure has now become a clear organism of genuine -Greek stamp, full of excellent observation of nature; the ornamentally -constrained picture becomes now a free version of a legend, which -however cannot be interpreted with certainty, till the white object -under the sea-monster has been explained. It is most likely that we may -see in it the foot of a female figure filling the left half of the -plate, perhaps Thetis, who escapes from the attacks of Peleus by -changing into a fish. The interior incised lines in the body of the -sea-monster are a novelty, which the ceramic art has developed</p> - -<p class="ills"><a name="plt_XV" id="plt_XV"></a></p> -<div class="figcenter"> -<a href="images/i_fp032-a_lg.jpg"> -<img src="images/i_fp032-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XV.</p> - -<p><a name="fig_29" id="fig_29">Fig. 29</a>. HERAKLES AND SEA-MONSTER (?) FROM A CRETAN PLATE.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp032-b_lg.jpg"> -<img src="images/i_fp032-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_30" id="fig_30">Fig. 30</a>. ARGIVE KRATER WITH THE SIGNATURE OF ARISTONOTHOS: SEVENTH -CENTURY.</p></div> -</div> - -<p><span class="pagenum"><a name="page_33" id="page_33">{33}</a></span></p> - -<p class="nind">independently (<a href="#page_37">p. 37</a>). But on the other hand the advance in drawing and -the technical rendering of form, the outline of Peleus, the light colour -of the woman, the reddish brown tint of the rider on the reverse, cannot -be explained apart from the influence of free painting, whose oldest -stages are stated to have been outlining with progressive drawing of -interior details, monochromy (<i>i.e.</i> outline drawing with a filling of -colour) and distinction of sex by colour. After an interval of several -centuries wall-painting must have sprung up again and flourished in -Crete, different to be sure in essentials from the Minoan, rather -influenced by the East like the decorative art of the time. In spite of -the tendency to represent painting as ‘invented’ in Greece, Greek -tradition reluctantly admits that this art was indigenous and highly -developed in Egypt long before.</p> - -<p>The bloom of Cretan art seems not to have outlasted the 7th century. -Finds give out, and tradition expressly testifies to the migration of -Cretan sculptors to the Argolid, a district which also took over the -inheritance of Cretan vase painting.</p> - -<p>Of the two chief centres of Argive Geometric vase fabrication, one which -is to be sought in the region of Argos and Tiryns cannot be followed out -very clearly. The oldest Greek vase signed by an artist, the krater of -the potter Aristonothos with the blinding of Polyphemus (Fig. <a href="#fig_30">30</a>), seems -from the shape of the vase to belong to this class. The complicated -shape of the circle of rays, the breaking up of the head silhouette, the -juxtaposition of the traditional sea-fight with the legendary scene, are -typical of the early Orientalizing period; certain parallels with the -late Mycenean Warrior vase (<a href="#page_15">p. 15</a>) perhaps justify the conclusion, that -remains of the old wall-painting had an influence on the style. Like the -Aristonothos vase, some stirrup-handled kraters with metope decorations -continue Argive<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> Geometric traditions. These vases, however, are -exclusively found in the West (Syracuse) and were probably made there; -they do not give faithful reflection of their Argive prototypes. A -krater with tall foot and ornamentation in bands, found at the Argive -Heraion, representing the rescue of Deianeira, with plentiful use of -‘monochromy,’ is too isolated to make a picture of this Orientalizing -pottery possible.</p> - -<p>It cannot have played a leading part, but must soon have been put in the -shade by its near neighbour and rival. For that the so-called -Protocorinthian fabrication is also at home in the Argolid is proved by -the fact that the chief places, where the ware is found, are Argos and -Aegina, and that quantities of small and hardly exportable ware are -found at various places in the district. The alphabet of the -inscriptions agrees with this locality, and so does the style, which -leads up to the Corinthian, whence the name has been given, as well as -the fact that the great trading-centre of Corinth looked after the sale -of the wares; for the area in which they were sold is identical with -that of the Corinthian vases. On account of these close relations with -Corinth, the home of the Protocorinthian vases has been sought with -great probability in the neighbouring town of Sicyon, of which we are -told that it was the place to which Cretan artists migrated, that it was -the birthplace of Greek painting and seat of a flourishing metal -industry, so that we are able to account for three ingredients of the -new style. For the Protocorinthian style of the 7th century gave the -most delicate development of Cretan ‘Daedalic’ types, particularly near -its end; fixed a clear style of figure representation and an ample store -of types, and developed its vase-shapes, system of decoration and -technique, under the influence of metal patterns, more severely, -precisely and richly than any</p> - -<p class="ills"><a name="plt_XVI" id="plt_XVI"></a></p> -<div class="figcenter"> -<a href="images/i_fp034-a_lg.jpg"> -<img src="images/i_fp034-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XVI.</p> - -<p><a name="fig_31" id="fig_31">Fig. 31</a>. <span style="margin-left:30%;"><a name="fig_32" id="fig_32"></a>Fig. 32.</span></p> - -<p>PROTOCORINTHIAN LEKYTHOI WITH BATTLE-SCENE AND SLAUGHTER OF THE -CENTAURS.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp034-b_lg.jpg"> -<img src="images/i_fp034-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_33" id="fig_33">Fig. 33</a>. PROTOCORINTHIAN JUG OF POST-GEOMETRIC STYLE FROM ÆGINA. EARLY -SEVENTH CENTURY.</p></div> -</div> - -<p><span class="pagenum"><a name="page_35" id="page_35">{35}</a></span></p> - -<p class="nind">other contemporary centre of fabrication. In it the vase history of the -post-Geometric century culminates.</p> - -<p>Even in the Geometric period which preceded it (<a href="#page_26">p. 26</a>) (the sparing -ornamentation of which is in contrast with the Dipylon pottery and its -greater delight in using the brush) metallic influence can be traced; -the simple running spiral certainly comes from incised bronzes. The -delicate two-handled cups closely connected with the Geometric style -(Fig. <a href="#fig_23">23</a>), with their well-cleansed clay, improved glaze colour baked -black to red, and the reduction of the walls almost to the thinness of -paper, can only have been produced in competition with the metal -industry; and as a matter of fact delicate silver vases of the same -shape have been found along with the clay copies of them in Etruscan -graves. The lower part of the cups is at first painted black, but soon -it is surrounded with the circle of rays, which according to the ideas -of the new period emphasizes and makes clear the tectonic character of -that part of the vase. This motive also appears in the Geometric -decoration of the flat-bottomed jugs (Fig. <a href="#fig_33">33</a>), the unguent pots which -show Cyprian influence in their oldest globular shape, the kylikes, -round boxes and other shapes, though not always in the typical place, -and often also combined with other ornaments (Figs. <a href="#fig_30">30</a> and <a href="#fig_32">32</a>). In spite -of its Geometrical treatment and its truly Greek close combination with -the system of decoration, it does not disown the impulse it owes to -Oriental patterns (<a href="#page_30">p. 30</a>). The Protocorinthian style also introduced its -doubling (Fig. <a href="#fig_32">32</a>), which still survives in the 6th century (Fig. <a href="#fig_98">98</a>). -The cable pattern, borrowed as has been shown from Oriental metal-work, -drives out the ‘S’s’ and the running spiral. As a handle ornament it -gets a rich enlargement (Fig. <a href="#fig_32">32</a>), the fine stylization of which, no -doubt, was first produced in metal industry. Of the greatest import<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span>ance -is the adoption of loops, volutes, running tendrils and friezes of arcs, -which in combination with the palmette appear on the wall of the vase or -as an upper stripe, and from simple, often loosely stylized beginnings, -expand with the help of the lotus-flower into a fine loop and flower -ornament (‘Rankengeschling’), as in Figs. <a href="#fig_31">31</a>, <a href="#fig_32">32</a>, -<a href="#fig_35">35</a>. That this -ornamentation, in spite of its rigid stylization, was felt by the Greeks -to belong to the living vegetable world, is shown <i>e.g.</i> by the -volute-complex, behind which the hunter (on the lowest stripe of Fig. -31) waits to catch the hare, as well as behind the naturally drawn bush -(on Fig. 36); this shows that the ‘volute tree’ (Fig. <a href="#fig_34">34</a>) flanked by two -sphinxes, is thought of as a real tree. On the other hand the ornaments -in the field are quite as meaningless as in the older style: to those -used by Geometric artists are now added the hook spiral, and the rosette -treated as a dotted star, two ornaments we have seen already on the Ram -jug (Fig. <a href="#fig_28">28</a>); at first they are independent and can be used to form -friezes, later they become less and less prominent (Figs. <a href="#fig_32">32</a> and <a href="#fig_34">34</a>, cp. -also Fig. 28). Two further decorative motives lead us back into the -region of metal-work, the scale-pattern extending over the whole body of -the vase (Fig. <a href="#fig_38">38</a>), which so often occurs in incised metal-work, and the -tongue ornament, the typical decoration of bronze vessels, which on clay -vases as well often rises over the foot in place of the kindred rays, -but most commonly finishes the shoulder where it meets the neck. Both -motives have already been met with in Crete, as applied on a black -ground. The black ground technique of the Praisos jug (Fig. <a href="#fig_26">26</a>) is very -popular with Protocorinthian artists, goes alongside of the clay-ground -vases for the whole period, and supplies richly coloured examples -decorated with figures and ornaments of fine effect, particularly in -combination with a new technique, which appears in the advanced style,</p> - -<p class="ills"><a name="plt_XVII" id="plt_XVII"></a></p> -<div class="figcenter"> -<a href="images/i_fp036-a_lg.jpg"> -<img src="images/i_fp036-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XVII.</p> - -<p><a name="fig_34" id="fig_34">Fig. 34</a>. BELLEROPHON AND THE CHIMAERA FROM A PROTOCORINTHIAN LEKYTHOS.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp036-b_lg.jpg"> -<img src="images/i_fp036-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_35" id="fig_35">Fig. 35</a>. PROTOCORINTHIAN JUG, KNOWN AS THE CHIGI VASE.</p></div> -</div> - -<p><span class="pagenum"><a name="page_37" id="page_37">{37}</a></span></p> - -<p class="nind">being specially typical of scale and tongue ornamentation, that of -incision. It is perhaps idle to inquire into its invention: it is more -important to establish the fact, that it was first consistently and -systematically applied to the black-ground vessels of the -Protocorinthian artists, who were also famed for metal-work, and gave a -new stamp to the style at a time when the East used simple brush -technique almost exclusively. The incised line is always combined with -the addition of coloured and particularly red details.</p> - -<p>The technical advance, which in some measure replaced the influence of -the rising art of painting by that of metal-working, is shown more -plainly in the figured representations, particularly the friezes of -animals, which the vase-painters, inspired by Oriental metal ware and -embroideries, with ever greater zest employ on their vases. Beside the -birds, stags and roes, beside the dogs pursuing hares, with which a -lower stripe could be easily filled, come new animals, for which they -are chiefly indebted to Oriental art, bull, goat, bear, ram, wild-goat, -lion and panther, sphinx, siren, griffin, and other hybrids. These -creatures appear in quite definite types, which admit of little variety: -it is characteristic that the panther’s head is drawn in front view, -perhaps through an abbreviation of a heraldic double panther; and this -rule is devoutly observed through the whole period of decoration with -animal friezes. An indication of this is that the decorative animals -never become pure outlines like the human figures, but after a period of -partial silhouette (<a href="#page_31">p. 31</a>), return to the complete silhouette, as -satisfying better the requirements of decoration. This return became -possible through the use of the incised line, by the help of which -interior drawing could be added on a black ground, and the effect of the -figures was further enhanced by the addition of details in red. This is -an important innovation in the history of Greek vase-painting.<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span> The -general effect of the vase is completely altered by the decorative play -of colour, which extends also to the ornamentation, and takes on that -gay many-coloured aspect which is so characteristic of the older archaic -period, and which is only dropped late in the 6th century. The new -colour system does not aim at realism; it makes prominent for decorative -purposes single parts of the animal body, especially the neck and belly.</p> - -<p>The drawing of the human figure proceeds on other lines than that of -animals. In consequence of the new development of the art of painting -(<a href="#page_33">p. 33</a>), it makes a fresh start. First we have the vase of Aristonothos -(Fig. <a href="#fig_30">30</a>); the next stage is represented by the Ram vase (Fig. <a href="#fig_28">28</a>); the -desire of distinguishing the lighter skin of women from that of men -leads to the tinting in brown of the male body. But in the formation of -the figure types certainly it was not only painting that stood -godmother, the metal worker’s art must also have asserted its influence; -the kinship with Cretan and Argive flat bronze reliefs and metal -engraved work is too great, the sharp clear-cut types too much in the -spirit of bronze technique, for it to be possible to postulate an -independent development. To this corresponds the fact that the outlines -of the figures are accompanied by incised lines on polychrome vases with -black ground, on the finest of the later lekythoi (oil-flasks) and on -the Chigi jug (Fig. <a href="#fig_35">35</a>). This technique is repeated on the big -two-handled cups with finely stylised figured representations, which -finally accomplish an important advance already foreshadowed by small -and hasty specimens: the dark silhouette with incised interior detail, -prevalent in the style of the animal friezes, and along with it certain -details like the circular rendering of the eye, are taken over for the -representation of male figures.</p> - -<p class="ills"><a name="plt_XVIII" id="plt_XVIII"></a></p> -<div class="figcenter"> -<a href="images/i_fp038_lg.jpg"> -<img src="images/i_fp038_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XVIII.</p> - -<p><a name="fig_36" id="fig_36"></a> -<a name="fig_37" id="fig_37"></a> -Figs. 36 & 37. SCENES FROM THE CHIGI JUG: HARE AND LION HUNT; -CHARIOT.</p></div> -</div> - -<p><span class="pagenum"><a name="page_39" id="page_39">{39}</a></span></p> - -<p>This adoption, which only takes place at the end of the development, and -makes the Protocorinthian style the starting point of black-figured vase painting, does not unite -heterogeneous elements. For man and decorative animal are equivalent in -their juxtaposition, and beside the free mythological scenes there is a -series of representations, which seems to have grown straight out of the -animal frieze. The Centaur, the old Greek forest monster, joins the -animals; winged demons in the remarkable scheme of running with bent -knee (pointing to the metope treatment) are also placed amongst them; -kneeling archers shoot arrows at them, hunters and combatants pursue -them, Bellerophon rides on Pegasus against the Chimaera, Herakles fights -against the Centaurs. Purely human scenes, like the favourite Duel (Fig. <a href="#fig_43"> -43</a>), are simply flanked by animals. The addition of figures in rows and -overlapping makes this simple combat into a battle; wounded fall, -corpses are hotly fought over, auxiliaries hurry up. The artist always -in these cases gives prominence to the finely decorated shields, the -pride of Argive metal industry. Like the rows of fighting men, the other -frieze-like compositions, the processions of riders and chariot-races, -the hunting scenes and chase of the hare, thanks to charming observation -of detail, make a direct appeal which is strange for such early art. The -bushes in the hare-hunt of the Chigi jug (Fig. <a href="#fig_36">36</a>) show the awakening of -the landscape element, which to be sure is always a rarity on vases and -must have played a larger part in free painting. Moreover, the varying -colouring of the animals on the stripe in question, which appears also -on a frieze of riders (Fig. <a href="#fig_31">31</a>) and continues in Corinthian painting, -must come from the same source, whereas the bold front view of the -Sphinx head (Fig. <a href="#fig_37">37</a>) like that of the panther head and the Corinthian -quadriga, was attempted for the first time in an ornamental band. Hand -in hand with the enlivening of the friezes goes the suppression of field -ornamentation: it is only<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span> sparingly applied, limited to the animal -friezes or entirely absent. At times a lizard (Fig. <a href="#fig_34">34</a>), a swan or a -monkey comes into the figured scenes.</p> - -<p>Of course this is all devoid of meaning; for in spite of all progress -and freer treatment the style is merely concerned with the decoration of -a surface; ‘exigencies of space’ are its supreme law. These control the -type of the human figure, for even where it is not essentially an -ornamental scheme, like the runner with bent knee, it fills from top to -bottom the stripe assigned to it, extends its breast frontally, and -reaches out its arms, as if it were yearning for a frame. And as the -body avoids all perspective, so the head in profile shows its most -expressive part, the eye surmounted by the brow, in full extent, and -renders the long hair falling down over the neck as smooth surface, and -the curly forehead hair as spiral. There is no rendering of folds to -show depth in the drapery, which now the artist in true Greek fashion -treats in an abstract way, unlike reality. The human figure remains a -type, a homogeneous constituent part of the stripes, which are entirely -designed for filling space. It matters little, if between chariot-race -and lion-hunt on the Chigi jug (Fig. <a href="#fig_37">37</a>) a double Sphinx is inserted as -central motive, or Bellerophon lays the Chimaera low in presence of two -Sphinxes (Fig. <a href="#fig_34">34</a>); if close to the lion-hunt in the same stripe, Hermes -leads the three goddesses before the fair Trojan shepherd, and if the -names of the personages are entered in the field with big letters as a -kind of ornamentation by way of filling: the incipient delight in -telling a story is taken at once into the service of filling the field.</p> - -<p>As the human figure still appears almost completely on a par with the -ornamental animal figure, so there is little trace of any superior -weight being attached to the scenic representations in the decorative -system. Where the</p> - -<p class="ills"><a name="plt_XIX" id="plt_XIX"></a></p> -<div class="figcenter"> -<a href="images/i_fp040-a_lg.jpg"> -<img src="images/i_fp040-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XIX.</p> - -<p><a name="fig_38" id="fig_38">Fig. 38</a>. PROTOCORINTHIAN OR CORINTHIAN JUG.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp040-b_lg.jpg"> -<img src="images/i_fp040-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_39" id="fig_39">Fig. 39</a>. <span style="margin-left:10%;"><a name="fig_40" id="fig_40"></a>Fig. 40.</span></p> - -<p>CORINTHIAN ALABASTRON AND ARYBALLOS.</p></div> -</div> - -<p><span class="pagenum"><a name="page_41" id="page_41">{41}</a></span></p> - -<p class="nind">painter employs them, it is true he puts at their disposal the chief -frieze and often one at the base in addition, but he frames them with -prominent stripes of ornament or animals, and side by side with the -narrative vases purely decorative ones are still produced. The presence -of several animal friezes on a single vase (<i>e.g.</i> on jugs of the shape -of Fig. 35) is not uncommon; like band ornamentation in general, it is -in contrast with the practice of the Geometric period (<a href="#page_25">p. 25</a>) and is -probably to be traced to a strong influence of Oriental textile art. For -the most severely shaped black vases, which are nearest to the bronze -models that we possess (Fig. <a href="#fig_38">38</a>), do not always adopt this fundamentally -non-tectonic breaking up of the body of the vase.</p> - -<p>The close connection of the shapes with metal-work has been already -proved in the case of the cups of early Orientalizing style (Fig. <a href="#fig_23">23</a>), -and goes through the whole history of the fabric, and even where the -models were not immediately copied, gave the vase-shapes a clearness and -precision, with which the products of no other manufactory can compete; -the Sicyonian-Corinthian school of repoussé work perhaps originated many -metal vase-shapes, which were afterwards used in various manufactories. -Though the Protocorinthian list of shapes is only known to a small -extent, an important change can be established. Beside the jugs of -primitive construction (cp. Fig. <a href="#fig_33">33</a> with <a href="#fig_54">54</a>) appear later more -rounded vessels, the jug with ‘rotelle’ (Fig. <a href="#fig_38">38</a>) and the -wineskin-shaped, the chief example of which (Fig. <a href="#fig_35">35</a>) with its -excellently decorated bands, sometimes black, sometimes in the ground of -the clay, shows us the style in a richer and more developed form than -any other vase of this fabric. In the same way the little ‘lekythoi’ -which are technically often quite exquisite, change their appearance, -exchange their old globular shape (Fig. <a href="#fig_27">27</a>) for a slimmer one with -pronounced shoulder, which the<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> caprice of the potter often furnishes -with plastic additions, Argive transformations of Cretan ‘Daedalic’ -types (Figs. <a href="#fig_27">27</a> and <a href="#fig_31">31</a>). And as beside the ‘rotelle’ jug, we have the -wineskin-shaped jug, so beside this sort of ‘lekythos’ there is a -wineskin-shaped variety with a rough tongue-pattern on the neck (Fig. <a href="#fig_39"> -39</a>).</p> - -<p>The ‘lekythoi’ were the chief exported article, or at least the most -favoured grave-offering of the customers abroad. But one cannot call it -the favourite shape of Protocorinthian workmanship: it must not be -forgotten that we have only an accidental selection of this ware, due to -the discovery of two native sanctuaries (the Argive Heraion and the -Temple of Aphrodite in Aegina), and many graves in the Argolid, Attica, -and Boeotia, in the East (Thera, Rhodes, Asia Minor) and in the West -(Sicily, Italy, Carthage). Wherever this ware came it exercised a -stimulating influence, and in many places evoked local copies (<a href="#page_52">p. 52</a>); -more than other districts the West was dominated by this Art. As the -oldest Etruscan wall-paintings, those of the <i>Grotta Campana</i> at Veii -and the <i>Tomba dei Leoni</i> at Caere, are quite under the influence of -Sicyonian-Corinthian painting, so the class called into existence a -multitude of imitations in Sicily and Italy, particularly at Kyme.</p> - -<p>The extraordinarily wide currency of the ware denotes not merely its -superiority, but also that of the trade-centre which exported it. This -need not necessarily have been identical with the place of manufacture. -Many signs, especially the occurrence of the vases in quantity in the -Corinthian colony of Syracuse, point to the fact that the great trading -city of Corinth took over the sale of the ware and gradually replaced it -by its own products. The vases localized with certainty in Corinth by -their alphabet give an immediate continuation of the Protocorinthian, -and one</p> - -<p class="ills"><a name="plt_XX" id="plt_XX"></a></p> -<div class="figcenter"> -<a href="images/i_fp042-a_lg.jpg"> -<img src="images/i_fp042-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XX.</p> - -<p><a name="fig_41" id="fig_41">Fig. 41</a>. ANIMAL FRIEZE FROM AN EARLY CORINTHIAN JUG.</p> -</div> -</div> - -<div class="figcenter"> -<a href="images/i_fp042-b_lg.jpg"> -<img src="images/i_fp042-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_42" id="fig_42">Fig. 42</a>. ANIMAL FRIEZE FROM A CORINTHIAN JUG.</p></div> -</div> - -<p><span class="pagenum"><a name="page_43" id="page_43">{43}</a></span></p> - -<p class="nind">can only ask whether this manufacture simply transferred its chief -workshops to Corinth or whether Corinth in the closest imitation of late -Protocorinthian ware developed a new style, which thanks to the -commercial capacity of the Corinthians could drive the older competitor -out of the field: its sphere of influence, as we saw, replaces the -Protocorinthian, nay, encroaches still further on the Ionian region -(Samos, Naukratis, Pontus).</p> - -<p>The Corinthian style did not long retain the metallic clearness and -precision of its predecessor, neither in its shapes, which for the most -part it takes over (Figs. <a href="#fig_35">35</a>, <a href="#fig_38">38</a>, <a href="#fig_39">39</a>, <a href="#fig_43">43</a>,), nor in its decoration, which -exhibits the final triumph of the ornamental style. The dark ground -technique becomes rarer; the scaly fields continue for a time, white -rosettes painted on the black neck and edge are in favour to the end; -the indispensable tongue ornament on the shoulder gradually comes to be -rendered by the brush. The animal-frieze vases, which are quite in the -forefront of the interest, link on to the later Protocorinthian in -decoration and in the style of the figures, but soon alter the types in -the sense of a broader rendering of form, and the rosettes in the field -also show this change. On the common ware, which was turned out along -with the good, one gets as a result coarse animals and filling patterns -like mere blots; but even technically perfect vases show a strong -inclination to overfill the field, which one might bring into causal -connexion with the Corinthian textile art famed in antiquity, if the -vase picture repudiated the brush technique more than it does.</p> - -<p>The composition shows the same intrusion of a strongly decorative -element. The heraldic scheme is more prominent than ever. We owe to it -the invention of a new ornament, a combination of lotus-flower and -palmettes (Fig. <a href="#fig_39">39</a>), which like the old volute-tree (Fig. <a href="#fig_34">34</a>) is -flanked<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span> by two animals. In particular the wineskin-shaped and globular -unguent-pots (Figs. <a href="#fig_39">39</a> and <a href="#fig_40">40</a>) (Alabastron and Aryballos), the -successors of the Protocorinthian unguent-pots, are decorated with it; -but even in the stripes, which have not got the ‘palmette and lotus -cross,’ there are groups of three animals at a time inspired by the -heraldic scheme (Fig. <a href="#fig_41">41</a>). The list of types grows: beside the -quadrupeds appear many birds (<i>e.g.</i> geese, swans, eagles, cocks and -owls,) fishes and serpents; a motley series of hybrids, bearded -sphinxes, winged lions, winged panthers, tritons and other fabulous -creatures are side by side with the favourite winged demons, sphinxes, -sirens and griffins. The place of the central ornament is often taken by -purely human beings, especially the runner with bent knee, and the -goddess of beasts (πὁτνια θἡρων) which in the Oriental patterns are -flanked by animals; but also non-ornamental figures, women, riders, -grotesque dancers (Figs. <a href="#fig_40">40</a> and <a href="#fig_43">43</a>) are found in this place. Thus arises -a co-ordination of man and decorative animal similar to that of -Protocorinthian art; anyone who has followed on the vases this process, -which is characteristic of the 7th century, is not surprised, when in -the archaic Corinthian pediment at Corfu mythological scenes appear side -by side with the Gorgon flanked by panthers, and when in the -representation of the central animal the myth begins to be active.</p> - -<p>The non-ornamental human figures in the animal compositions are of -course not invented for this purpose, but borrowed from other contexts, -scenes of human life, which existed beside the decorative -representations and followed the lead of the Protocorinthian precursors. -They are certainly more intimately connected with the animal figures. -The male figure (<a href="#page_38">p. 38</a>) has finally discarded the old outline drawing -with brown filling for the animal-frieze technique, black silhouette -with incised interior details.</p> - -<p class="ills"><a name="plt_XXI" id="plt_XXI"></a></p> -<div class="figcenter"> -<a href="images/i_fp044-a_lg.jpg"> -<img src="images/i_fp044-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXI.</p> - -<p><a name="fig_43" id="fig_43">Fig. 43</a>. CORINTHIAN SKYPHOS.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp044-b_lg.jpg"> -<img src="images/i_fp044-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_44" id="fig_44">Fig. 44</a>. ACHILLES AND TROILOS: FROM THE LATE CORINTHIAN FLASK BY -TIMONIDAS.</p></div> -</div> - -<p><span class="pagenum"><a name="page_45" id="page_45">{45}</a></span></p> - -<p>But at the same time the memory of monochromy is not yet quite extinct; -the head silhouette is still by preference painted red. When often -instead of it the breast and thigh are picked out in red, when in sphinx -and siren contour drawing is abandoned, the connection with the -animal-frieze style is complete, and the new intrusion of a strong -decorative element in this pottery is obvious.</p> - -<p>Even the compositions of the figured scenes are under this decorative -spell, which, as in the Protocorinthian style, is only broken through by -a few gifted masters. The duel flanked by sirens on the Boston cup (Fig. <a href="#fig_43"> -43</a>) is typical of the older Corinthian style. The warriors and riders -are often arranged in processions, collected in big battle-scenes; the -grotesque revellers and dancers with extended posterior, prototypes of -the satyrs, fill whole friezes with their reckless antics; the girls -take hands for the dance. Special legendary scenes are, however, very -rare, and when vase-painters like Chares supply names to an ordinary -series of riders, this makes clear rather than removes the defect.</p> - -<p>This defect to be sure is due to a great extent to the accidental -preservation of a series of vases, which are for the most part careless -decorative work intended for the export trade, so that we may form -erroneous ideas. The neighbourhood of Corinth itself has supplied some -fine specimens with a marked character of their own, which bridge the -gap between the Chigi vase and later Corinthian vase-painting (Fig. <a href="#fig_64"> -64-67</a>), <i>e.g.</i> kylikes where, in the interior field framed by tongue -pattern ornament, are fine Gorgon masks and human busts, and especially -two works signed by the painter Timonidas. The flask with the story of -Troilos (Fig. <a href="#fig_44">44</a>) shares with the Chigi vase the contrast of colour -important for Corinthian painting. The flesh of the women is light as a -set-off to that of the men, the chiton of the man sets off his nude -parts, the shield its bearer, the<span class="pagenum"><a name="page_46" id="page_46">{46}</a></span> front horse the hinder of the pair. -The delight in the landscape element, the fine steeds, and big -inscriptions, points back to Protocorinthian style. But nothing is left -of the ornaments scattered about the field but a small palmette, the -composition has become looser, there is much less tendency to cover the -surface in the drawing of the figures: the old scheme of the kneeling -runner has its echo in the Achilles lurking in ambush, but it is -ingeniously adapted to new use. Thus there is a much freer relation to -space, which gives the necessary foundation for the descriptive style. -The hunter too, whose outline Timonidas has put on a clay votive tablet -unconstrained by the silhouette technique or by the desire for contrast -of colour (Fig. <a href="#fig_45">45</a>), is not crowded by any filling ornaments; the finely -drawn youth in the balance of his proportions and the rendering of -detail surpasses the wrestler of the Praisos plate (Fig. <a href="#fig_29">29</a>), and in his -broad massive appearance introduces a new rendering of the body. And -similarly the dog, coloured bright yellow with appropriate detail, goes -far beyond the animal frieze style. One fancies that in this animal -eagerly looking up to his master one sees expressed something like -feeling.</p> - -<p>Like the pinax of Timonidas many other votive tablets of the same find -take one out of the stock vase scenes, especially in the delight in -landscape, the trees conceived of in their special natures, the -cross-section like genre scenes from the workshop of the potter and -metal-worker, from mining and sea voyages. The vases, however, show -little of those progresses in colouring and spacing, which we must -assume in greater measure for the great art of painting. The decisive -step in the history of vase painting, which is especially embodied for -us by the painter Timonidas, consists in the liberation of the field, in -the transition from the ornamental to the pictorial style, in the -abandonment of filling ornamentation, which only survives in vegetable</p> - -<p class="ills"><a name="plt_XXII" id="plt_XXII"></a></p> -<div class="figcenter"> -<a href="images/i_fp046-a_lg.jpg"> -<img src="images/i_fp046-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXII.</p> - -<p><a name="fig_45" id="fig_45">Fig. 45</a>. HUNTER AND HOUND. PINAX FROM CORINTH, SIGNED BY TIMONIDAS.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp046-b_lg.jpg"> -<img src="images/i_fp046-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_46" id="fig_46">Fig. 46</a>. FRIEZE OF AN EARLY PHALERON JUG.</p></div> -</div> - -<p><span class="pagenum"><a name="page_47" id="page_47">{47}</a></span></p> - -<p class="nind">motives suitable to the occasion and scattered birds, serpents, lizards -(Figs. <a href="#fig_34">34</a> and <a href="#fig_66">66</a>), and in the triumph of figure-subjects over friezes of -ornament or animals, which can best be followed in the kraters (Fig. <a href="#fig_65"> -65</a>). With this step, which is completed in the beginning of the 6th -century, we are brought close to the black-figured style proper, which -is differentiated by some technical innovations.</p> - -<p>But before we pass to that, we have still to follow the transition here -described through the other fabrics of the 7th century. We can rapidly -pass over Sparta, which as yet produces no ware fit for exportation. The -course here is similar to what went on in the Argolid. Beside many -specialities one seems to notice kinship with Ionian pottery in the -small bands of squares accompanied by dots and the branches on the edge -of the kylix, in the placing of similar animals in rows. In what close -relation earlier Spartan civilization stood to Ionia, we learn from the -history of lyric poetry.</p> - -<p>To the three stages, earlier Protocorinthian, later Protocorinthian, -older Corinthian, answer the three groups in Attica named respectively -after Phaleron, the Nessos vase and Vurvá. The break-up of the most -definite of all Geometric styles seems to have taken place in spite of -vehement opposition. Details of the Oriental flora and fauna are first -assimilated to the old style, and taken unobtrusively into the Geometric -system of decoration. In the group named after the finds at Phaleron the -new style with marked Phoenician imitations gets the upper hand. To the -unsystematic reproduction and application of the new ornaments, now -arbitrarily scattered, now ranged in special rows, and so added to the -others, succeeds a severer choice, stylization and arrangement; the -luxuriant vegetable character of the decoration (Fig. <a href="#fig_46">46</a>), with which -birds and insects are often combined, only lasts for a time. The same<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span> -experimental hesitation prevails in the figure drawing, which does not -go straight from the Geometric silhouette to contour drawing and -monochromy, but very soon experiments from time to time in the incised -line and added white paint, and in the later Phaleron stage is not -sparing of details in red, <i>e.g.</i>, for the hair and dress. The progress -in the rendering of nature happily can still be followed to some extent -in big vases. It leads to a fixed type with a loose outline with ankles, -knee-pan, and elbow rendered like ornaments: in the head the big eye in -front view dominates at the expense of the forehead, the skull is flat, -the aquiline nose is very prominent, the ear is like a volute. Similarly -in early Greek sculpture an ornamental conception of the outline and the -details of the body is expressed, and casts a light on the conception of -ornament as something living and not yet felt to be an abstraction from -reality.</p> - -<p>The big Phaleron vases also give evidence as to the grouping of the -figures, which we have not been able to get from the Protocorinthian -vases that have been preserved. Older specimens like the Berlin amphora -from Hymettos already fill the greater part of the vase surface with the -descriptive frieze, only surrounded by narrow lines of ornaments and -animals, and in addition the neck of the amphora is adorned with figured -scenes. Even in Geometric times Attic pottery had already given greater -scope to the narrative style than other manufactures: in the Phaleron -vases it creates an important system of decoration, which is continued -in the group of which the Nessos vase is the chief representative, and -prevails to the exclusion of everything else in the 6th century.</p> - -<p>When the later Phaleron vases re-adopt the full silhouette in animal -drawing and extend the technique of incised detail and additions in red -to human outline figures, which they often emphasize only to make them -stand out from the</p> - -<p class="ills"><a name="plt_XXIII" id="plt_XXIII"></a></p> -<div class="figcenter"> -<a href="images/i_fp048_lg.jpg"> -<img src="images/i_fp048_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXIII.</p> - -<p><a name="fig_47" id="fig_47"></a> -<a name="fig_48" id="fig_48"></a> -Figs. 47 & 48. HERAKLES AND THE CENTAUR NESSOS; THE GORGONS: NECK AND -BODY DESIGNS OF AN ATTIC AMPHORA.</p></div> -</div> - -<p><span class="pagenum"><a name="page_49" id="page_49">{49}</a></span></p> - -<p class="nind">background, they prepare a step, which is completed in the Nessos group, -<i>i.e.</i>, the taking over of the animal-frieze technique into -figure-painting, with which vase-painting parts company again from the -great art and returns to decorative silhouette effect. In Attica, too, -the circular rendering of the eye is taken over for the male figure, the -flesh-tone of the face is retained for decorative effect, women are -distinguished by the old outline-drawing, decorative female creatures -and monsters do not escape from the silhouette treatment (Fig. <a href="#fig_48">48</a>).</p> - -<p>On vases of this technique the Orientalizing luxuriance developed out of -Geometric richness is entered by a new spirit of severity and -discipline, which one would be most inclined to explain by strong -influence of Protocorinthian art. The field ornaments are similarly -limited, and the rosette with points has the chief place; the lotus and -palmette pattern of the Nessos vase (Fig. <a href="#fig_48">48</a>), the cable and the double -rays of the Piraeus amphora (Fig. <a href="#fig_49">49</a>) are simple borrowings, the -lion-type on the vase just named is closely connected with the -Protocorinthian. One may ask whether the types in spite of their Attic -stamp do not partly come from the Sicyonian-Corinthian school. The -procession of chariots in the Piraeus amphora is only in the line of old -tradition, but on the neck of the Nessos vase the Phaleron type is -replaced by another, which is certainly only an extract from a larger -composition, and the same artist makes the sisters of Medusa furiously -pursue a Perseus not represented at all, whom the Aegina bowl of kindred -style and the rather later cauldron in the Louvre show along with his -protectors Athena and Hermes. At any rate the vase-painters had no -hesitation in taking over the compositions once created and cutting them -up, enlarging or abbreviating them according to their requirements, -intensifying or weakening them according to their talents. The same<span class="pagenum"><a name="page_50" id="page_50">{50}</a></span> -lucky ‘laziness of invention’ is shown in the rendering of the -individual figure. Old types of Oriental art are behind the battle -motive of Herakles, the flight of the Gorgons, and the race of the -Harpies on the Aegina bowl; the unusual front view points to the origin -of the Gorgon type as an ornament. But the Greek showed originality in -animating and enhancing these types. In spite of the harsh perspective -it is arrestingly expressive when the Medusa collapses in death, the -sisters rush with the speed of lightning through the air, Herakles kicks -the back of the rough monster, and the victim supplicates his tormentor -by touching his beard: we have an art with the joy of youth full of -vigour and possibilities of development displaying itself, the same -early Attic art, which next found plastic expression in the early -sculptures of the Acropolis. On the Nessos amphora the decorative -figures are of secondary importance. The mouth bears the old goose -frieze, the broad handles are adorned with owls and swans: under the -principal field a row of dolphins gambol, but they are hardly to be -conceived of as a meaningless animal frieze, but are to be understood in -a ‘landscape’ sense; the wild chase is by sea. On the other vases of -this group the animal frieze element is much stronger, on some it -entirely prevails, <i>e.g.</i>, on big-bellied amphorae with no angle -dividing body from neck, and a bason from Vurvá, which both reduce the -filling ornaments very considerably. These vases lead over to a -noticeably miscellaneous class, the so-called Vurvá style, which just -like the older Corinthian denotes a strengthening of the decorative and -is also to be regarded as a rival of Corinth. The ornamentation is very -limited, for filling there is nothing but rosettes, which may also form -independent friezes: the decoration assumes quite similar forms to those -of the Corinthian fabric. But the Corinthian elements do not entirely -give its character to the Vurvá style. Apart</p> - -<p class="ills"><a name="plt_XXIV" id="plt_XXIV"></a></p> -<div class="figcenter"> -<a href="images/i_fp050-a_lg.jpg"> -<img src="images/i_fp050-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXIV.</p> - -<p><a name="fig_49" id="fig_49">Fig. 49</a>. ATTIC AMPHORA.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp050-b_lg.jpg"> -<img src="images/i_fp050-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_50" id="fig_50">Fig. 50</a>. CYCLADIC (EUBOIC) AMPHORA.</p></div> -</div> - -<p><span class="pagenum"><a name="page_51" id="page_51">{51}</a></span></p> - -<p class="nind">from the traditions of the brilliant Geometric period, which remained -longer operative in the very ceramic and non-metallic Attic school than -in the Argive-Corinthian, one suspects also influences from Eastern -Greece. According to the evidence of vase finds, Athens was then in -connection with Naukratis. Thus one may refer the painting of white on -the figures, which is only occasionally employed at Corinth, but on the -Vurvá vases often takes the place of the red, to the influence of the -East, which had long known it, and explain in the same way many a -similarity with the East in the motley array of animals.</p> - -<p>Beside the common ware, purely decorative, technically trivial and poor, -naturally the subject-vases went on, as at Corinth. It is not only the -‘runners with bent knee’ mingled with the animals, the draped men and -riders, who maintain the connection with the older figure-painting; the -traditions of the Nessos vase and its parallels continued on big and -carefully executed vases. These vases are to Attic pottery, what the -works of Timonidas were to Corinthian; they give up filling ornament, -individualize the world of figures out of its ornamental constraint, -give the subject-style the spatial freedom, which it needs for its -evolution. Just as we could follow this transitional style in Corinth on -a vase and pinax of Timonidas, so it meets us in Attica at the same time -in vases with decoration in bands, necked amphorae, kraters, and -cauldrons, and in big-bellied amphorae with special field for the -subject, which take the place, in some measure, of sepulchral votive -‘pinakes,’ and are decorated with a female bust or a horse’s head, -placed on a panel reserved in the black ground. This vase with special -field, which arose from the needs of representation, only transitorily -enters the service of animal decoration, and then becomes the chief -vehicle of the new style, whose beginning we have reached with the -last-named vases.<span class="pagenum"><a name="page_52" id="page_52">{52}</a></span></p> - -<p>Attic pottery of the 7th century exercised great influence upon its -Boeotian and Eretrian neighbours, where an independent artistic spirit -never existed. One might describe these dependent manufactories as -provincial branches of the Attic, had they not been influenced by other -models as well. The big Boeotian amphorae with tall broad neck, the -decoration of which consists chiefly of a pictorial frieze at the level -of the handles, divided vertically, are imitated from vases of the -islands (<a href="#page_25">p. 25</a>). The best known instance, from Thebes, shows on one side -the Oriental goddess flanked by lions, on the other a flying bird and -spiral ornamentation. This metope decoration with flying birds and -Orientalizing volutes and palmettes called forth a special Boeotian -class, which some conservative workshops went on producing with great -tenacity to the end of the 6th century. It excels in tall-stemmed -kylikes with white slip and colour accessories in red and yellow. Other -workshops, like those of Pyros and Mnasalkes, imitated the -Protocorinthian and Corinthian wares, quantities of which were imported; -in the 6th century one enters an Attic sphere of influence. Similarly -Attic and island influences are found side by side at the neighbouring -Eretria in Euboea.</p> - -<p>The Cycladic manufactory, to which the Boeotian and Eretrian imitations -point, cannot yet be followed beyond the early Orientalizing stage. On -the amphorae with white slip already described, to which class belongs -the Stockholm vase with the roebuck (Fig. <a href="#fig_50">50</a>), and on the closely allied -griffin jug from Aegina (Fig. <a href="#fig_51">51</a>), severely stylized flowers and -tendrils enter the not very rich Geometric ornament, the new cable meets -the old meander in the same frieze, rows of triangles are enclosed by -spirals; in the metopes of the shoulder stripe appear, surrounded by -scanty filling ornaments, simple animal representations,</p> - -<p class="ills"><a name="plt_XXV" id="plt_XXV"></a></p> -<div class="figcenter"> -<a href="images/i_fp052_lg.jpg"> -<img src="images/i_fp052_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXV.</p> - -<p><a name="fig_51" id="fig_51">Fig. 51</a>. CYCLADIC JUG WITH GRIFFIN’S HEAD FROM ÆGINA.</p></div> -</div> - -<p><span class="pagenum"><a name="page_53" id="page_53">{53}</a></span></p> - -<p class="nind">generally birds, also feeding animals, heraldic or fighting lions, pairs -of panthers in heraldic scheme, in the characteristic partial -silhouette, which renders the head and parts of the body in outline, but -the skins with black or white spots according to the technique. The Ram -jug from Aegina (Fig. <a href="#fig_28">28</a>), the exact attribution of which is uncertain, -is at any rate closely allied.</p> - -<p>This charming class has been called Euboic, but no Euboic find -substantiates the name. It has hitherto come to light only on the -islands of the Aegean, especially Delos-Rheneia, Thera and Melos. Delos -also supplied the earlier Geometric stages, but as the central meeting -place of the islanders, it received so many different elements that it -appears venturesome to rename the ‘Euboic’ ‘Delian’ ware, since a -closely-allied pottery, which would have the same right to this name, -can be probably distinguished from it. This class, which has a -predilection for decoratively applied horse-heads, and like the -Protocorinthian, has the habit of putting red and white stripes on parts -of the vase which are covered with black, at an early date supplied -figured representations without field ornaments; it seems to have been -occasionally imitated in the Euboic colony of Kyme, which otherwise is -completely under Protocorinthian influence. The similarity of the animal -representations to Cretan metal work and of the fine griffin head (Fig. <a href="#fig_51"> -51</a>) to those of bronze cauldrons from Olympia, strengthens the -above-mentioned relations of the Euboic-Delian style to the Cretan and -Argive.</p> - -<p>Thera is not in question as the home of these vases. This island had its -own very important fabrication in Geometric times, which like the Attic -sticks obstinately for a long time to the old style, and as long as it -exists, never allows the new elements, which often are strongly -suggestive of metal patterns, to get the upper hand. In Melos it has -been<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span> perhaps correct to localize an important manufactory of which the -products have been chiefly found in this island and in the neutral -sphere of Delos-Rheneia. The heavy double spirals with gusset-like -filling, which this style prefers to the other Orientalizing ornaments, -and which it puts in to fill space, arranges in stripes, puts one on the -top of another as ‘the volute-tree,’ or quadruples as ‘the -volute-cross,’ give this pottery a peculiar stamp. The style is most -finely represented by the big weighty amphorae which in shape and -technique of the light ground for painting on are akin to the -above-mentioned Cycladic vases, but are finely decorated on neck and -body with representations, and also show the same feeling for rich -decoration in the luxuriant filling ornamentation. The Melian delight in -representation, like the Attic, gives us an insight into the growth of -the figured style. The rows of geese (Fig. <a href="#fig_52">52</a>), the big sphinxes and -panthers, the horses ranged heraldically on either side of a -volute-cross, the favourite framed horse-busts show the well-known -partial silhouette; and the female busts, the confronted riders, the -duellists flanked by women, the gods facing each other or driving in -chariots, the ‘Persian Artemis’ carrying a lion, the free legendary -scenes reflect in technique and drawing the same development which we -followed at Athens. We can assign to about the date of later Phaleron -vases a specimen like the Apollo vase (Fig. <a href="#fig_52">52</a>), which colours light -brown the male body, and in the drawing of animals leads from the old -partial silhouette to the later technique. The fine ‘Marriage of -Herakles’ (Fig. <a href="#fig_53">53</a>) marks a great step in advance, not only by the -complete taking over of the black-figured animal style, and the -superposition of many details in white on horses and patterns of -garments, but above all by the lively rendering of the paratactic -composition and the removal of all Geometric traces in the rendering of</p> - -<p class="ills"><a name="plt_XXVI" id="plt_XXVI"></a></p> -<div class="figcenter"> -<a href="images/i_fp054_lg.jpg"> -<img src="images/i_fp054_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXVI.</p> - -<p><a name="fig_52" id="fig_52">Fig. 52</a>. ARTEMIS, APOLLO, ARGE AND OPIS: FROM A “MELIAN” AMPHORA.</p></div> -</div> - -<p class="ills"><a name="plt_XXVII" id="plt_XXVII"></a></p> -<div class="figcenter"> -<a href="images/i_fp055-a_lg.jpg"> -<img src="images/i_fp055-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXVII.</p> - -<p><a name="fig_53" id="fig_53">Fig. 53</a>. HERAKLES AND IOLE (?): FROM A “MELIAN” AMPHORA.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp055-b_lg.jpg"> -<img src="images/i_fp055-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_54" id="fig_54">Fig. 54</a>. EARLY RHODIAN JUG.</p></div> -</div> - -<p><span class="pagenum"><a name="page_55" id="page_55">{55}</a></span></p> - -<p class="nind">bodies. The heraldic motives have given place to more natural ones; the -male type is not merely distinguished by brown painting from the female. -The shape of the vase is more compact, the decoration more tectonic, the -goose frieze on the shoulder edge is replaced by the tongue pattern, -which also as garment edging drives out the old zig-zag. But the filling -ornaments are as copious as ever, and the step, which the Nessos vase -took in the technique of the figures, has not yet been taken. Thus the -‘Melian’ vases take us lower down in the 7th century than the other -Cycladic products, but not yet to its close.</p> - -<p>Perhaps new finds will bring the continuation of these manufactories and -build a bridge to the style of the 6th century. If we get them, we may -hope for a completion of the picture here given, a clearing up of the -relations of the manufactories to one another and to the East and West, -and evidence as to their localization. For even the Melian origin of the -‘Melian’ vases is not certain: this manufactory too, to judge by the -chief locality of the finds, would have to be moved to Delos, the little -inconspicuous island, where Leto bore her twins Apollo and Artemis, on -which the whole Ionic world gathered to celebrate its divine -fellow-citizens. We can trace something of this festal spirit and -devotional pride of the insular Ionians in the Apollo and Artemis of the -Melian vase, of course in a humbler way than in the magnificent hymn of -the Ionian bard.</p> - -<p>The technique of the white ground for painting and much in the filling -ornament and the animal-drawing unites these insular vases with the -artistic circle of S. W. Asia Minor and the adjacent islands, through -which obviously, as well as through Crete, Oriental decorative motives -principally found their way into Greece. The impulses which guided the -weak Geometric style of this district into new paths can with certainty -be traced to metal work, especially<span class="pagenum"><a name="page_56" id="page_56">{56}</a></span> Phoenician bowls, and to textile -products. Miletus, the head of East Ionic civilization, had a -flourishing textile industry in the 7th century, the decoration of which -was quite under the spell of the East. An attempt has been made to fix -at Miletus a manufactory, the extension of which coincides exactly with -the commercial sphere of this great maritime town; the coast of Asia -Minor and the adjacent islands, the colonies on the Black Sea and in the -Delta are the most important, a secondary part is played by the Cyclades -and the Italo-Sicilian area, but the Greek mainland is unaffected. But -since Miletus need not have done more than distribute, just as Corinth -did for the Protocorinthian ware, since closely allied and almost -inseparable wares were made in several places, and the bulk of these -vases were found in Rhodes, we may retain the traditional name -‘Rhodian.’</p> - -<p>The transition from the Geometric phase (<a href="#page_26">p. 26</a>) to the developed style -of animal decoration can be to some extent followed. We see, for -instance, the old shape of the jug (Fig. <a href="#fig_22">22</a>) become metallically -rounded, the cable on the neck drive out the old zig-zags, and on the -shoulder two animals antithetically flank the central metope (Fig. <a href="#fig_54">54</a>). -The stiff division into metopes of the shoulder stripe is next dropped, -the animals and fabulous beings of the East are placed heraldically one -on either side of a central vegetable motive, and under this heraldic -band, in obvious rivalry with textile work adorned in bands, continuous -friezes of animals in rows, of dogs pursuing hares, of grazing wild -goats and deer, of running goats, which in spite of their decorative -character often testify to a very fresh observation of nature. Bands of -different ornament, cables, and continuous loops, Geometric motives in -metope-like arrangement, especially the upright garland of lotus buds -and flowers, are added to</p> - -<p class="ills"><a name="plt_XXVIII" id="plt_XXVIII"></a></p> -<div class="figcenter"> -<a href="images/i_fp056-a_lg.jpg"> -<img src="images/i_fp056-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXVIII.</p> - -<p><a name="fig_55" id="fig_55">Fig. 55</a>. RHODIAN JUG.<span style="margin-left:10%;"> -<a name="fig_56" id="fig_56">Fig. 56</a>. LATE RHODIAN JUG.</span> -</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp056-b_lg.jpg"> -<img src="images/i_fp056-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p><a name="fig_57" id="fig_57">Fig. 57</a>. EUPHORBOS PLATE FROM RHODES: MENELAOS AND HECTOR FIGHTING OVER -THE BODY OF EUPHORBOS.</p></div> -</div> - -<p><span class="pagenum"><a name="page_57" id="page_57">{57}</a></span></p> - -<p class="nind">the animal friezes: the last-named ornament generally takes the place of -the rays round the bottom of the vase. With these decorative stripes the -Rhodian style at the height of its production likes to cover the whole -surface of its favourite jugs with ‘rotelle’ on the handles (Figs. <a href="#fig_55">55</a> -and <a href="#fig_56">56</a>), its necked amphorae, bowls and other vessels, and in this way -arrives at a delicate and rich carpet-like effect: the equipoise between -the animal silhouettes neatly placed on the white ground, coloured red -and white, and the vigorous clear ornamentation, the showing of the -ground through in delicate details where colour is purposely omitted, -the well-distributed filling ornaments, into which sometimes small birds -with an absence of pedantry are introduced, are all very satisfactory to -the decorative sense: the distinction of the shoulder stripe by the -heraldic element prevents the impression that the surface of the vase is -too uniformly cut up. The accumulation of animal friezes, and the -heraldic arrangement of Orientalizing animals round a vegetable -combination of ornaments, are features which we have already found in -Western art; but while these elements became prominent there at a time -when the incised full silhouette was in exclusive possession of the -field, when plant decoration took more abstract shapes, and filling -patterns were reduced to the rosette, the culmination of the Rhodian -animal-frieze vases falls in the pictorial period, when the plant -decoration is naturalistic and filling ornamentation is abundant.</p> - -<p>A uniform band decoration did not exclusively prevail. A group of jugs, -which by its more tense and profiled shape and by a transition to the -later floral ornamentation shows itself to be progressive, and which -gradually replaces the cable of the neck by the broken so-called -‘metope’ maeander (Fig. <a href="#fig_56">56</a>), leaves out of the black body of the vase -only a narrow stripe with the maeander reduced to pot<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span>hooks, and -surrounds the bottom of the vase with long rays. But beside this method -the other certainly persists. Its tenacious life is proved by vases like -the Paris cauldron (Fig. <a href="#fig_58">58</a>) and its parallels from Naukratis, which -show the archaic Rhodian band style alongside of the developed incised -animal style on the same vase. In these hybrids which are essentially -akin to the vases of Andokides (<a href="#page_115">p. 115</a>) the old stylizing of the figures -is giving way, the rich store of filling motives is yielding to the -prevalence of the rosette, the vegetable ornamentation is exchanging its -vigorous plant-like appearance for thinner and more abstract shapes, -which however take on a freer swing and submit to richer variations, the -most important of which is the continuous tendril. At the same time the -old technique of painting and leaving void spaces continues to be -cultivated at a time, when elsewhere and probably also in the East the -black-figured animal style has become the regular thing, and the filling -ornamentation combined with it has assumed the blot-like shapes of the -Corinthian and Vurvá stage. Finally the Rhodian style also adopts the -new fashion.</p> - -<p>Thus this style from an early date shows itself extremely decorative and -little inclined to actual representations. We should know nothing of -them, if the plates, a favourite item in Rhodian fabrication, like their -Phoenician metal prototypes, did not exchange the old concentric -decoration of stripes for the division into two segments, the larger of -which is occasionally adorned with the human figure instead of the usual -animal or fabulous creature. The drawing of the figures adopts the -method already familiar. The place of outline drawing of the men is -taken by brown tinting, <i>e.g.</i>, in the heroes fighting in the well-known -scheme on the Euphorbos plate (Fig. <a href="#fig_57">57</a>), while the women retain the old -technique, <i>e.g.</i> the Gorgon on a plate in London, which is an -adaptation of the Oriental animal goddess, and quite</p> - -<p class="ills"><a name="plt_XXIX" id="plt_XXIX"></a></p> -<div class="figcenter"> -<a href="images/i_fp058_lg.jpg"> -<img src="images/i_fp058_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXIX.</p> - -<p><a name="fig_58" id="fig_58">Fig. 58</a>. LATE RHODIAN CAULDRON (LEBES).</p></div> -</div> - -<p><span class="pagenum"><a name="page_59" id="page_59">{59}</a></span></p> - -<p class="nind">exceptionally fills the whole circular space (Fig. <a href="#fig_59">59</a>). Both plates show -early beginnings of incised work, the Gorgon in the inner marking of the -drapery, Hector’s shield in the drawing of the flying bird. The view -that the incised technique in figures is borrowed from Protocorinthian -work receives support in this shield with its Argive suggestion, and in -the Argive lettering, with which the excellent artist, roughly -contemporaneous with the Chigi jug (Figs. <a href="#fig_35">35</a> and <a href="#fig_36">36</a>), has transformed a -conventional composition into a scene described in the 17th Book of the -Iliad. The full silhouette with inner detail incised appears only in -specimens, which from their degenerate filling ornaments are plainly -late products of the 7th century, <i>e.g.</i> a plate with a running Perseus. -That when this happens the eye retains its oval shape, is characteristic -of the Eastern Ionic school.</p> - -<p>This transition to the black-figured style can be better followed in a -closely allied pottery, fixed by the contemporary inscriptions of -dedicators to the Milesian colony of Naukratis in the Delta. While the -old filling motives are coming to an end, and the vegetable stripe -ornamentation is being increased by the addition of continuous tendrils -and confronted lotus and palmette, and rows of circumscribed palmettes, -of bands of buds and rows of pomegranates, the animal frieze adopts the -incised full silhouette. The human representations, often of a high -order of excellence, gradually asserting themselves beside the animal -decoration, show a reluctance in taking this step. The old brush -technique is still maintained in the specimens, which reserve thin lines -in the silhouette instead of incising them (Fig. <a href="#fig_60">60</a>); and also the brown -tinting of the male body (Fig. <a href="#fig_61">61</a>) seems to continue in this area longer -than elsewhere. These conservative features are balanced by an -innovation in colouring, which like the change in plant ornamentation -denotes an important step to the style of the 6th century;<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span> even before -the actual decay of filling ornamentation, Naukratite painting (as in -the Praisos plate, Fig. 29) begins to paint in white the light flesh of -women, <i>e.g.</i> the face of the sphinx; and the same colour is used in the -Herakles sherd (Fig. <a href="#fig_61">61</a>), on which the lion’s skin still appears in the -ground of the clay, in order to contrast with the linen jerkin.</p> - -<p>The delight in polychrome effect is very strongly expressed on the -interiors of the tall drinking cups and other vases, which the -Naukratite painter likes to cover with a wash of black, and then to -paint over it plant decoration in red and white. Incision enters also -into their polychrome lotus decoration and thus gives it an effect -similar to that of an older class of kylikes, big-bellied and necked -amphorae, found in Rhodes, which is decorated in the old style with -incised ornaments of red colour, and at a time when the Rhodian style -was still practising pure brush technique, was already preparing for the -later phase, a conclusion which must also be drawn from the Paris -cauldron for animal representation. This black-ground polychromy, which -occurs only occasionally on Rhodian jugs in white and red stripes, white -rosettes and eyes (Fig. <a href="#fig_55">55</a>), becomes so popular and elaborate at -Naukratis, that one is almost tempted to think of a continuation of -Protocorinthian influence, since Naukratis was in close connection with -Protocorinthian Aegina.</p> - -<p>Beside Naukratis itself Aegina was also the chief place of export for -this gaily coloured pottery, which unfortunately has only reached us in -precious fragments, and of whose scenes of merry life drawn from legend, -the revel and the dance we should gladly know more. With the Rhodian -ware it also reaches Italy and Sicily; the Acropolis of Athens gives us, -<i>e.g.</i> the fine Herakles sherd (Fig. <a href="#fig_61">61</a>), and Boeotia in a grave of the -early 6th century a late cup with heraldic cocks.</p> - -<p class="ills"><a name="plt_XXX" id="plt_XXX"></a></p> -<div class="figcenter"> -<a href="images/i_fp060-a_lg.jpg"> -<img src="images/i_fp060-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXX.</p> - -<p><a name="fig_59" id="fig_59">Fig. 59</a>. GORGON PLATE FROM RHODES.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp060-b_lg.jpg"> -<img src="images/i_fp060-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> -<p><a name="fig_60" id="fig_60"></a> -<a name="fig_61" id="fig_61"></a> -Figs. 60 & 61. BUSIRIS; HERAKLES: NAUKRATITE SHERDS FROM NAUKRATIS AND -ATHENS.</p></div> -</div> - -<p><span class="pagenum"><a name="page_61" id="page_61">{61}</a></span></p> - -<p>Beside the Rhodian ware Miletus seems also to have been the -export-centre of another allied fabric, that of the vases called -‘Fikellura,’ from the name of the site in Rhodes, where they were first -found. Their home is now generally sought in Samos because of the common -ware found in that island. The greater number of the vases preserved, -the prevalent form being the necked amphorae with metope-maeander (Fig. <a href="#fig_56"> -56</a>), are contemporaneous with the later phase of the Rhodian. This is -proved by the advanced ornamentation with the thinner simplified lotus -wreath, the rows of circumscribed palmettes, leaves (Fig. <a href="#fig_63">63</a>), -pomegranates (Fig. <a href="#fig_62">62</a>), and crescents (Fig. <a href="#fig_63">63</a>); also by the almost -complete disappearance of the ‘horror vacui’ so that the painter may -reduce filling ornament to its lowest dimensions, paint big surfaces -with loose net and scale patterns, and decorate the body of the vase -with big continuous handle tendrils and an animal placed between them or -only with a human figure boldly inserted in the void (Fig. <a href="#fig_62">62</a>). In the -animals and fabulous beings, which add to the Rhodian types the heron -and the water-hen or the fantastic man with the head of a hare, the -partial silhouette is now rare; narrow lines left without colour, as at -Naukratis, take the place of incised lines, and in the same technique -are the purely human forms, which with their receding foreheads, -projecting noses and almond-shaped eyes, with their coarse postures, -are, like the Naukratis vases, true offspring of the Ionic spirit.</p> - -<p>The Altenburg amphora (Fig. <a href="#fig_63">63</a>) must be a late example. The loin-cloths -are painted red and framed with incised lines, which this style so long -resisted. A few dot rosettes, reduced to their lowest dimensions, are -all that is left of the old filling ornamentation, a long-stemmed bud, -such as the early 6th century favours, projects into the field. Just as<span class="pagenum"><a name="page_62" id="page_62">{62}</a></span> -the runner of the London vase in his vigorous but stiff posture gives -quite a new meaning to an old ornamental scheme, so the movements of the -Altenburg revellers, which entirely fill the field, convince us of their -intoxication. The ornamental style has now in the East, as well as in -the West, become narrative and descriptive.</p> - -<p>With these bibulous Ionians, who to the sound of flutes dance round -their big mixing-bowl with cups and jugs, we pass finally from the wide -ramifications of 7th century vase history to the developed archaic -style.</p> - -<p class="ills"><a name="plt_XXXI" id="plt_XXXI"></a></p> -<div class="figcenter"> -<a href="images/i_fp062_lg.jpg"> -<img src="images/i_fp062_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXXI.</p> - -<p><a name="fig_62" id="fig_62"></a> -<a name="fig_63" id="fig_63"></a> -Figs. 62 & 63. FIKELLURA AMPHORÆ.</p></div> -</div> - -<p><span class="pagenum"><a name="page_63" id="page_63">{63}</a></span></p> - -<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV.<br /><br /> -THE BLACK-FIGURED STYLE</h2> - -<p class="nind"><span class="letra">A</span>RCHAIC art, the wonderful offspring of the contact of Greek -civilization with the East, exercises its charm to-day more than ever. -We have ceased to ascribe a unique saving grace to the classic period, -the period of full bloom, and to allow no independent value to the -preceding century except as an inevitable transitional phase. We love -these archaic works of sculpture and painting for their own sake, not in -spite of their crudities but just because of their unpolished hidden -vigour, because of the precious combination of their essential features. -The fetters of space, and the strong tradition of an ornamental early -period give them a monumental effect, which has nothing of mummified -stiffness but is kept ever fresh and youthful by an eminently -progressive spirit and an energetic endeavour to attain freedom. The -archaic style ‘with fresh boldness goes beyond its Oriental patterns, is -ever making fresh experiments, and thus exhibits constant change and -progress. It is always full of serious painstaking zeal, it is always -careful, takes honest trouble, is exactly methodical: the language which -it speaks always tells of inward cheerfulness and joy at the result of -effort, the effect produced by independent exertion. There is something -touching in the sight of archaic art with its child-like freshness, its -painstaking zeal, its reverence for tradition, and yet its bold -progressiveness. What a contrast to Oriental and Egyptian art, which are -fast bound in tradition: in the one the<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span> sweltering air of dull -coercion, in the other the fresh atmosphere of freedom’ (Furtwängler).</p> - -<p>The history leading up to the origin of this style has become clear to -us by quarrying in different localities. We saw the vases lose their -peculiarly carpet-like appearance, the filling motives disappear, the -bands of animals and ornaments forfeit their independence and become a -subordinate member in the tectonic construction, we saw the world of -figures win its way out of ornamental compulsion to greater freedom and -extend over the vase. The 6th century, to the beginnings of which we -pursued the history of vases, knows only occasionally inserted rosettes, -or a lonely bud projecting into the field. Plant ornamentation becomes -true Greek ornament, abstract, tectonic, and when occasion demands, full -of life with its swing. Animal friezes retire to the foot or the -shoulder, are often incidentally treated as mere decorative accessories -or seized by quite unheraldic liveliness. The principal interest is -devoted to depicting man, his doings and goings on. The vase painter is -now more anxious than ever to narrate and depict; he finds ever less -satisfaction in ornamental composition. He is never tired of describing -hunting and warfare, wrestling and chariot-racing, the festal dance and -procession, but with greatest preference, remembering the purpose of his -vases, drinking and wild dancing. But also the heroes of past ages, -their bold exploits and strange adventures, are his constant theme. The -Homeric Epic, the tales of Herakles the mighty, the bold Perseus and -Bellerophon, had evoked pictorial representations even in the 7th -century; but now the full stream of the legendary treasury pours into -painting and gives an infinitely rich material to the joy of narration.</p> - -<p>What the vase-painter makes of this material is never conceived in the -historical or archæological spirit, but<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span> breathes entirely the air of -his own time; often only the added names (which according to the new -feeling for space assume smaller dimensions) raise a genre scene into -one from myth. Moreover the Saga is only seldom re-shaped by inventive -brains. Types once invented pass on, go from workshop to workshop, from -one district to another, are abbreviated (<a href="#page_49">p. 49</a>), expanded, -conventionally repeated or filled with new life. Types may also cross; -there arise purely through art, contaminations of legend, which are -foreign to poetry. When a Corinthian painter unites the Embassy to -Achilles (Iliad IX) with the visit of Thetis, this has as little to do -with poetry, as when on Attic vases the birth of Athena is coupled with -the apotheosis of Herakles, or the slaying of Troilos is transferred to -Astyanax, or the entombment of the dead Sarpedon to Memnon. But -everything strange need not be misunderstanding on the artist’s part. -The vases supply us with a multitude of legendary motives and -variations, which we cannot find in literature, and are the faithful -reflex of the fluidity of Greek mythology, which, devoid of canon and -dogmatism, was in constant flux.</p> - -<p>Olympos too, is subject to these vicissitudes. Its gods live a human -life among men, the only difference being that some representative -scenes give them a stiffer and more elaborate appearance than that of -ordinary mortals. In early times the divinity is chiefly betokened by -inscriptions and attributes. On the painting of the Corinthian Kleanthes -stood Poseidon with a fish in his hand beside Zeus in labour. Late -observers of this picture failed to understand this external -characterization of the sea-god, and saw an act of brotherly sympathy -with the god’s pains in this holding up of the tunny; and thus a great -deal beside must have appeared strange to them, <i>e.g.</i> Apollo with the -great lyre still bearded in the 7th century (Fig. <a href="#fig_52">52</a>), Herakles without<span class="pagenum"><a name="page_66" id="page_66">{66}</a></span> -lion-skin (Fig. <a href="#fig_64">64</a>), the unarmed Athena, who only at the beginning of -the 6th century, in contrast with the Chigi vase (Fig. <a href="#fig_37">37</a>), the Aegina -bowl and the Gorgon lebes (<a href="#page_49">p. 49</a>), begins to express her bellicose -nature by attributes, and much besides.</p> - -<p>The favourite god of the drinking vessels is the wine-god with cup and -vine. He makes Hephaistos drunk and leads him back to Olympos to -liberate Hera from the magic chair. The big-bellied dancers and purely -human creatures, who form his escort on Corinthian vases, in the first -third of the century are superseded by the Ionic horse-men, the Satyrs, -who become ever more closely associated with Dionysos, celebrate feasts -with the Maenads, never despise the gifts of their master, and make fair -nymphs pay for it. The half-bestial creature in whom ancient Greek fancy -vigorously incorporates man’s pleasure in wine and women with all its -comic effects, is quite the patron of archaic vase-painting.</p> - -<p>That all these representations were developed by vase-painting alone is -more than improbable. That the Bacchic scenes of toping and dancing were -created on the actual vase, is most likely; but one is often enough -compelled to assume other sources. The fight of Herakles with the lion, -for instance, in its oldest form is the borrowing of an Oriental type, -which is composed for a tall rectangle, and is expanded by the -vase-painters for their purposes by filling figures, ‘spectators.’ The -gifted artist, who gave this heraldic type the more natural impress -which was regular in the older black-figured style, was perhaps a -vase-painter; the creator of the later black-figured type was certainly -not, for his horizontal group is certainly a fine invention but always -has to be adapted artificially to the vase surface. As with the -wrestling of Herakles, so it is with Theseus’ struggle with the -Minotaur. The same sort of extension occurs on a favourite subject of -older black-<span class="pagenum"><a name="page_67" id="page_67">{67}</a></span>figured style, the quadriga in front view, whose horses -heraldically turn their heads sideways, whose helmeted warrior is in -front view while the unhelmeted driver is in profile. This type, -certainly invented for a square, is also known in bronze and stone -relief, and the question, in what technique it first appeared, will -scarcely be answered in favour of vase-painting. For a square, too, the -finely compact group of Herakles wrestling with Triton was first -composed, a theme common on Attic vases from the hydria of Timagoras -onwards; the older wrestling scheme, superseded by this type, in its -Herakles spread out before the eyes of the observer and kneeling as he -wrestles, still shows strong affinity with the Orientalizing frieze -compositions (<a href="#page_46">p. 46</a>), and is for vase decoration much more typical than -the later invention, which on vases always has a ‘borrowed’ effect. The -dependence of vase-painting on other techniques is finally evidenced by -the so-called ‘couplings’: the best-known instance is the combination of -the departure of Amphiaraos with the Funeral-games of Pelias on a -Corinthian (Fig. <a href="#fig_66">66</a>), an Attic and an Ionic vase, a combination which is -borrowed from an inlaid wooden chest of Corinthian workmanship at -Olympia (‘the chest of Kypselos’) or a prototype from which both were -derived.</p> - -<p>After all this one will not hesitate to look for a strong reflex of the -great art of painting on the vases, alongside of the special property of -the vase-painter and typical ornamental figures equally common to all -art, or to picture to oneself wall-paintings or easel pictures, like the -birth of Athena by Kleanthes, after the fashion of the best -vase-paintings, which are least constrained by ornamental -considerations, or to reconstruct from the copies of vase-painters -compositions like the Destruction of Troy (Iliupersis), the Return of -Hephaistos, the Reception of Herakles into Olympos. One is particularly -impelled this<span class="pagenum"><a name="page_68" id="page_68">{68}</a></span> way, when the vases give now shorter, now longer, -extracts from the same large composition; thus we have a reflection on -some dozen vases of Exekias and his successors of the fine -representation of the heroes Aias and Achilles surprised by the Trojans -while deeply absorbed in a game of draughts, and warned by Athena just -in time (Fig. <a href="#fig_96">96</a>). One cannot conceive of any difference of principle in -perspective, in the rendering of the body and the drapery, in the -spiritual content, between vase-painting and free painting; they both -are children of one time. Nor did the vase-painter feel any necessity to -alter the composition of his patterns. Only as he had to decorate framed -bands, the law of isocephalism was more binding for him than for the -great art. Hence his strong disinclination for “landscape,” which we -often meet with in Corinthian and Ionian pinakes and wall-painting, but -on the vases never, or only in palpable caricature; the painter who on a -hydria from Caere copied a seascape with the Rape of Europa, was obliged -to place beside the figure what looks like a mole-hill but is intended -for a mountain.</p> - -<p>This limitation of the possibilities of composition by decorative -considerations was of hardly any importance. The wide gulf between free -painting and vase picture was conditioned in the first instance by -technique. It was that which gave its special effect to the -black-figured style and set its stamp upon it. We saw previously that -vase-painting, when it took over the silhouette style from the -decorative animal frieze, increased its distance from free painting, -under whose spell it had been for a good part of the 7th century, that -with the incised technique it took over, <i>e.g.</i> the circular drawing of -the eye, and with the new colouring entered decorative paths (pp. <a href="#page_38">38</a>, -<a href="#page_44">44</a>, <a href="#page_49">49</a>). Free painting drew with the brush on light ground, used black -and white very sparingly, more frequently red, blue, green, yellow<span class="pagenum"><a name="page_69" id="page_69">{69}</a></span> and -brown; placed these colours side by side in simple harmonies, with very -little gradation and shading, but also sometimes, <i>e.g.</i> to represent -fire, used the smooth brush; rendered the men in reddish brown, women, -children, animals and objects in light colouring. With this -free-coloured effect the black-figured style was neither able nor -anxious to compete. Just like the Geometric, it is in its own fashion -again an ornamental style, which does not disown its predominantly -decorative character. The figure silhouettes serve it as ornaments to -fill a given space, which are in a certain equipoise of colour in -relation to the rest of the decoration and the black painted parts of -the vase; the incision stipulates a sharp delineation of types, the -imposed colour gives a parti-coloured effect. The coloured effect of the -vases is essentially defined by the clay, which now, in the developed -black-figured style, takes on a brilliant warm red upper surface, and by -the black glaze, which assumes a metallic lustre. The darker colouring -of the clay deprives the lighter parts of their effects by contrast, and -compels the painters to replace the contour-drawing of women, linen -garments, etc., gradually by laying on white colour, with which at first -the contour is simply filled; but afterwards more commonly black -underpainting is overlaid. With the transition to white, clear -silhouettes are also obtained, which set off against the background more -effectively than the old contour figures.</p> - -<p>The advance in the preparation of the clay and glaze colour came about -on the Greek mainland. Tradition makes the Sicyonian Butades invent the -red colouring of the clay at Corinth, and thus gives the correct -indication. The Chalcidian and Attic workshops helped the new technique -to prevail; in the East it gradually gets the upper hand and forces the -Ionian manufactories to give up their favourite white ground and adapt -their technical freedom to the<span class="pagenum"><a name="page_70" id="page_70">{70}</a></span> growing strictness of the western -system. Attica, which in the 6th century opens a dangerous rivalry in -Eastern and Western markets and finally wins the day, brings the process -to perfection. With the refinement of incised technique it puts an end -to the parti-coloured method still much affected by Corinthians and -Chalkidians, it clears away the big surfaces coloured red and white and -all colour in ornament and animal frieze, and helps the harmony of clay -and black to its purest and fullest effect.</p> - -<p>With the disappearance of the old parti-coloured system the vases are -completely removed from the effect of free painting. For that we may be -grateful to fortune. For this refinement of the black-figured style -permitted the sensitive feeling of Greek artists for decoration to -satisfy the delight of narrating and describing along with the -ornamental traditions of the old style. They had no need, as had the old -Minoan vase-painters (<a href="#page_10">p. 10</a>), to shrink from borrowing figured scenes. -The recasting of types into the decorative silhouette style made it -possible for them to conjure on to the vases whatever touched their -hearts and delighted their eyes, and thus to transmit to us an infinite -variety of scenes, without which our knowledge of Greek legend, Greek -life and Greek art would have remained terribly scanty.</p> - -<p>Corinth must lead off the history of this new style. The chief centre of -commerce and industry in the Peloponnese, the celebrated seat of a -flourishing ceramic industry and of an important school of painting, it -not only took the decisive step to the new technique, but even in its -red-clay phase had helped the designs to drive out animal decoration, -and composed, or at least introduced into vase-painting, numerous types, -which supply material to other workshops for a long time. The quadriga -in front view, which Chalcidian and Attic painters repeated so often and -which kept</p> - -<p class="ills"><a name="plt_XXXII" id="plt_XXXII"></a></p> -<div class="figcenter"> -<a href="images/i_fp070-a_lg.jpg"> -<img src="images/i_fp070-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXXII.</p> - -<p><a name="fig_64" id="fig_64">Fig. 64</a>. HERAKLES AND EURYTIOS; HORSEMEN: FROM A CORINTHIAN KRATER.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp070-b_lg.jpg"> -<img src="images/i_fp070-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_65" id="fig_65">Fig. 65</a>. CORINTHIAN KRATER.</p></div> -</div> - -<p><span class="pagenum"><a name="page_71" id="page_71">{71}</a></span></p> - -<p class="nind">its decorative effect for almost a century, appears here for the first -time; the triangular scheme of two wrestlers seizing each other by the -arms and pressing head against head, which survived to the time of -Nikosthenes, was taken by the Amphiaraos krater (Fig. <a href="#fig_66">66</a>) from the -above-mentioned chest of Kypselos (<a href="#page_67">p. 67</a>); the nuptial procession of -Peleus and Thetis which we shall meet on the lebes of Sophilos and the -François-vase is prepared for in Corinthian vase-painting; and the -battle-scenes, rider-friezes and chariot-races, of which there was a -beginning in the Protocorinthian style, were most richly developed by -the Corinthians, and adopted by Chalkis and Athens often without any -essential improvement. Thus one may be sure, that a number of other -types, which are not represented in the selection that accident has -given us, started their victorious career from Corinth, and that the -lost great art of Corinth, the bronze industry of which we have -specimens and the richly-adorned chest of Kypselos described by -Pausanias supplied to the vase-painters a number of mythological -compositions, which influenced other manufactories. Unfortunately the -greater part of this rich treasure is lost to us. The loss is the more -to be lamented, as what we have shows us a fine inventive talent on the -part of the Corinthian artists and a magnificently free and easy -conception of life and legend. The Homeric poetry and the Epic inspired -by it, the lays of Peleus and Herakles, the ballad poetry now becoming -very fashionable, from which come <i>e.g.</i> the birth of Athena and -probably also the Return of Hephaistos to Olympos, are reflected on -these Corinthian vases in inimitably vivid and drastic fashion; and the -vase-painter also gives scenes from daily life, carouses, drunken men -who dance wildly with naked women, kitchen and winepress, riding and -driving, marching out to battle, and the wild mellay itself. It is -particularly on the kraters (Figs.<span class="pagenum"><a name="page_72" id="page_72">{72}</a></span> 64-66) that we can trace how the -accumulating material gets space on the vases; animal decoration, in -which heraldic cocks are very popular, retires ever more to the reverse, -under the handles, into the base stripe, and also by preference is -replaced by lines of galloping riders, who form a lively decorative foil -to the mythological principal picture (Fig. <a href="#fig_64">64</a>). Meanwhile filling -ornament disappears. The flying bird over the rider (Fig. <a href="#fig_65">65</a>) renders -the same service as the rosette, nay a better; it transplants the scene -out of a decorative space into an actual one, the open country; and the -space-filling animals of the Amphiaraos vase, which are traditional (p. -<a href="#page_40">40</a>), are not intended merely any longer to enliven the vase surface but -the wall of the house, the floor and the air. Thus the liberation of the -field, for which Timonidas and his fellows paved the way, is attained. -With this goes hand in hand the liberation of figure-drawing from -ornamental constraint. The outspreading of the figure in the surface, -which is still strong in the 7th century, is toned down or ingeniously -given a motive, as with the kneeling warrior who fights backwards, and -does not disguise his connection with the old runner with bent knee. The -individualizing of men and animals carried forward by Timonidas now once -more makes big advances in human figures, horses and dogs.</p> - -<p>We will select two of the kraters to give us an idea of the development -of the style. One, a Paris vase (Fig. <a href="#fig_64">64</a>), gives a special application -to a fine banqueting scene, by added names and the insertion of Iole, as -the visit paid by Herakles to Eurytios, king of Oichalia. The fair -daughter of the house stands with some indifference between the guest -and her brother; it is supposed to represent a legend, but is really -little more than a genre scene, as which it is hard to beat. The lively -conversation of the guests, the dogs tied to the sofa-legs waiting and -speculating on the chance of</p> - -<p class="ills"><a name="plt_XXXIII" id="plt_XXXIII"></a></p> -<div class="figcenter"> -<a href="images/i_fp072_lg.jpg"> -<img src="images/i_fp072_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXXIII.</p> - -<p><a name="fig_66" id="fig_66">Fig. 66</a>. DEPARTURE OF AMPHIARAOS: FROM A CORINTHIAN KRATER.</p></div> -</div> - -<p><span class="pagenum"><a name="page_73" id="page_73">{73}</a></span></p> - -<p class="nind">bits falling from the table are masterly, and even the horses in the -supporting frieze, if out of proportion and inelegant, are the more -characteristic and living. The technique follows old tradition; the -flesh of Iole, tables and sofas, one dog, shields on the reverse, appear -in outline drawing. Such contours, also found sometimes where men’s -bodies left white set off those painted dark, unite to some extent, as -does the red colouring of the male countenance, the vase in its effect -with the great art.</p> - -<p>On the other hand the Amphiaraos krater (Fig. <a href="#fig_66">66</a>), which gives up red -for male faces, and makes a point of covering the outline figures with a -layer of white, has become more decorative and black-figured. Its -pictures are not equal in execution to the invention, but come from -excellent models (<a href="#page_67">p. 67</a>). Between the colonnade and façade of the house, -which are in line like the tables in the Eurytios vase, the hero, -because of his oath, mounts his chariot to go with open eyes to the -death he forebodes; his angry look is directed to Eriphyle and the fatal -necklace in her hand. With raised hands the family takes leave, a -maid-servant gives the stirrup-cup to the charioteer. Foreboding evil, -the faithful Halimedes sits on the ground: his heart has evidently -bidden him to train up the boy Alkmaion to take vengeance on his mother. -The whole delight in narration, which in the exaggerated rendering of -the necklace strongly emphasizes the previous history, is as genuinely -archaic, as the mythological individualizing of an old type ‘The -warrior’s departure.’</p> - -<p>The Amphiaraos krater is more developed than the Eurytios vase, not -merely in technique. The painter of the later vase, though not so gifted -as his colleague, draws more cleverly, and works with a set of types -before him, as the frieze of riders shows. The advance becomes plain in -the shape of the vase. The Eurytios krater encloses an almost<span class="pagenum"><a name="page_74" id="page_74">{74}</a></span> uniformly -swelling cauldron between a lip ring which is very low and a foot which -spreads out in ample dimensions. From this round-bellied archaic shape -we pass to a later more defined and elegant one in the Amphiaraos -krater, which has a higher neck, a steeper and much less swelling body, -with its lower part running to a point, till finally the outline almost -resembles an inverted triangle and from the handles a rectangular or -curved bridge has to be built leading to the high rim (krater à -colonnette). The tendency to development, which we can read out of the -vase shapes, may be taken as a symbol of the history of style. For a -Greek vase was always something organic, as much so as a tree or animal.</p> - -<p>Unfortunately, besides the large kraters with their numerous figures, -which were favourite articles of export, few vases are preserved. In the -scene on the Eurytios krater we get the lebes with stand, also the jug -and drinking cup (kylix), which exist in various extant specimens. The -kylix has an offset lip (as in Fig. 24), and often knobs on the handles, -the interior picture is framed by tongue pattern. Beside the necked -amphorae, which like the kraters seldom have any other ornament than -rays, shoulder tongues and neck rosettes, the similarly decorated -big-bellied amphorae continue, which like their Attic parallels (<a href="#page_51">p. 51</a>) -put human busts or animal representations of old and new style into the -figure panel. The three-handled water pitcher (hydria) has the type with -vaulted shoulder common in the older black-figured style, and adorns it -with spirals and maeanders. All these ornaments, to which may be added -the double lotus and palmette of the Eurytios krater and occasional net -and step patterns, partake of the solidity and variety of the style.</p> - -<p>Strangely enough, the phase of the Corinthian style here described is -for us the end of the fabric; not one of these</p> - -<p class="ills"><a name="plt_XXXIV" id="plt_XXXIV"></a></p> -<div class="figcenter"> -<a href="images/i_fp074-a_lg.jpg"> -<img src="images/i_fp074-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXXIV.</p> - -<p><a name="fig_67" id="fig_67">Fig. 67</a>. CORINTHIAN PLATE.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp074-b_lg.jpg"> -<img src="images/i_fp074-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_68" id="fig_68">Fig. 68</a>. THE SLAYING OF TYPHON BY ZEUS: CHALKIDIAN HYDRIA.</p></div> -</div> - -<p class="ills"><a name="plt_XXXV" id="plt_XXXV"></a></p> -<div class="figcenter"> -<a href="images/i_fp075_lg.jpg"> -<img src="images/i_fp075_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXXV.</p> - -<p><a name="fig_69" id="fig_69">Fig. 69</a>. CHALKIDIAN AMPHORA.</p></div> -</div> - -<p><span class="pagenum"><a name="page_75" id="page_75">{75}</a></span></p> - -<p class="nind">vases can be dated below the first third of the 6th century. Corinthian -pottery has no share in the Eastern Herakles with the lion-skin, the -Amazons as Scythian women, the entry of the Satyrs, the rendering of -folds, the painted ground for white additions. One asks whether this -brilliant development could break off so abruptly, or if it is only -accident which has concealed from us its continuation. Both are -improbable. It looks rather as if, just as the Protocorinthian -manufactory had its continuation in the Corinthian, so the Corinthian -was carried on by the Chalkidian. For the vases denoted by their -inscriptions as Chalkidian form, at all events according to the present -state of our knowledge, a group covering a few decades, which is in -succession of time to the later Corinthian vases, and is most closely -connected with them by a series of detailed agreements. Not only do the -vase shapes consistently carry on Corinthian tendencies, but details of -decoration like the white neck rosettes filled with red, and the step -pattern (Figs. <a href="#fig_68">68</a> and <a href="#fig_69">69</a>) continue; the Corinthian animal friezes with -rosettes, the heraldic cocks, with the serpents, the winged demon, the -riders with the space-filling birds (Fig. <a href="#fig_69">69</a>), the wrestlers scheme, the -grotesque dancers, the quadriga in front view are taken over; nay, -details of drawing, like the warrior’s head in front view, the round -outline of the edge of the short small chiton (Figs. <a href="#fig_70">70</a> and <a href="#fig_71">71</a>), the red -spots on black clothes (Fig. <a href="#fig_70">70</a>), the sword sheath with the St. Andrew -crosses (Fig. <a href="#fig_71">71</a>), the devices on the shields are not conceivable -without their Corinthian predecessors; even the names of Corinthian -grotesque dancers pass over to the Chalkidian Satyrs.</p> - -<p>Not a single Chalkidian vase has been found in Chalkis itself, nor even -in any part of the mother-country: all specimens preserved come from the -West. One might therefore assume that the fabric had its seat, not in -Chalkis<span class="pagenum"><a name="page_76" id="page_76">{76}</a></span> itself, but in one of its colonies, and thus the powerful -Corinthian traditions in this pottery would be easily explained. The -West was dominated, as we saw, throughout the 7th century by Corinthian -exportation; and the colonies of Chalkis had always been provided by -friendly Corinth with clay vases. But the strong influence of the -Chalkidian manufactory on the Attic is in favour of Chalkis itself -having put an end to Corinthian production, or at any rate to Corinthian -exportation. Why and how, cannot be stated: perhaps the publication of -the many unpublished specimens will solve the riddle and clear up the -close relation of the Chalkidian ware to the group of the Phineus kylix -(Fig. <a href="#fig_74">74</a>).</p> - -<p>From every point of view the Chalkidian vases give us a heightening of -the Corinthian, a great advance in the direction of a later period. Clay -and black now attain their highest perfection, the distribution of -colour is most delicately calculated; no longer is there so much use -made of white surfaces (under which there is regularly a wash of black); -especially we see no more of the arbitrary colour-contrast which did not -shrink from white colouring of the male. If the Corinthian style had -already aimed at metallic effect in the angular formation of the handles -and the curving of the handle-bridges of the krater, the Chalkidian -heightens these tendencies almost to faithful copying of metal vases, -and consistently develops the vase shapes to the highest, almost -over-refined elegance; the narrowing of the lower part of the body leads -to the insertion of a roll, which the painter picks out in red from the -black foot. Thus arise novel vase-shapes; the necked amphora (Fig. <a href="#fig_69">69</a>) -is elongated, its shoulder flattened, so that the body almost assumes -the shape of an egg; the krater gets steep sides, high neck, and -outward-bent handle bridges; out of the older hydria with arched -shoulder comes a later shape, which, in a specimen at Munich (Fig. <a href="#fig_68">68</a>) -exactly copies<span class="pagenum"><a name="page_77" id="page_77">{77}</a></span> the addition of cast handles to a metal body; and -similarly the other shapes develop, the kylix with knobs on the handles, -the two-handled cup, the jug.</p> - -<p>The same endeavour after elasticity and elegance prevails in the -distribution of the ornament over the vase, which was managed in a more -masterly way at Chalkis than elsewhere. Certainly the ornamentation is -based almost entirely on Corinthian foundations. The white dot-rosettes -filled with red on the black neck, the lotus and palmette on the ground -of the clay, tongues on the shoulder, and rays at the foot, the step -pattern under the chief frieze are of old tradition but pass through a -growing elaboration. As a new motive of decoration comes in the chain of -buds, which we know from the East: as a rule it occurs beneath the chief -band (Fig. <a href="#fig_69">69</a>), or hangs over the figure-field in place of the lotus and -palmette. The Ionic pattern is not exactly imitated in the process; the -swellings under the Chalkidian buds suggest roses rather than lotus. Out -of these buds, palmettes, and the tendrils uniting them, is formed the -fixed ornament, which generally serves as central motive to heraldic -animals and often develops into a wonderfully rich complex of lively -lines (Fig. <a href="#fig_69">69</a>). The proper place for this ornament is the centre of the -upper band, which recovers its importance, now that the shoulder is set -off more sharply in hydriae and necked amphorae, and as secondary field -for decoration is, like the reverse of vases, usually decorated in the -first instance with animals. On the shoulder-stripe the riders with the -space-filling birds tend to drive out the archaic scheme of decoration; -they flank the lotus and palmette cross and in later specimens, where -the horizontal shoulder is no longer dominant in the general view, they -pass from heraldic constraint to parade order, and are also occasionally -replaced by cleverly disposed dancers. The reverse of the vase also more -and more shakes off animal<span class="pagenum"><a name="page_78" id="page_78">{78}</a></span> decoration and replaces it by ornamental -compositions, as by the heraldic quadriga or the heraldic riders. -Friezes of animals beneath the main scene (Fig. <a href="#fig_68">68</a>) become very rare. -However markedly the decoration of the vase departs from the old style, -yet in spite of that there is in contrast with the Corinthian style a -marked decorative invasion to be traced. The vases that have nothing but -animal decoration are numerous, and the rosette often asserts itself -again.</p> - -<p>This decorative invasion, which is connected with the perfection of -technique and marked talent of the Chalkidian artizan, does not detract -in any way from the figure scenes. The latter preserve their old vigour -and power of observation, some masters even raise it to a most intense -elasticity, and breathe into the old types a new and vivid life, which -in union with the line technique and arrangement in space makes these -vases superior to most of the other black-figured pottery. How Herakles -on the London amphora (Fig. <a href="#fig_70">70</a>) unmercifully deals the death-blow to the -three-bodied Geryon, or on the similar Munich vase (Fig. <a href="#fig_71">71</a>) to Kyknos, -is brought before our eyes with unambiguous matter-of-fact and verve.</p> - -<p>The chest of Kypselos had already thus represented Herakles’ fight with -Geryon, and the Chalkidian painter rests here, as often and especially -in his battle scenes, on Corinthian types. But his rendering is anything -but a borrowing, and bears witness to fresh and vigorous conception. The -‘Herakles and Kyknos’ is based on the old fighting scheme, which -represents a warrior with raised right arm assailing an opponent who -almost kneeling moves to the right but looks round; and so in effect -only combines the ‘duellist’ (<a href="#page_39">p. 39</a>) and the runner with bent knee. On -the Chalkidian picture the old ‘exigency of space’ type is hardly any -longer to be traced; everything has become</p> - -<p class="ills"><a name="plt_XXXVI" id="plt_XXXVI"></a></p> -<div class="figcenter"> -<a href="images/i_fp078-a_lg.jpg"> -<img src="images/i_fp078-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXXVI.</p> - -<p><a name="fig_70" id="fig_70">Fig. 70</a>.</p> - -<p>HERAKLES AND GERYONEUS: FROM A CHALKIDIAN AMPHORA.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp078-b_lg.jpg"> -<img src="images/i_fp078-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p><a name="fig_71" id="fig_71"></a>Fig. 71. THE SLAYING OF KYKNOS BY HERAKLES: FROM A -CHALKIDIAN AMPHORA.</p></div> -</div> - -<p><span class="pagenum"><a name="page_79" id="page_79">{79}</a></span></p> - -<p class="nind">expressive and characteristic. To be sure the contrast between the body -in front view and the legs in profile and the spreading over the surface -are still hardly toned down, but the thrust dealt with the right arm, -the clutch of the left, the foot pressed against the back of the -opponent’s knee are full of vigour, and the collapse of the bleeding son -of Ares, his prayer for mercy while he plucks the victor’s beard, the -dimmed eye with its pathos, the composition and the filling of the space -are very artistic.</p> - -<p>This heightening of characteristic touches does not merely appear in -battle scenes, but also the intimate touches in many Corinthian subjects -are carried on. Even the Eurytios krater had succeeded in expressing the -horror which seizes Odysseus and Diomede at the sight of the suicide of -Aias. The feeling in this group is perhaps surpassed by an episode in a -Chalkidian battle-scene; where the intent care, with which Sthenelos -binds up the finger of the wounded Diomede, reminds one of the later -kylix of Sosias (Fig. <a href="#fig_114">114</a>); and when a Paris amphora enlarges the march -out to battle by a domestic scene of arming, early red-figured painting -is again anticipated.</p> - -<p>The combination of this fresh and direct observation of nature with a -marked decorative talent unites Chalkidian with the Ionic art of the -islands. On Chalkidian soil, where a language with a strong Ionic -element was spoken, a close contact with eastern neighbours must be -assumed. It is not only the chain of buds on the vases that witnesses to -this contact. The Satyr, a hairy fat fellow, with marked horse-ears and -horse-tail, often with horse-hoofs, enters from the East in a form, -which meets us on the Phineus vase (Fig. <a href="#fig_74">74</a>). And when the Chalkidian -painter occasionally indicates the outline of the female back, where -previously the drapery falling straight down entirely concealed it, when -he furnishes his Geryon with wings and often equips Herakles<span class="pagenum"><a name="page_80" id="page_80">{80}</a></span> with the -lion’s skin, in this, as in much besides, one cannot fail to see Eastern -influence. Whether the rendering of folds, the beginnings of which -appear on Chalkidian vases as elsewhere, has the same origin, is -doubtful.</p> - -<p>The fabric in the Ionic islands which was in close reciprocal relation -with the Chalkidian, may be called the ‘Phineus’ fabric after its chief -product, till accident betrays to us its home. From the remains of -lettering on the Phineus kylix, it can only be said, that it was -produced in a place where Ionic was spoken, which cannot have been near -to Asia Minor. The style, more Eastern than Chalkidian, but different -from East Ionic in much, <i>e.g.</i> the circular drawing of the male eye, -and closely akin to Chalkidian, is probably of Cycladic origin. But a -connection of this pottery with one of the old Cycladic manufactories -(<a href="#page_52">p. 52</a>) is impossible. As little as the Chalkidian has it any previous -history; the few amphorae and kylikes that remain belong exactly to the -same short period of time, in which the Chalkidian vases were produced.</p> - -<p>The amphorae are rather earlier than the Phineus vase, and often very -like the decorative earlier Chalkidian specimens. Chalkis seems to have -supplied to them the western technique, the vase-shape, the foot-ring, -and also to have supplied the patterns in many specimens for animal and -rider decoration. But the less severe construction of the vases, the -irregular division of the fields for figures, the preference for a dark -covering of the ground above the rays, the liberties in decoration, lead -us to more Eastern soil. The very chain of buds, luxuriant and hardly -stylized, which often covers the neck, shows the unpedantic and concrete -Ionic style, and the same playful carelessness appears, when the painter -is lavish with filling rosettes and buds, when he inserts into a -heraldic frieze of animals a complex of creatures furiously biting each -other, or puts</p> - -<p class="ills"><a name="plt_XXXVII" id="plt_XXXVII"></a></p> -<div class="figcenter"> -<a href="images/i_fp080-a_lg.jpg"> -<img src="images/i_fp080-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXXVII.</p> - -<p><a name="fig_72" id="fig_72">Fig. 72</a>. IONIC EYE KYLIX.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp080-b_lg.jpg"> -<img src="images/i_fp080-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_73" id="fig_73">Fig. 73</a>.</p> - -<p>HEAD OF ATHENA, BETWEEN THE EYES OF AN IONIC KYLIX.</p></div> -</div> - -<p><span class="pagenum"><a name="page_81" id="page_81">{81}</a></span></p> - -<p class="nind">between his favourite squatting sphinxes a fighting warrior, a couple of -dancers, or two running girls, when he composes heraldically the heads -of two processions of riders, and makes a combatant the central motive -of heraldic riders, when he invents animal combinations with a common -head. So it is no wonder if he makes into an effective motive of -decoration the apotropaic eyes popular in this phase of art, which we -know from Delian, Melian, and Rhodian vases of the 7th century (Fig. <a href="#fig_57"> -57</a>), if he often adds ears and nose, and fills the centre with an -arbitrarily chosen motive, a leaf or a human figure. The eyes are found -on the necks of amphorae, but very often as outside decoration of the -kylix, which in perfected specimens shows alike the height and the end -of this manufacture.</p> - -<p>The wonderfully living and swelling outline of these delicate kylikes -(Fig. <a href="#fig_72">72</a>) may be taken as a symbol of the style of the figures, which is -absolutely remote from abstract dryness. It often enough adopts -Corinthian-Chalkidian types as models. The ‘Phineus’ painter did not -invent of himself the warrior with head in front view; the slaying of -Troilos goes back to an old Corinthian type; the pursuit of the mounted -Penthesileia introduces, it is true, a new Eastern Amazon type in place -of the old one (which is also used in this group), but is based on the -composition of a Corinthian battle picture. What the ‘Phineus’ painter -does with his models is always distinguished by individual and genuinely -Ionic life. On the group of amphorae a fine vigorous figure style -prevails, which on the kylikes has a finer and at the same time more -delicate development. The charming Athena (Fig. <a href="#fig_73">73</a>), who now appears in -armour, and whose shield-edge the painter for decorative reasons has -doubled, the Scythian who like the mounted Amazon is at home in East -Greece, the skipping Silenus, the dog in<span class="pagenum"><a name="page_82" id="page_82">{82}</a></span> front view would not tell us -much of this kylix-style. But fortunately the painter of the Phineus -kylix surrounded the fine Silenus mask in the interior with a continuous -frieze, the lack of which a hundred contemporary vases could not -outweigh. The wall with the vine and the lion’s head plainly divides the -frieze into two scenes: evidently a magic well, which pours wine into -the cup of the delighted Satyr. A lion, a panther and two stags draw the -chariot of the Wine-god and his consort. On the legendary team a Satyr -is making mischief; two of his colleagues are quite diverted from their -duty by the sight of three nymphs, who are bathing at a spring in a -wood. A lion’s head as spout pours into a basin the water with which -they are laving themselves; their clothes they have already hung up. The -other picture shows the blind king Phineus, from whom the Harpies have -taken the food off the table, for which he is vainly feeling; the -valiant sons of Boreas pursue the impudent thieves through the air over -the sea.</p> - -<p>All is living, original and drastic in its conception, as perhaps was -only possible for an Ionian. The movements of the Satyrs and the nude -maidens, the animals and plant-life are caught from nature, and this -study betrays itself in various details. The face of Phineus, still -painted red like that of the Satyrs, is drawn in front view, which we -have hitherto only found in the helmeted warrior’s head, the collar-bone -and chest muscles are rendered, the eyes of the Boreads are already much -reduced in scale. Especially important is the treatment of the drapery, -not to mention the linen chiton of Dionysos with its parallel lines -indicating the material, or the long red chitons of the women and the -curved outline of the shirts of the Boreads, or the garments of the -Harpies adorned with Ionic crosses and borders; important innovations -appear in the himatia, that of Phineus is divided into</p> - -<p class="ills"><a name="plt_XXXVIII" id="plt_XXXVIII"></a></p> -<div class="figcenter"> -<a href="images/i_fp082_lg.jpg"> -<img src="images/i_fp082_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXXVIII.</p> - -<p><a name="fig_74" id="fig_74">Fig. 74</a>.</p> - -<p>PHINEUS; DIONYSOS: FRIEZE ROUND THE INTERIOR OF AN IONIC EYE KYLIX.</p> - -<p><i>From Furtwängler-Reichhold, Griechische Vasenmalerei.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_83" id="page_83">{83}</a></span></p> - -<p class="nind">red and black stripes, those of Dionysos and the women show rendering of -folds. That the himation rather emphasizes than conceals the outline of -the back, is a true Ionic feature.</p> - -<p>Beyond this stage, the ‘Phineus’ fabric cannot be traced. Generally the -Cycladic pottery of this period is hard to get hold of. We do not know -whether there were more factories on the islands, and some isolated but -allied specimens with more fully Ionic alphabet cannot yet be localized. -On the other hand, the ceramic history of the Greek East offers at least -some fixed points, though the transition from the old style has not yet -been cleared up. We were able to accompany the Rhodian-Naukratite and -the ‘Fikellura’ styles to the very threshold of the black-figured, but -here the thread seems to snap. Shallow bowls found in Egypt and South -Russia with bud decoration and black-figured interior designs, which -were imitated by the Attic Vurvá style, and amphorae with remains of the -old ornamentation and big isolated animal-silhouettes in the field, -perhaps represent the latest products of the Rhodian style. The -‘Fikellura’ style finds its continuation in a ware, which was certainly -produced in Klazomenai, perhaps also in several places at the same time, -and has come to light not only in the Ionian region and the colonies in -Egypt and the Black Sea, but also in Italy. The Klazomenian style has in -common with its predecessor not only a series of ornaments (tongues, -rays, late Rhodian garlands, continuous tendrils, rows of crescents, -friezes of leaves, ‘metope’ maeanders, buds in the field, scales over a -surface), but continues the old shape of amphora and has the same -preference for loose decoration: beside the vases adorned in bands, on -which the animal friezes are driven out of the chief band, it is very -fond of a field consisting of a reserved panel or running all round, and -of the decoration<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span> of the neck by means of an ornament, an animal head -or a human head. In the field it likes to put instead of the heraldic -pair a single animal, a sphinx before a standing man or upright branch, -an isolated palmette and lotus cross, which are in a measure constituent -parts of heraldic compositions, and shows the same freedom, going even -beyond that of the Phineus painter, when it makes isolated figures, -dancers, running girls, or men wearing mantles, the central motive of -its heraldic sphinxes or cocks, and when it puts a runner with bent knee -between two lions that turn away from him (Fig. <a href="#fig_75">75</a>). The palmette and -lotus-cross and the animal types differ from Western types; the -selection, too, is characteristic of the East. There is a special -preference for the Siren: this bird-woman is used surprisingly often -heraldically, and in rows to make a frieze. The female panther occurs as -well as the male; the grazing deer is a Rhodian legacy. The ostriches -show knowledge of Africa, the winged horses and boars connection with -Asiatic art. The Klazomenian style is particularly strong in the new -formation of fantastic beings, to which the near neighbourhood of the -East gave the impulse. The seahorse and the Triton were invented -somewhere in this area: to the ‘Fikellura’ man with the head of a hare -Klazomenai adds a being with a tail and a lion’s head among human -revellers, among dancing men and women appears suddenly the bearded -monster with the horse’s tail, the Satyr (Fig. <a href="#fig_75">75</a>).</p> - -<p>The stock of types varies considerably from that of the West; this is -particularly clear in the scenes with human figures. Beside the pictures -of riders and battles, beside the few preserved legendary scenes, among -which the most important are the battles of Amazons, who here in the -East have become mounted Scythian women, the prominent place is taken by -scenes of drinking and dancing in the</p> - -<p class="ills"><a name="plt_XXXIX" id="plt_XXXIX"></a></p> -<div class="figcenter"> -<a href="images/i_fp084-a_lg.jpg"> -<img src="images/i_fp084-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXXIX.</p> - -<p><a name="fig_75" id="fig_75">Fig. 75</a>. SATYR AND MAENAD: KLAZOMENIAN VASE FROM KYME.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp084-b_lg.jpg"> -<img src="images/i_fp084-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_76" id="fig_76">Fig. 76</a>. NECK-DESIGN OF AN IONIC AMPHORA.</p></div> -</div> - -<p><span class="pagenum"><a name="page_85" id="page_85">{85}</a></span></p> - -<p class="nind">manner of the Altenburg amphora (Fig. <a href="#fig_63">63</a>). The file principle, so potent -in the East Ionic animal frieze, strongly asserts itself in the dancing -maidens and the abandoned revellers: the oblique inclination forward, -which the Klazomenian painter often gives the intoxicated, and which is -very successfully preserved on an early Milesian relief in London, -emphasizes at the same time the decorative arrangement, and increases -the expressiveness, just as the eccentric movements of the dancers -equally well fill the space and mark the tone. For life, sensual and -everyday though often grotesque and brutal, is what these Ionian masters -give, even if they are only decorative artists or artizans, whatever it -may cost. So they succeed in nothing so well as women, satyrs and -animals. The maidens with their receding foreheads, almond-shaped and -often obliquely set eyes, and the little mouth somewhat drawn in below, -and the well-marked back contour, have an attractiveness even on the -most careless representations; the shaggy satyrs betray their equine -nature not merely in ear, tail and hoof; the robust strong-maned horses, -the female panthers with swelling breasts, the fighting cocks forgetting -their heraldic duties, all show nature very close at hand.</p> - -<p>The history of this style, which must approximately extend over the -first half of the 6th century, can be to some extent followed. In the -beginning comes the conflict of the old Ionic and Western techniques, -the transition from the light slip to the reddish-yellow surface, and -the tendencies in ornamentation which still strongly remind one of -‘Fikellura.’ The silhouette style makes liberal use of white. Not only -with inherited aversion does it often replace incision by delicate lines -of paint, provide garments with white crosses, animals with white spots -and white belly-stripe, and ornaments with white details: in its earlier -period it also extends the white surfaces, which it still places<span class="pagenum"><a name="page_86" id="page_86">{86}</a></span> on the -ground of the clay at times, from women and linen chitons to men, horses -and dogs, and becomes as parallel to the Corinthian style with this -contrast of colouring as with its wide-necked broad-bellied form of -amphora.</p> - -<p>The latest wares of the colony of Daphne (abandoned in 560 B.C.) show -the transition to the rendering of folds of drapery, which takes the -place of the old parti-coloured surfaces in the group of vases which -took its rise about the middle of the century. In this later group, to -which a series of ‘lebetes’ with topers, satyrs, centaurs, and battle -scenes is an obvious introductory link, and which culminates in two -amphorae at Munich (Figs. <a href="#fig_76">76</a> and <a href="#fig_78">78</a>) and one in Castle Ashby, there -enters into the old style varied, free and easy, broadly even laxly -rendered, a peculiar severity and discipline. The three chief specimens, -necked amphorae with the continuous scene preferred by the East, are -more defined and elastic in shape, more finished in shape and colour, -more ornamental and elaborate in the rendering of the figures, than was -the case with the earlier style. The conclusion which naturally suggests -itself, that this new spirit came from the West and the Chalkidian-Attic -region, is confirmed by the ornaments. Beside the Ionic looped and -plaited bands, leaf and bud friezes, and the continuous tendrils (Fig. <a href="#fig_76"> -76</a>), come the double rays, the Western palmette and lotus system; and -when the painter scatters animals among the ornaments (Fig. <a href="#fig_76">76</a>), he -follows old Ionic tradition, but the hare and the hedgehog with the -ostrich riders of the Castle Ashby amphora are of Corinthian origin -(Fig. <a href="#fig_66">66</a>). In the treatment of the figure, the meeting of Eastern vigour -and Western severity makes as charming an effect as the genuinely Ionic -and very decorative composition; the scene of a Munich amphora arranged -round a centre (Fig. <a href="#fig_77">77</a>) with the cunning Hermes, who creeping up on</p> - -<p class="ills"><a name="plt_XL" id="plt_XL"></a></p> -<div class="figcenter"> -<a href="images/i_fp086_lg.jpg"> -<img src="images/i_fp086_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XL.</p> - -<p><a name="fig_77" id="fig_77">Fig. 77</a>. HERMES STEALS THE COW IO FROM THE GIANT ARGOS. FROM AN IONIC -AMPHORA.</p></div> -</div> - -<p class="ills"><a name="plt_XLI" id="plt_XLI"></a></p> -<div class="figcenter"> -<a href="images/i_fp087_lg.jpg"> -<img src="images/i_fp087_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XLI.</p> - -<p><a name="fig_78" id="fig_78">Fig. 78</a>. CENTAURS HUNTING: FROM THE SAME AMPHORA AS FIG. 77.</p></div> -</div> - -<p><span class="pagenum"><a name="page_87" id="page_87">{87}</a></span></p> - -<p class="nind">tip-toe steals away the fair cow Io from the sleeping giant Argos, and -the picture of the Centaurs hunting on the reverse (Fig. <a href="#fig_78">78</a>) are full of -ornamental vigour and at the same time full of fresh observation. The -left hand of the giant shows a new study of nature compared with the -old-fashioned right of Hermes and left of the front Centaur; in the -giant the artist is struggling to represent the anatomy, and the mantle -of Hermes plainly falls in layers, in contrast with the absence of folds -in the chiton.</p> - -<p>The new impetus, which even expressed itself in exportation to Italy, -could not save the Klazomenian manufactory from the preponderance of its -Attic rival; it is at the same time its end. Not that the East Ionic -decorative tendencies formed a blind alley; the combination with western -technique ensured its continued life. But Asia Minor, which at this time -fell into the hands of the Persians, was not a suitable soil for -continued production. Athens seized not only the exportation but the -entire production. The arrival at Athens of East Ionic artists is -reflected not merely in the names of the vase-painters. When on the jug -of Kolchos and the Attic vases, typical Eastern principles of -composition crop up, when Nikosthenes introduces an East Ionic shape of -amphora (Fig. <a href="#fig_104">104</a>), when the red-figured technique coming into existence -on Klazomenian sarcophagi conquers the Attic workshops, when on early -red-figure kylikes the same decorative tendencies which prevailed in the -East assert themselves, there can be no question of an extinction of -East Ionic art, but only of a re-birth in Athens, and a baptism with -Attic spirit.</p> - -<p>About on a level with the Castle Ashby group is another East Ionic -class, also only known through export to Italy, the ‘Caeretan hydriae,’ -so-called from the place where they were mostly found (amphorae and -kraters being also represented), which are usually attributed to South -East<span class="pagenum"><a name="page_88" id="page_88">{88}</a></span> Ionia. The developed vase-shapes, the completed black figure -technique, which has a wash under the white and uses incision freely -even for outlines, and the decoration, which has got beyond the animal -style, make their late origin certain, and the agreement with Ephesian -sculpture of about 550 B.C., expressed in treatment of hair, converging -mantle folds and the graded edges of the drapery, clinches the matter. -When in spite of that these vases stick fast to the system of contrast -in colour, that agrees with an expressed preference for gay decoration -such as from the days of the Naukratis vases South East Ionia loved. The -‘Caeretan’ painter actually enhances this colour preference, in that he -varies the colour of the male body from black to dark red, bright yellow -and white and similarly alternates the colour of hair and clothes. He -gives the same motley effect to the ornamentation, which shows plainly -its descent from the old Rhodian in its broad lotus and palmette system, -its rosettes, hook-crosses, and spiral-crosses ornamenting the neck, and -also reveals East Ionic freedom in natural myrtle branches and -ivy-tendrils, in bucrania with festoons and in interspersed animals. The -animal world too, with its fallow deer, lions, griffins, winged horses, -and winged bulls, is characteristic of the East and the neighbourhood of -Asia. These animals have long ceased to play their heraldic part, though -on the reverse of the vase two may face each other in symmetrical -correspondence; they are rather by choice included in hunting scenes. -The traditional tendency finds a refuge, if anywhere, in the figure -scenes. In heraldic scenes of battle, in the horse-taming ‘runner with -bent knee,’ in Satyr and Nymph running to meet each other, it asserts -itself: but the living interest makes one forget the ornamental scheme. -Lively drastic description is the strong point of the ‘Caeretan’ -painter. His broadly treated scenes of hunting, fighting, and wrestling, -the fine delineations</p> - -<p class="ills"><a name="plt_XLII" id="plt_XLII"></a></p> -<div class="figcenter"> -<a href="images/i_fp088-a_lg.jpg"> -<img src="images/i_fp088-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XLII.</p> - -<p><a name="fig_79" id="fig_79">Fig. 79</a>. HERAKLES SLAYS BUSIRIS AND HIS FOLLOWERS: FROM A CÆRETAN -HYDRIA.</p> - -<p><i>From Furtwängler-Reichhold, Griechische Vasenmalerei.</i></p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp088-b_lg.jpg"> -<img src="images/i_fp088-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_80" id="fig_80">Fig. 80</a>. SPARTAN KYLIX.</p></div> -</div> - -<p class="ills"><a name="plt_XLIII" id="plt_XLIII"></a></p> -<div class="figcenter"> -<a href="images/i_fp089_lg.jpg"> -<img src="images/i_fp089_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XLIII.</p> - -<p><a name="fig_81" id="fig_81">Fig. 81</a>. HERAKLES BRINGS CERBERUS TO EURYSTHEUS: CÆRETAN HYDRIA.</p></div> -</div> - -<p><span class="pagenum"><a name="page_89" id="page_89">{89}</a></span></p> - -<p class="nind">of Satyr life, of the Heraklean legend, of Hermes and his theft of the -kine, of the drunk and lame Hephaistos, of Europa carried by the bull -over the sea, leave nothing to be desired in the way of original -invention, healthy vigour, and naive vividness, and in their aversion to -the typical and abstract they are diametrically opposed to Attic -painting. The stocky, strong man Herakles with the curly hair who -dispatches the inhospitable Pharaoh, Busiris, and his cowardly throng -(Fig. <a href="#fig_79">79</a>), or who with the hound of hell frightens the Argive king into -a wine jar (Fig. <a href="#fig_81">81</a>), are cabinet pictures of vigorous humour. The local -colouring is also unmistakeable. The altar with volute profiles is an -East Ionic architectural shape, the knowledge of the Egyptian and black -races, of Egyptian priestly dress, of monkeys, can only have been -obtained in Africa; the origin of the Busiris legend is only conceivable -in the neighbourhood of the kingdom of the Pharaohs. Thus though the -Caeretan vases found a local continuation in Etruria, because of this -local colouring one cannot imagine them made by Ionian colonists in -Caere.</p> - -<p>On the other hand one may assume origin on Etruscan soil for another -class of East Ionic style, only known from Etruria, called ‘Pontic,’ as -having been wrongly localized on the Black Sea. The Asiatic-Ionian -origin of the style is based on the vase shapes as on the choice, -technique, types and application of the ornamental and animal -decoration; and also the figures, the lines of Tritons and Nereids, -riders and Scythians, heralds and Centaurs, and the legendary scenes, -which are often under ornamental influence (Figs. <a href="#fig_82">82</a> and <a href="#fig_83">83</a>) in -execution and application, point to the same source. The ‘Pontic’ -painters actually enrich our knowledge of East Ionic decorative motives -by a series of combined lotus, palmettes, volutes, maeanders, by net -patterns, leaf-friezes, etc., by a plentiful selection of animals, -which<span class="pagenum"><a name="page_90" id="page_90">{90}</a></span> includes the marine Centaur, with the Asiatic man-bull, and is -fond of lines of guinea-fowls. But on the whole the class is very -provincial and cannot be regarded as a clear source of evidence. It is -questionable, whether obstinate persistence in stripe decoration, only -reluctantly giving way to the picture field, would have been possible in -the mother-country well on in the 6th century. The style is visibly -departing further from its Greek starting point. Vases which represent -Lanuvian Juno (B.M. Cat. II. p. 66) or Etruscan winged demons, show in -subject what the style of itself betrays.</p> - -<p>Two classes with scanty decoration, fixed as East Greek by many finds, -can only be named for completeness sake; one, the ‘Bucchero’ ware long -known in Etruria, which perhaps originated in Aeolis and which owes its -black lustre not to glaze colour but to impregnation with charcoal and -to polishing; the other, the ware with a great extension in South Asia -Minor and Italy, either unadorned, or only decorated with stripes, which -give important conclusions as to the development of vase-shapes.</p> - -<p>The East Greek manner took the place of the Corinthian in Italy at the -beginning of the 7th century. This revolution is less connected with -importation than with the immigration of Ionic artists. But even the new -current is more and more open to the influence of the ever-spreading -Attic importation, which in the East and West not merely captures the -market but also forces production under its spell.</p> - -<p>Before we pass to this victorious fabric, we must once more return to -Peloponnesus, to a fabric standing in isolation and of marked -peculiarity, the Spartan. Excavations at Sparta show the transition to -the black-figured style, such as took place elsewhere about the end of -the 7th century. Corinth seems to have set the example for this -transition;</p> - -<p class="ills"><a name="plt_XLIV" id="plt_XLIV"></a></p> -<div class="figcenter"> -<a href="images/i_fp090_lg.jpg"> -<img src="images/i_fp090_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XLIV.</p> - -<p><a name="fig_82" id="fig_82"></a> -<a name="fig_83" id="fig_83"></a> -Figs. 82 & 83. PARIS AND HIS HERD; PRIAM AND HERMES LEAD HERA, ATHENA -AND APHRODITE BEFORE PARIS: FROM A PONTIC AMPHORA.</p> - -<p><i>From Furtwängler-Reichhold, Griechische Vasenmalerei.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_91" id="page_91">{91}</a></span></p> - -<p class="nind">at all events Corinthian elements, <i>e.g.</i> riders with birds for -space-filling in the black-figured style give this indication, though -the conservative retention of the white slip and the inconsistent -rendering of the male eye clearly distinguish it from Corinthian. It -becomes really tangible to us at the period, when exportation properly -begins, at a time which already puts a black wash under imposed white -and with the shapes takes us further along into the 6th century. The -ware for exportation, which spread far over the mainland to Naukratis -and Samos as well as to Etruria, has given us only a few big vases, -finely decorative works, which are very conservative in their adornment. -The earliest of them is a Paris ‘lebes’ with heraldically arranged -animal-frieze and a frieze of figures above it, in which pot-bellied -topers are placed between the Troilos story and a Centaur battle; two -volute kraters and two hydriae, by their shapes, cannot be much later. -Broad tongues adorn shoulder and foot, the rays are doubled, to -Geometric zig-zag and hooked bands are added upright arched friezes of -lotus and pomegranate, continuous branches, and the lotus and palmette -pattern; the animal friezes have types of their own and do not avoid the -processional order not ordinarily favoured in the West. Even the larger -vases found in actual Spartan sanctuaries are almost entirely decorative -and show little of the figure painting coming in so vigorously in other -manufactories.</p> - -<p>A compensation for this is offered by the number of kylikes preserved, -which in the 6th century, as in East Ionia, Corinth and Athens, so also -in Sparta, gradually pass into the high-stemmed shape with offset rim -(Fig. <a href="#fig_80">80</a>). The outsides of these kylikes are adorned only in a few -earlier specimens with antithetic or processional animal friezes, -otherwise only with the simple or net-like pomegranate pattern, with -lotus leaves and rays; from the handles pro<span class="pagenum"><a name="page_92" id="page_92">{92}</a></span>ceed palmettes on their -sides. The figures are entirely confined to the interior, which much -more commonly than in other manufactories, rises out of pure -ornamentation or animal decoration to free scenic representations. To be -sure this is often at the expense of the decorative effect. Most scenes -are anything but composed with a view to a round space, and the segments -under the line which marks the level of the ground, often very clumsily -filled with plant and animal ornamentation, the rosettes, filling -flowers, and birds dispersed without meaning about the scene, are always -clumsy old-fashioned compromises between representation and -space-filling. The stock of figures, with which the painter decorates -his interiors, usually more or less at random, is even in its rendering -helpless and antiquated; to make up it preserves its independence and -ease, its primitive solidity; the strong warriors, riders and hunters, -the men carousing with women, the musicians and drinkers, the girls -bathing in the river, are in subject and execution truly Spartan. Beside -the pictures from daily life comes mythology with pot-bellied dancers, -who have not yet, so far as we know, been superseded by Ionic Satyrs, -with Erotes crowning riders and drinkers, and various legendary scenes.</p> - -<p>None of these kylix-pictures breathes the Spartan spirit, the spirit of -the lyric poetry of Sparta, so well as the Berlin vase with the carrying -home of fallen warriors, which is perhaps taken over from a continuous -frieze without any attempt to fit it into the circular field; but even -in this shape has the effect upon us of a funeral march of Kallinos or -Tyrtaios (Fig. <a href="#fig_84">84</a>). But in humorous descriptiveness the Arkesilas vase -(Fig. <a href="#fig_85">85</a>) takes the palm. It is a genre scene, but not this time from -the life of a Spartan citizen, but a travel reminiscence of a painter, -who once in African Cyrene looked on, while the silphion was weighed -under</p> - -<p class="ills"><a name="plt_XLV" id="plt_XLV"></a></p> -<div class="figcenter"> -<a href="images/i_fp092_lg.jpg"> -<img src="images/i_fp092_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XLV.</p> - -<p><a name="fig_84" id="fig_84">Fig. 84</a>. RETURNING FROM BATTLE: FROM A SPARTAN KYLIX.</p></div> -</div> - -<p class="ills"><a name="plt_XLVI" id="plt_XLVI"></a></p> -<div class="figcenter"> -<a href="images/i_fp093_lg.jpg"> -<img src="images/i_fp093_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XLVI.</p> - -<p><a name="fig_85" id="fig_85">Fig. 85</a>. ARKESILAS OF CYRENE WATCHING THE LADING OF SILPHION: FROM A -SPARTAN KYLIX.</p></div> -</div> - -<p><span class="pagenum"><a name="page_93" id="page_93">{93}</a></span></p> - -<p class="nind">the stern eye of Arkesilas, and stowed in the hold of a sailing ship to -be exported. The monkey too, which the painter puts on the yard, he -became acquainted with in Africa; the birds are not meaningless but fly -round the ship; only the lizard is an external addition, and we already -know it to be Corinthian. The life-like picture, which before the -decisive excavations in Sparta was regarded as chief proof of Cyrenaic -origin for this pottery, confirms the result of digging in the shape of -the chair legs, which agree with Spartan reliefs, and in the -inscription, only possible in Sparta. There is an approximate date given -too; for the king, whose portrait we have, reigned about the middle of -the 6th century. With this it agrees that his mantle is divided into -black and red stripes, which, as we saw in the Phineus kylix, comes -before the rendering of folds.</p> - -<p>This conservative style does not show the same keenness as its -contemporaries in rendering folds and developing the knowledge of -anatomy; nor is the need felt for a long time of freeing the field from -filling ornaments or the base segment from animal decoration. The group -of vases which belongs to the second half of the century is especially -marked by the return of the white slip and of polychromy in the -ornamentation. It is only late that the Spartan painters turn to the -rendering of folds and richer body details, really only in a time of -decadence, which diminishes the foot, no longer colours the ornament, -and often avoids the base-segment. The occasional use of pale red -figures painted on a black ground with incised details can only be -explained as a provincial imitation of Attic red-figured technique, with -the superiority of which Sparta cannot even remotely compete. Similar -vases without any figures show the last output of the fabric.</p> - -<p>The only fabric in which the black-figured style completed its life and -exhausted its possibilities, the only one<span class="pagenum"><a name="page_94" id="page_94">{94}</a></span> which shows its living force -through the archaic and classic periods, is the Attic. Even at the end -of the 7th century it begins to vie with others. We already saw that -Vurvá vases were exported to East Ionia; the Gorgon lebes of the Louvre -comes from Italy. Etruria now becomes the chief place where Attic and -indeed all black-figured vases are found. The fact that ware made to be -exported to Etruria first gave us the knowledge of Greek vase-painting, -led enquiries on false tracks for a long time in localizing the fabrics, -and even to-day the word ‘vases’ reminds us of the decisive finds on -Italian soil.</p> - -<p>The Attic manufactory is, as we saw, proved not only by the alphabet of -their inscriptions but also by continuous finds in Attica itself. To be -sure, the inequality of production in technique and style obtrudes -itself on us here more than elsewhere, and makes us take fabric in a -wider sense, as a complex of workshops, which turn out at the same time -good and rubbishy ware, traditional and progressive painting, vases with -light or dark-red clay. The Boeotian workshops, without doing them -injustice, we may class with Attic workshops of the second class; in the -6th century, in so far as they do not go on turning out their old bird -kylikes (<a href="#page_52">p. 52</a>), they are only provincial offshoots of Attic industrial -art. The same is the case with Eretria.</p> - -<p>The inequality of Attic ware has yet other reasons. More than other -fabrics the Attic adopted foreign influences. Athens’ central position -between Corinth, Chalkis and the Cyclades, its relations to East Ionia, -led to a penetration of old Attic art traditions with other elements and -to the formation of a new style: the rise of trade and industry enticed -alien painters to settle at Athens, since foreign fabrics had more and -more to give in to Athenian superiority. Thus it is that Corinthian, -Chalkidian, ‘Phineus,’ East Ionic, occasionally even Spartan fabrics</p> - -<p class="ills"><a name="plt_XLVII" id="plt_XLVII"></a></p> -<div class="figcenter"> -<a href="images/i_fp094-a_lg.jpg"> -<img src="images/i_fp094-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XLVII.</p> - -<p><a name="fig_86" id="fig_86">Fig. 86</a>. WEDDING OF PELEUS: FRAGMENTS OF A CAULDRON BY SOPHILOS.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp094-b_lg.jpg"> -<img src="images/i_fp094-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_87" id="fig_87">Fig. 87</a>. ATTIC TRIPOD-VASE.</p></div> -</div> - -<p><span class="pagenum"><a name="page_95" id="page_95">{95}</a></span></p> - -<p class="nind">are reflected in the Attic pottery. These reflections give a very varied -air to Attic pottery, but on the other hand help to a dating of its -separate phases. After a period of Corinthian influence follows one with -a strong Chalkidian element, in the eye-kylikes the pattern of ‘Phineus’ -ware is at work, while relations to East Ionic art run along side by -side.</p> - -<p>The group, which one is inclined to make parallel with the red-clay -Corinthian, may be named the ‘Sophilos’ group from the fragments of a -‘lebes’ found on the Acropolis (Fig. <a href="#fig_86">86</a>). In contrast with its immediate -predecessor the Sophilos vase vies in motley effect with Corinthian -ware. Ornament is richly painted; himatia and borders are picked out in -colour, women and linen chitons have a white filling; in the red of the -male face and the varied colouring of the horses the system of -contrasted colours is as plainly exhibited as in the red colouring of -the male breast or of the whole male body on other contemporary vases. -The marriage of Peleus and Thetis is the subject, in a type repeated on -the François vase (Fig. <a href="#fig_90">90</a>), which we see developed on Corinthian -kraters, probably under the influence of the chest of Kypselos. Who -introduced into the scene the Muse in front view playing on the syrinx, -cannot be stated; the lower part of the body in profile is in marked -contrast with this bold front view; that it is of ornamental origin, -perhaps from a double Siren, might be suggested without its being too -venturesome.</p> - -<p>The frieze is framed between a broad lotus and palmette pattern and a -stripe with large animals. Whether the filling ornament has been omitted -from the animal as well as from the figured frieze, in which nothing but -the big lettering reminds us of the old requirement of filling the -space, cannot be ascertained from this specimen; a second vase of the -same painter shows between the animals, which still suggest the Vurvá -style, isolated large rosettes, and other vases of<span class="pagenum"><a name="page_96" id="page_96">{96}</a></span> this group make a -palmette flower or bud with stalk project into the field. These isolated -echoes of the old filling ornamentation, influenced by the East like the -gradually appearing friezes of buds and leaves (<a href="#page_83">p. 83</a>) disappear about -the middle of the century; but the animal friezes themselves live on -longer.</p> - -<p>This survival of old decorative tendencies in a new shape appears still -more plainly in other vases of the “Sophilos” period. The amphorae, -which leave a “metope” unpainted to carry their figures or make the -figure field continuous, when they do not cover the whole body with -stripes, have like the Klazomenian on the neck a head, a lotus and -palmette cross, or a circle between zig-zags (the amphora which Dionysos -is dragging on the François vase is of this type), and prefer still to -decorate their stripes and fields with heraldically arranged animals. -The Ionic liberties too, the meaningless compositions, are not -infrequent, just as beside many Corinthian echoes in the friezes of -animals and riders, Ionic patterns often assert themselves in the -drawing and colouring of the animals, and in the shape and decoration of -the vases. The kraters and hydriae which are parallel with the -Corinthian, give the same impression. Of the smaller vases we may select -two hasty compositions, which cannot compare with the fine work of -Sophilos, but in their way help to enlarge our idea of the period. The -Munich tripod-vase (Fig. <a href="#fig_87">87</a>) in the stripe on the rim shows alongside of -the old animal composition two wrestlers of the Corinthian scheme and a -horse race from the same source, the succession of which is interrupted -by a fallen horse just as the animal friezes of contemporary vases -contain fighting animal groups; and a kantharos of Boeotian manufacture -and shape (Fig. <a href="#fig_88">88</a>) over the animal frieze introduces the wild dancers, -who as at Corinth, Chalkis and in East Ionia prepare the way for the -Satyrs.</p> - -<p class="ills"><a name="plt_XLVIII" id="plt_XLVIII"></a></p> -<div class="figcenter"> -<a href="images/i_fp096-a_lg.jpg"> -<img src="images/i_fp096-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XLVIII.</p> - -<p><a name="fig_88" id="fig_88">Fig. 88</a>. BŒOTIAN KANTHAROS.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp096-b_lg.jpg"> -<img src="images/i_fp096-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_89" id="fig_89">Fig. 89</a>. ARRIVAL OF THESEUS’ SHIP AT DELOS: DETAIL OF THE FRANÇOIS VASE, -FIG. 90.</p> - -<p><i>From Furtwängler-Reichhold, Griechische Vasenmalerei.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_97" id="page_97">{97}</a></span></p> - -<p>Just as we followed the process in late Corinthian and Chalkidian -workmanship, so in Athens the broad, massive archaic black-figured style -in the shape of the vase and the rendering of the figures passes into -more and more elegant compression and precision; Sophilos is followed by -Klitias. The Florence vase ‘made’ by the potter Ergotimos, ‘painted’ by -Klitias and named after its finder François (Figs. <a href="#fig_89">89</a> and <a href="#fig_90">90</a>), even in -the boldly rising outline of the body shows the spirit of a new age, and -goes beyond the round-bellied shape of the Gorgon ‘lebes’ as much as the -late Corinthian kraters surpass the Eurytios vase (Fig. <a href="#fig_64">64</a>). Ergotimos -holds the mean between the old round-bellied vase shapes and the more -elegant ones of the Chalkidian best period (<a href="#page_77">p. 77</a>), just as Klitias does -between the figured style of Sophilos and that of Amasis (<a href="#page_105">p. 105</a>); and -as Ergotimos does his best in delicately moulding the shape and gives -the vase a showy appearance with his elongated handle volutes, so in the -figured decoration covering the whole surface and in the incredibly -delicate execution of all details Klitias presents a refinement of the -black-figured style which in its way cannot be surpassed. Potter and -painter here take a step, which secures for Attic pottery the paramount -position for all time.</p> - -<p>The treatment of the procession of the Olympians in honour of the -newly-wedded sea-goddess on the principal frieze is particularly rich. -We have seen that Klitias here utilized an old type. The representative -solemnity required by the subject gives an archaic stamp to this frieze; -in particular the richly adorned festal clothes with patterns that it -almost requires a microscope to see, which bear witness to uncanny -patience and accuracy on the part of the painter, heighten the stiffly -venerable impression. But when compared with Sophilos, Klitias shows a -considerable advance in the rendering of nature.<span class="pagenum"><a name="page_98" id="page_98">{98}</a></span></p> - -<p>For that we must not lay stress on the head of Dionysos in front view, -for the god’s mask-like appearance passed from cult into vase-painting; -but we may point to the diminished heaviness of the figures, the smaller -size of the eye, the division of the himatia into stripes, which here -and there converge like folds, and the reduction in size of the -inscriptions. The other friezes exhibit Klitias as a master of the -delineation of life and movement: the arrival of the ship of Theseus at -Delos (Fig. <a href="#fig_89">89</a>), the hunt of Meleager, the battle with the Centaurs, the -chariot-race, the return of Hephaistos, the adventure of Troilos, and -the delightful frieze on the foot with the battle of dwarfs and cranes; -even the heraldic animal frieze is seized by the same liveliness, for -between the heraldic sphinxes and griffins the animals, now treated in -quite an elegant and concise way, are attacking each other. How much of -these scenes is due to the inventiveness of Klitias and his direct -observation of nature cannot be made out. He has not got the rough -freshness and naturalism of the Ionic painters, but instead a marked -feeling for clear and speaking types; and generally speaking, discipline -and the gift of abstraction seem to have been more characteristic of the -Athenians than of the Ionians, who set more carelessly to work. Perhaps -Klitias got from eastern masters the interruption of the heraldry in the -animal frieze by fighting groups; and at any rate the Satyrs who -accompany the drunken Hephaistos come from the East into Attic pottery.</p> - -<p>In the technique of the figures, the old style is worthily putting forth -its last efforts; the white is still put direct on the clay, the man’s -face is coloured red, black horse alternates with white. But with the -perfection of the clay and the black used in painting, and the minute -detail of incised lines, a new feeling for colour is brought in, which -leads away from the old motley effect; the masters of the</p> - -<p class="ills"><a name="plt_XLIX" id="plt_XLIX"></a></p> -<div class="figcenter"> -<a href="images/i_fp098_lg.jpg"> -<img src="images/i_fp098_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XLIX.</p> - -<p><a name="fig_90" id="fig_90">Fig. 90</a>.</p> - -<p>KRATER BY KLITIAS AND ERGOTIMOS: “THE FRANÇOIS VASE.”</p> - -<p><i>From Furtwängler-Reichhold, Griechische Vasenmalerei.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_99" id="page_99">{99}</a></span></p> - -<p>François vase themselves in their later works go over to the new system, -which paints a ground for the white and gives up red in the male body, a -system which, perhaps, other less thorough artists had already set -going.</p> - -<p>The chariot-race for a prize on the neck of the François vase introduces -us to an old and popular contest, which according to tradition -Pisistratus replaced by other games, when in 566 B.C. he reformed the -Panathenaea. At the same time he must have erected a new image of Athena -on the Acropolis, which, in opposition to the old conception, (<a href="#page_66">p. 66</a>) -still followed by the François vase, represented the goddess in full -armour. For on the prize vases, which were given to the victors full of -precious oil and labelled ‘one of the prizes from the city of Athens’ -(τῶν Άθήνηθεν ἄθλων), Athena always appears as a fighting warrior, just -as the poet Stesichoros and paintings of the time of Sophilos had made -her leap from the head of Zeus. The oldest of these Panathenaic amphorae -(an idea of their shape is given by Fig. 101, a later specimen of about -520 B.C.) shows on the obverse the new type of Athena in the making, and -on the reverse the chariot-race which was now becoming infrequent. Since -this vase adheres closely to the Sophilos group in style and especially -in the animal decoration of the neck, but on the other hand already has -a painted ground for white, it will not be possible to move the François -vase and the transition to the later technique away from the sixties of -the 6th century.</p> - -<p>The group of kraters, lebetes, hydriae, amphorae and other vases, which -immediately adheres to the François vase, usually, in so far as it is -not interrupted by marked individualities, is described by the -antiquated name ‘Tyrrhenian,’ derived from the finds in Etruria. The -conservative and often mechanical character of these vases does not -conceal the progressive elements. The vases assume the<span class="pagenum"><a name="page_100" id="page_100">{100}</a></span> more slender -egg-shaped form known to us from Chalkis, the old neck ornament of the -amphorae (<a href="#page_96">p. 96</a>) is replaced by lotus and palmette. White colour is -regularly placed on black ground; Herakles is often equipped with the -lion’s skin; Athena with at any rate helmet and spear; in place of the -old-fashioned burlesque dancers and naked women come Satyrs and Maenads. -But of improvements in observation of nature this second-class group has -hardly any to show. It lives on the achievements of great masters, on -Corinthian traditions, and eastern influences. The frieze amphorae, -which continue alongside of the amphorae with picture field, vie with -the François vase in the accumulation of figured friezes; only in the -lower stripe they economize in figure scenes by using lines of lotus and -palmettes and animals. Thus their general appearance is still very like -the Vurvá vases, the Gorgon lebes and many vases of the Sophilos period. -The traditions of the 7th century end in this mechanical group; the -great masters of the second third of the century bring, perhaps from -Chalkis, new vase types and new kinds of decoration.</p> - -<p>The transition may first be followed in the Kylix, which happily can be -traced in its development by many signed specimens. The firm of -Ergotimos produces a cup with knobbed handles and no set-off for the -rim, the interior picture of which is framed by tongue pattern, thus a -kylix of the type known to us from Corinth and Chalkis; on the outside -the Satyr is still loosely connected with drinkers of the old type, and -has thus not yet been associated with Dionysos and the Maenads. This -type of kylix shews marked Chalkidian influence, especially in later -specimens like that of Boston (Fig. <a href="#fig_92">92</a>), on which Circe (painted white -over black) hands to the companions of Odysseus the fatal potion and so -brings about her own abrupt end. Series of branches and buds, probably -also the dog in front view (<a href="#page_81">p. 81</a>)</p> - -<p class="ills"><a name="plt_L" id="plt_L"></a></p> -<div class="figcenter"> -<a href="images/i_fp100-a_lg.jpg"> -<img src="images/i_fp100-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE L.</p> - -<p><a name="fig_91" id="fig_91">Fig. 91</a>. ‘LITTLE MASTER’ KYLIX.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp100-b_lg.jpg"> -<img src="images/i_fp100-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_92" id="fig_92">Fig. 92</a>. ATTIC KYLIX WITH KNOB-HANDLES.</p></div> -</div> - -<p><span class="pagenum"><a name="page_101" id="page_101">{101}</a></span></p> - -<p class="nind">and much in the style of the figures come from the neighbouring fabric. -This Chalkidian influence is to be traced on a second type of kylix -belonging to this period, that with off-set rim, (not the one in Circe’s -hand), which for a time carelessly draws its figures over the junction, -but finally makes a clean cut between handle frieze and rim ornament: -the rim is <i>e.g.</i> decorated with a branch or painted black, the handle -frieze bears figures or the artist’s signature in neat letters between -the palmettes proceeding from the handles. The masters of the François -vase themselves took this step forward; in Naukratis and the interior of -Asia Minor signed specimens have been found, speaking documents of the -popularity of the fine Attic ware in the East, which help to explain the -alteration of the Ionic style (<a href="#page_86">p. 86</a>).</p> - -<p>The workshop of Ergotimos passed to his son Eucheiros (B.M. Cat. ii., p. -221), who, like the sons of Nearchos, Ergoteles and Tleson (B.M. Cat. -ii., p. 222) is found among the so-called ‘little masters,’ the makers -of dedicated high-stemmed cups, who, with special pride, and probably -also for decorative reasons, put their names on their products. More -than twenty makers’ names, among them those of Exekias, Pamphaios, -Charitaios, Hischylos, and Nikosthenes, have been handed down to us on -these vases, an important piece of evidence for the vigour of Attic -production in the generation after Klitias and Ergotimos. These masters -preserve the division between handle and rim stripes, even when the rim -is not marked off from the body. As with Klitias, the handle stripe -bears the master’s inscription or a drinking motto; in this case the -representation, consisting of neat miniature figures or a female head -drawn in fine outline, moves into the upper stripe (Fig. <a href="#fig_91">91</a>). Side by -side with that, the painting of the rim black and decoration of the -handle stripe with figures are very common. In the figures decorative -tendencies, betokening intention<span class="pagenum"><a name="page_102" id="page_102">{102}</a></span> rather than convention, assert -themselves. The interior picture often consists of the Gorgon’s mask, or -a figure to fill the space to fit the circle; the outside often bears -meaningless compositions (heraldic animals, winged creatures, runners, -riders, men wrapped in cloaks), out of which develop scenes of hunting -and pursuit, chariot-races, and cock-fights; but also mythological -scenes and vigorous battle pictures with many figures occur. When such -scenes are still flanked by heraldic animals, in this case primitive -traditions are consciously retained.</p> - -<p>On the Munich kylix (Fig. <a href="#fig_91">91</a>) the painter in the inscription praises the -beauty of Kalistanthe. More commonly fair boys are praised, a practice -which continues on vases for a century, the explanation being supplied -by the erotic scenes represented from the later time of Klitias. Those -celebrated are seldom to be regarded as the favourites of the -vase-painters themselves, but generally sons of the best society, for -whom there was a furore. This worship of beauty is of use to the -historian, for many of the <i>Kaloi</i> are great persons with established -dates, and anyhow the common love-name puts all vases which bear it into -a short period of time; for the bloom of beauty lasts not more than a -decade.</p> - -<p>If the kylikes of the ‘little masters’ last to the beginning of the -red-figured style (<a href="#page_109">p. 109</a>), the eye-cups go a good bit beyond this -limit. The type must have been brought to Athens from the ‘Phineus’ -manufactory (<a href="#page_80">p. 80</a>) in the later period of the ‘little masters’; and -perhaps the Ionian Amasis, who has left a fine specimen with a figure -holding a branch between the eyes, had much to do with this -naturalization. Certainly the Attic artists never rival the swelling -shapes and vigorous life of their prototypes. With this type the outside -begins again to be treated as a decorative unit</p> - -<p class="ills"><a name="plt_LI" id="plt_LI"></a></p> -<div class="figcenter"> -<a href="images/i_fp102_lg.jpg"> -<img src="images/i_fp102_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LI.</p> - -<p><a name="fig_93" id="fig_93">Fig. 93</a>. DIONYSOS: INTERIOR OF AN EYE KYLIX BY EXEKIAS.</p></div> -</div> - -<p><span class="pagenum"><a name="page_103" id="page_103">{103}</a></span></p> - -<p class="nind">without division, an arrangement of which the red-figured style makes -almost exclusive use. The interior is generally not more richly -decorated than by the ‘little masters.’ When Exekias on one vase adorns -the whole interior surface with a wonderful idyll, the giver of the vine -in a sailing boat with dolphins leaping round him, this is quite an -exception (Fig. <a href="#fig_93">93</a>): that the ground is painted brick-red, is quite -unique.</p> - -<p>The names Ergotimos and Klitias, Exekias and Amasis, Charitaios, -Pamphaios and Nikosthenes show that the manufacture of kylikes was by no -means a separate speciality, and that it may be simply due to accident -if certain firms producing larger vases do not recur among the ‘little -masters.’</p> - -<p>The larger masterpieces naturally show the progress of the style much -more plainly than the conservative Tyrrhenian ware and the kylikes. We -noticed above, that single specimens, which stand out markedly from the -ordinary ware of the period, attach themselves to the François vase. The -master of a fine lebes from the Acropolis showing Ionic influence, who -occasionally still colours the male face red, probably emigrated from -the East like his contemporaries Kolchos and Lydos. Like Klitias, the -masters prefer to cover garments with rich patterns rather than to -render folds: they relieve the monotony of white chitons by vertical -strokes, and divide the surfaces of cloaks into stripes. This division -does not yet attain any effect of depth. But when Nearchos, the father -of two ‘little masters’ (pp. <a href="#page_101">101</a> and <a href="#page_112">112</a>), divides the short male chiton -also by wavy lines into black and red stripes, he has already in his -mind the rendering of folds, and Kolchos grades the ends of cloaks with -clear folds. This emancipation from the old superficiality, which in the -period of the ‘little masters’ leads to the emergence of the ‘fold’ -style in the<span class="pagenum"><a name="page_104" id="page_104">{104}</a></span> works of Amasis and Exekias, must now be exhibited in a -selection of amphorae and hydriae in connection with the change of -vase-shapes and decoration.</p> - -<p>We begin with the big-bellied amphora, which at the end of the 7th -century we saw reserve a square field and decorate it with horses’ or -women’s heads, and which in the period of Sophilos begins to put an -upper border of ornament on its figure-field, which is often adorned -with animals. Fine specimens of the Klitias period, which banish the -animal ornament into a lower frieze or give it up altogether, show an -obvious change in shape, in that the handles, instead of standing off -like ears, are drawn up perpendicularly, while the body of the vase is -to some degree tightened. Vases like that of Taleides with the slaying -of the Minotaur, or like the unsigned Iliupersis vase in Berlin (Fig. <a href="#fig_94"> -94</a>) with the gay alternate palmette pattern and the old heavy foot of -the François vase, belong to this class. On both vases standing figures -form an extension of an animated central group, but the Iliupersis -master makes a better whole of his triptych than Taleides, who merely -juxtaposes the heroes’ conflict and the spectators: alongside of the -furious Neoptolemos, who has already laid one Trojan low and is on the -point of despatching the aged king and his grandson with one blow, -Menelaos threatens his faithless wife, whom he has won back, while on -the other side Priam’s entreaties are supported by wife and daughter: a -picture rich in content, of true archaic vividness and talkativeness, -excellently drawn and composed. It is not only the way in which white is -used that takes one beyond the François vase; the rosette ornamentation -of the garments is quite typical of the following period (Fig. <a href="#fig_92">92</a>); the -wavy striping of the short chiton and the simple grading of the cloak -reminds us of Nearchos and Kolchos, and whether Klitias could have -characterized a dying man as well as our master is at least</p> - -<p class="ills"><a name="plt_LII" id="plt_LII"></a></p> -<div class="figcenter"> -<a href="images/i_fp104_lg.jpg"> -<img src="images/i_fp104_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LII.</p> - -<p><a name="fig_94" id="fig_94">Fig. 94</a>. ILIUPERSIS: FROM AN ATTIC AMPHORA.</p></div> -</div> - -<p class="ills"><a name="plt_LIII" id="plt_LIII"></a></p> -<div class="figcenter"> -<a href="images/i_fp105_lg.jpg"> -<img src="images/i_fp105_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LIII.</p> - -<p><a name="fig_95" id="fig_95">Fig. 95</a>. SATYRS AT THE WINE-PRESS: FROM AN ATTIC AMPHORA.</p></div> -</div> - -<p><span class="pagenum"><a name="page_105" id="page_105">{105}</a></span></p> - -<p class="nind">questionable.</p> - -<p>The current of Chalkidian influence, which sets in vigorously about this -time, seizes also the body amphora. The arched foot becomes more -plate-like, a clay-ring unites it with the end of the body, which is -more taper; the Chalkidian wreath of buds (Fig. <a href="#fig_71">71</a>) for a time commonly -takes the place of the palmette and lotus band, which becomes scantier -and more monotonous, and as at Chalkis, a figure frieze (Fig. <a href="#fig_95">95</a>) may -occupy this space. The type belongs to the earlier ‘little master’ -period. From Exekias, who was himself in his off-hours a ‘little -master,’ comes a specimen in the Louvre with the praise of the fair -Stesias, a youthful work of this worthy successor of Klitias, on which -Chalkidian patterns are very finely worked out, without the slightest -attempt at the rendering of folds.</p> - -<p>The unsigned Würzburg amphora of Amasis (Fig. <a href="#fig_95">95</a>), like all the vases of -this master peculiar in shape and of perfect technique, is more -progressive and probably somewhat later than the Stesias amphora of -Exekias: the cloak of Dionysos on the obverse is laid in three folds; on -the reverse the shaggy satyrs, stylized in a quite un-Attic way, who to -the sound of the flute are gathering, pressing, and distributing into -jars the beloved gift of the god, show the same connection with the -‘Phineus’ factory as the eye kylix (<a href="#page_102">p. 102</a>). The technical perfection -and the fine decorative effect of Amasis’ vases are only surpassed by a -wonderful contemporary group, which is usually called the ‘affected’ -class, because it consciously sacrifices the living representation of -the figure world to the ornamental general effect.</p> - -<p>The over-elegant works of Exekias, the ‘affected’ vases, the minute -‘little master’ kylikes represent the last refinement of the silhouette -style, its last trump-card. The future belonged not to the masters of -the adorned surface,<span class="pagenum"><a name="page_106" id="page_106">{106}</a></span> but to the delineators of the surface in movement. -In the last phase of the body amphora prior to the red-figured style, in -which the band-like handles and the narrower neck are drawn higher and -the stiff palmette pattern becomes canonical, Exekias in his riper -development passes over to rich rendering of folds; on the harmonious -amphora in Rome, which no longer praises Stesias but Onetorides (Fig. <a href="#fig_96"> -96</a>) he exhibits in the cloaks of the players the last possibilities of -his subtle technique with an almost incredible devotion to detail, but -even these fine clothes have their edges overlapping, and on the reverse -of the vase, besides foldless patterned clothes, appear cloaks richly -animated with folds. The amphora must be of the same period as the eye -kylix (Fig. <a href="#fig_93">93</a>); not only the feeling as a whole but the dark-red -chitons in layers on the outside point to the late activity of the -master.</p> - -<p>The necked amphorae complete our idea of the two great masters. The old -heavy shapes with the arched foot take up Chalkidian influences and go -through the same processes of change, which we know from Chalkis. The -old-fashioned decoration with animal stripes is retained by the -Tyrrhenian vases, that with continuous pictorial field by the ‘affected’ -group for a time, till the later Chalkidian type conquers the whole -field (Fig. <a href="#fig_69">69</a>). Amasis seems not merely to have introduced it into -Athens but also to have created the pretty variation with the flat -shoulder with a rectangular turn and the wide handles running out below -into tendrils: for these continuous tendrils are old property of his -eastern home. The handle ornament separates off the pictures on the two -sides and liberates the figures from the constraints of a frieze. The -Paris amphora with Dionysos and the interesting group of embracing -Maenads (Fig. <a href="#fig_98">98</a>) is closely connected with the Würzburg amphora (Fig. <a href="#fig_95"> -95</a>) not only by the double rays, which Amasis loves,</p> - -<p class="ills"><a name="plt_LIV" id="plt_LIV"></a></p> -<div class="figcenter"> -<a href="images/i_fp106-a_lg.jpg"> -<img src="images/i_fp106-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LIV.</p> - -<p><a name="fig_96" id="fig_96">Fig. 96</a>. ACHILLES AND AIAS PLAYING AT DRAUGHTS: FROM AN AMPHORA BY -EXEKIAS.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp106-b_lg.jpg"> -<img src="images/i_fp106-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_97" id="fig_97">Fig. 97</a>. ATTIC NECKED AMPHORA WITH SATYR-MASK.</p></div> -</div> - -<p class="ills"><a name="plt_LV" id="plt_LV"></a></p> -<div class="figcenter"> -<a href="images/i_fp107-a_lg.jpg"> -<img src="images/i_fp107-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LV.</p> - -<p><a name="fig_98" id="fig_98">Fig. 98</a>.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp107-b_lg.jpg"> -<img src="images/i_fp107-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p>NECKED AMPHORA WITH THE SIGNATURE OF THE POTTER AMASIS.</p> - -<p><a name="fig_99" id="fig_99">Fig. 99</a>. DETAIL FROM THE INTERIOR OF A CAULDRON BY EXEKIAS.</p></div> -</div> - -<p><span class="pagenum"><a name="page_107" id="page_107">{107}</a></span></p> - -<p class="nind">by the grouping, which in the other vase is transferred without change -to satyrs, by the beginning of himation folds, but also by many details -of the very individual style. The aversion to white colour is -interesting. On both vases the linen chiton of the god is left black; -the Paris maenads are rendered in outline only: it is but seldom that -the reaction against the old parti-coloured scheme goes so far. -Parallels are provided by the Athena of Kolchos’ jug and the girl-busts -of the ‘little masters’ (Fig. <a href="#fig_91">91</a>). Both the other amphorae of Amasis are -more advanced. The shape of the vase is slimmer, the decoration simpler, -the relation of figures to space freer. The bodies are no longer the -thick-set broad-thighed type of the older style: the eye plays no longer -so prominent a part. The short chiton is not merely laid in black and -red layers but even provided with a quite naturally waving border: the -artist thus far surpasses the standard of Exekias and even of early -red-figured masters. He need not on that account be put very late, for -the simple Ionic masters of the Caeretan hydriae, perhaps his -countrymen, made this border before him. This Ionism is in favour of -Amasis, who signs only as potter, having himself painted all his vases, -and having played the pioneer not only in vase shapes and decoration but -also in figure style. Exekias (in whose works the unity of the whole is -often expressly emphasized by the inscription ‘made and painted me’) -does not attack the problem of folds so boldly. Even on the two fine -necked amphorae, which praise the favourite of his later period, as a -good Athenian he lays the drapery in neatly-ironed layers.</p> - -<p>The slender Munich necked amphora (Fig. <a href="#fig_97">97</a>) goes still further beyond -the Chalkidian models (Fig. <a href="#fig_69">69</a>). The neck ornament connects it with the -late works of Exekias, the eye decoration with the kylix type of the -same time, and even<span class="pagenum"><a name="page_108" id="page_108">{108}</a></span> the space-filling vine-tendrils, which perhaps -Amasis introduced from the ‘Phineus’ factory into Attic painting, are a -favourite motive in later times. The satyr mask, like the Dionysos mask, -probably passed from cult into decorative painting; if Klitias -represents Dionysos, and Amasis the satyr, with head in front view, the -influence of these masks is not to be mistaken.</p> - -<p>We have not yet named the most productive amphora painter. Nikosthenes -supplied some fine examples of the method of Amasis, some of which like -the Exekias lebes (Fig. <a href="#fig_99">99</a>) on the body of the vase help the fine black -colour to exclusive possession; besides a quantity of notably metallic -amphorae with band handles, the production of which in quantities seems -to be his speciality, though other masters adopted and modified the -shape (Fig. <a href="#fig_104">104</a>). The often very hasty and conservative decoration of -these vases cannot come from one painter. Nikosthenes, of whom almost a -hundred signed vases are extant (kraters, ‘Amasis’ and ‘Nikosthenes’ -amphorae, ‘little master’ kylikes, eye kylikes, neatly painted jugs with -white ground, and red-figured vases) must have employed a series of -painters. The only one who gives his name, Epiktetos, we shall hear of -later.</p> - -<p>The hydria too, which often shows its use in pretty fountain scenes -(Fig. <a href="#fig_106">106</a>), alters its form. As in Chalkis (<a href="#page_76">p. 76</a>) the egg-shaped type -of the Klitias period, shown <i>e.g.</i> on the Troilos frieze of the -François vase, gradually gives way to the later type with picture field -and horizontal, separately adorned shoulder. Timagoras, a contemporary -of Exekias, still prefers a broad-bellied shape and does not form handle -and foot as elegantly as Pamphaios. His Paris vase with the later type -of the contest with Triton (<a href="#page_67">p. 67</a>), on which he still paints the -monster’s face red for colour contrast, is very important for chronology -by a declaration of love for</p> - -<p class="ills"><a name="plt_LVI" id="plt_LVI"></a></p> -<div class="figcenter"> -<a href="images/i_fp108_lg.jpg"> -<img src="images/i_fp108_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LVI.</p> - -<p><a name="fig_100" id="fig_100">Fig. 100</a>. FROM A LATE ATTIC BLACK-FIGURED HYDRIA.</p></div> -</div> - -<p><span class="pagenum"><a name="page_109" id="page_109">{109}</a></span></p> - -<p>Andokides, a young colleague and later chief master of the early -red-figured style. If Timagoras is the predecessor of Andokides, -Pamphaios is his rival. His slim London hydria with the slightly bent up -handles, on which the vine of Dionysos overgrows the whole picture, and -the dark-red striping of the cloak assumes pure fold-character, falls -into the red-figured period, which after the second third of the century -begins to compete with the old technique, and to which Pamphaios himself -opens his workshop. The new style did not abruptly drive out the old: -from the time of its predominance perhaps more black-figured vases are -preserved than from the preceding period. In the leading studios for a -time both techniques were practised side by side, often by the same -painters. The balance inclined quickly to the side of the style which -painted the background and not the figure, and after the transitional -time of Andokides and Pamphaios only inferior talents experiment in the -old silhouette style. But though driven out of the leading position, -this old style was still busy and productive at least to the beginning -of the 5th century: especially necked amphorae and hydriae, which the -new style did not zealously affect, keep the tradition.</p> - -<p>At this later date the shapes become elongated, the lotus and palmette -ornament loses colour, sweep and consistency. The hydriae bend their -handles more steeply upwards: the row of palmettes enclosed by tendrils -is preferred as framing ornament. The figures move more freely in the -space, and are also more hastily drawn; in particular the rendering of -folds becomes regular. The red stripes, which are painted quite -meaninglessly between the folds, no longer remind us that they once -indicated sewed parts of garments; white rosettes and red spots serve as -surface patterns, a red stroke as border. On the fine hydria in Berlin -(Fig. <a href="#fig_100">100</a>) probably of Euphronios’ time, which, it is<span class="pagenum"><a name="page_110" id="page_110">{110}</a></span> true, is quite -unlike its class, the old round formation of the eye actually -approximates to the natural oval.</p> - -<p>The links with the red-figured style, especially common love names like -Hipparchos, Pedieus, and Leagros, help us to date this style. Thus the -circumscribed row of palmettes seems to appear in the early Leagros -period (<a href="#page_114">p. 114</a>); the Berlin vase is thus moved to the end of the -century, like a group of pelikai with charming genre scenes and a series -of other vases of red-figured shape (<a href="#page_119">p. 119</a>).</p> - -<p>In the new century the black-figured production gradually dies away. -Apart from the Panathenaic amphorae (<a href="#page_99">p. 99</a>) and other vases, which for -ritual reasons remain conservative, only trifling small ware keeps up -the old style. The prize vases can be followed as votive offerings on -the Acropolis, and in exported specimens down into the 4th century, -where they are dated to the year by archons’ names (one of 313 B.C. has -been found); even in late times they do not give up the old type of -Athena, but elongate it to agree with the slender proportions of the -vase, and combine other later features with the old picture.</p> - -<p>In Boeotia black-figured painting, alongside of primitive attempts to -imitate Attic red-figured vases, continued as long in the burlesque -parodies of myth of the so-called ‘Kabirion’ vases; black painting on a -light ground is found in the early Hellenistic ‘Hadra vases’ made at -Alexandria, and similar late phenomena occur in various localities. -These late black-figured vases show real progress in nothing but the -development of a loose freely moving vegetable ornamentation: but this -progress depended on pure brush-technique, not on the old incised -style.</p> - -<p class="ills"><a name="plt_LVII" id="plt_LVII"></a></p> -<div class="figcenter"> -<a href="images/i_fp110-a_lg.jpg"> -<img src="images/i_fp110-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LVII.</p> - -<p><a name="fig_101" id="fig_101">Fig. 101</a>. ATTIC VASE, LATE BLACK-FIGURED STYLE.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp110-b_lg.jpg"> -<img src="images/i_fp110-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_102" id="fig_102">Fig. 102</a>. PANATHENAIC AMPHORA.</p></div> -</div> - -<p><span class="pagenum"><a name="page_111" id="page_111">{111}</a></span></p> - -<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V.<br /><br /> -THE RED-FIGURED STYLE IN THE ARCHAIC PERIOD</h2> - -<p class="nind"><span class="letra">H</span>OW the sudden change of technique took place, how the idea suggested -itself, that instead of painting silhouettes on the ground of the clay, -figures drawn in outline should be left free to contrast with the black -background, is not yet explained. The inversion of the colour system is -not new. From Ionic, Corinthian, Attic, and Boeotian workshops we know -of light painting on a dark ground, and a plate from Thera has light -figures in added paint and a black background. But this is entirely -different from the red-figured style, which uses the ground of the clay -for its figures. Only late Klazomenian sarcophagi can be regarded as its -earlier stages, and it is quite possible that the new technique was -naturalized in Athens by East Ionic painters.</p> - -<p>At any rate the idea fell on fruitful soil. The archaic mixture of -colour was long worn out, the simplification of colour-effect, by -increasing limitation to the two values, clay and glaze, was in full -swing, and the effect of big glazed surfaces had been tried in the -body-amphorae and in vessels completely covered with black colour (p. -<a href="#page_108">108</a>). But more than all else the revolution in figure-drawing which was -now setting in strong in the great art was striving for expression in -vase painting. A successor of the Athenian Eumares, Kimon of Kleonai, -according to Pliny, invented oblique views and foreshortening, rescued -the body from archaic stiffness, furnished limbs with joints, for the -first<span class="pagenum"><a name="page_112" id="page_112">{112}</a></span> time rendered veins, and represented folds and swellings of -drapery; he must belong to the last third of the century; for his -predecessor is father of the sculptor Antenor, who worked, it is true, -for the old potter Nearchos (<a href="#page_103">p. 103</a>) but also for the young Athenian -Republic (510 B.C.) Though Pliny, after the fashion of ancient -historians, is too fond of asserting ‘inventions,’ this much is clear, -that after Eumares there was a breach with tradition in Athenian -painting, and that here, for the first time in the history of the world, -bonds were once for all burst, which hitherto had hardly been touched. -Naturally the vase-painters could not be left behind; but since the old -silhouette incised style was quite unsuited for the new liberties of -drawing, but on the other hand outline drawing on light ground ran -counter to the decorative purposes of the vases which used silhouettes, -the idea of inverting the colour-scheme must have been received with -enthusiasm among the vase-painters.</p> - -<p>The new invention unites the enhanced freedom of movement of the -draughtsman with a decorative effect which is not inferior to that of -the old style. The warm red inner surface of the figures, which the -painter can animate by the brilliant sweeping ‘relief lines,’ splendidly -contrasts with the wonderful black lustre of the ground. The new style -too is a silhouette style, and uses the ornamental effect of the -figures. But it contains quite different possibilities, and of itself -moves away from the types of the old style and towards an individual -treatment of the figures. The contrast between the black silhouette of -the man and the white-filled figure of the woman falls away, also the -circular shape of the man’s eye connected with the incised style, the -gay dresses, and much besides. The red-figured style enters into the -characteristic working out of the human body and its parts, the study of -drapery folds and the rendering of movement in a living way. But growing -naturalism is in<span class="pagenum"><a name="page_113" id="page_113">{113}</a></span> true Greek fashion contemporaneous with adherence to -types; formulæ once invented are retained and repeated by different -masters, until new discoveries by bolder spirits outdo them and put them -in the shade. In the archaic red-figured style this vigorous struggle -between formula and bold observation of nature offers an exciting -spectacle. Step by step the ground is won from the archaic style, till -after a struggle of about fifty years, about the time of the Persian -wars, a free rendering of nature is attained, which then lays the -foundation for the formation of a new and higher series of types, for -the style of Polygnotos and Phidias.</p> - -<p>This period may be regarded as the culminating point of vase-painting -altogether, if emphasis is laid on the intensity of the line, and on the -intimate relation between artist and technique. In it artistic craft had -its greatest triumphs and created the most perfect synthesis between -ornamental types and delightful naturalism. Potters and painters were -never again so conscious of their performances as in this period, never -again felt themselves so much as rival individualities. Certainly the -old black-figured masters, Timonidas, Klitias, Exekias and Amasis, -cannot be denied personal expression. But the red-figured conquerors of -nature, each of whom in his own way breaks through the old system of -type, produce a far more differentiated effect. It is also a result of -the fresh current, which now enters vase-painting, that we can more than -ever follow the development of these individualities. The signatures, -which are preserved in such number from no other period, give an -insight, not merely into the manifold production, but also into the -growth of personalities and their struggle for ever new possibilities.</p> - -<p>Among the signatures we must distinguish between potters and painters. -We must never assume that the<span class="pagenum"><a name="page_114" id="page_114">{114}</a></span> ‘maker’ is responsible for the adornment -of his vases; it looks rather as if the painters had lived pretty -independently and been employed first by one and then by another -proprietor of a workshop. What it means, that now the potter signs, now -the painter, sometimes both together, and that many strong personalities -do not sign at all, cannot be made out in the present state of our -knowledge.</p> - -<p>The love-names help to fix the chronology of the vases still more than -in the black-figured style. We saw that Andokides was <i>kalos</i>, when -Timagoras’ workshop was in full swing. When he is a full-blown painter, -the ‘Epiktetan’ kylikes and an Oxford plate celebrate the youths -Stesagoras, Hipparchos and Miltiades. If Miltiades is the victor of -Marathon, Stesagoras his brother, and Hipparchos the archon of 496 B.C., -their ephebic years and these vases must be fixed about 520 B.C. -Memnon’s youth must fall about the same time; for one of the many -kylikes with his name, like a lekythos signed by Gales, shows the bard -Anakreon, who was entertained by the Pisistratidae, 522-514 B.C. The -painters Phintias and Euthymides praise the youth Megakles; now on a -votive pinax from the Acropolis this name was replaced later by another, -and it is a plausible guess to connect this erasure with the banishment -of a Megakles in 486 B.C., who about twenty-five years before might have -deserved these praises. The youthful beauty of Leagros is in the time of -the vase-painter Euphronios, and anyhow earlier than the destruction of -Miletos, in which a Leagros vase was shattered: the Leagros who fell in -battle as Strategos 465 B.C., must have been an ephebus in the last -decade of the 6th century. His son Glaukon, who was Strategos in 440 -B.C., dates the vases which celebrate him with his father’s name a -generation later, so about 470 B.C. The only established fact from finds -does not contradict the ‘Leagros’ chronology; in the tumulus of</p> - -<p class="ills"><a name="plt_LVIII" id="plt_LVIII"></a></p> -<div class="figcenter"> -<a href="images/i_fp114_lg.jpg"> -<img src="images/i_fp114_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LVIII.</p> - -<p><a name="fig_103" id="fig_103">Fig. 103</a>. ATHENA AND HERAKLES: FROM AN AMPHORA IN THE STYLE OF THE -ANDOKIDES PAINTER.</p> - -<p><i>From Furtwängler-Reichhold, Griechische Vasenmalerei.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_115" id="page_115">{115}</a></span></p> - -<p>Marathon (490 B.C.) the latest offering was a sherd of the kylix type -with simple maeander (c.p. Fig. 115) which appears in the later -‘Leagros’ period. The Acropolis finds, which are prior to the Persian -conflagration (480 B.C.), have not yet been sorted and sifted.</p> - -<p>According to this chronology the red-figured style must have made its -entry into Athens about fifty years before the Persian War, with which -it is customary to close the archaic period of Greek art, <i>i.e.</i>, about -530 B.C.</p> - -<p>We saw above, that the workshops of Pamphaios and Nikosthenes open their -doors to it: neither master breaks abruptly with the old style, which -often asserts itself together with the new on the same vase. This -contrast of the two styles is made clear by no one more obviously than -the potter Andokides on his fine amphorae, which are directly in line of -succession with Exekias; never is the essence of both styles so plain as -when on such a vase the same subject is treated by the same painter’s -hand in the old and in the new technique. The unsigned, but certainly -Andokidean Munich amphora (Fig. <a href="#fig_103">103</a>) is not one of these instances in -spite of the similarity of the subject; its black-figured Herakles scene -is certainly by a different hand from its red-figured, in which the same -delicate and original artist as on most of the signed works (the -‘Andokides’ painter) expresses himself. If this painter is identical -with the potter, Andokides was not merely in shape and decoration of his -vases but also as draughtsman a pupil and successor of Exekias. He has -inherited the feeling for elegant detailed drawing and for richly -ornamented garments. In the Herakles scene we see the same joy in a -harmonious picture as in the sea-voyage of Exekias (Fig. <a href="#fig_93">93</a>) and the -game of draughts (Fig. <a href="#fig_96">96</a>), which he actually copied; and the same -intense absorption in the subject makes all other works of Andokides -charming. In much the drawing reminds us of<span class="pagenum"><a name="page_116" id="page_116">{116}</a></span> the teacher, particularly -the flat layers of drapery, which already resolve the chitons into rich -folds and end in the border more naturally, but do not attain the -life-like waving of the late works of Amasis. The filling of the space -with vine branches also is more in accord with the old technique than -the new. But the more advanced pupil is shown not merely by the renewed -study of the body, which appears in the drawing of hand and foot, in -pointed elbow and knee, and in Herakles’ leg shown through the drapery, -but also by the more compact composition and the individual treatment of -the heads.</p> - -<p>The entirely red-figured vases by Andokides are not necessarily older -than the black-figured: the latest vase signed by him (in Madrid) still -combines both techniques. It must have been decorated by a third artist -less archaic in feeling, who also worked for the potter firm of Menon. -The Menon painter adds to the Andokidean framing patterns the row of -circumscribed palmettes, though not yet in their final shape, and -approximates in style to the young Euphronios and his rival Euthymides. -The ornament of the Madrid vase does not seem to have been devised as -border pattern. It must be derived from the tendril-composition, which -on red-figured vases takes the place of the Amasis ornament (Fig. <a href="#fig_98">98</a>) -and is in great favour as handle-ornament for kylikes. On the fine -amphora in Paris, which the transitional master Pamphaios made after the -patterns of Nikosthenes, and Oltos probably painted with scenes of -hetairai and satyrs (Fig. <a href="#fig_104">104</a>), it appears as handle decoration together -with an equally novel calyx and leaf ornament, which adorns the -shoulder. The free decorative method of composition, which can be traced -back through Amasis (<a href="#page_105">p. 105</a>) and Klazomenai to the Fikellura style (p. -<a href="#page_61">61</a>) is exactly in the manner of the red-figured style, which not only -shakes off the frieze constraint but</p> - -<p class="ills"><a name="plt_LIX" id="plt_LIX"></a></p> -<div class="figcenter"> -<a href="images/i_fp116_lg.jpg"> -<img src="images/i_fp116_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LIX.</p> - -<p><a name="fig_104" id="fig_104">Fig. 104</a>. HETAIRA; SATYR AND MAENAD: AMPHORA WITH THE SIGNATURE OF THE -POTTER PAMPHAIOS.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp117-a_lg.jpg"> -<img src="images/i_fp117-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p><a name="fig_105" id="fig_105"></a>Fig. 105.</p> - -<p>THE ARMING OF HECTOR: FROM AN AMPHORA BY EUTHYMIDES.</p> - -<p><i>From Furtwängler-Reichhold, Griechische Vasenmalerei.</i></p></div> -</div> - -<p class="ills"><a name="plt_LX" id="plt_LX"></a></p> -<div class="figcenter"> -<a href="images/i_fp117-b_lg.jpg"> -<img src="images/i_fp117-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LX.</p> - -<p><a name="fig_106" id="fig_106">Fig. 106</a>. FOUNTAIN: FROM A RED-FIGURED HYDRIA BY HYPSIS.</p></div> -</div> - -<p><span class="pagenum"><a name="page_117" id="page_117">{117}</a></span></p> - -<p class="nind">even the pictorial field: on the amphora, which the same painter -executed for the potter Euxitheos, he discards the old frame, which now -only separates black from black, and his example is followed sooner or -later by other artists.</p> - -<p>It is true that the painter Euthymides, the contemporary of the young -Euphronios and gifted continuer of Andokides’ body amphorae, keeps the -frame on his vases, which are now purely red-figured. But he not only -helps the later palmette ornament to triumph over the old bands of -zig-zags and buds (Fig. <a href="#fig_105">105</a>) but enhances the unity of effect by -beginning to leave the ornament in the colour of the clay and to shape -it in red-figured manner, as was the case straight away with the handle -decoration (Fig. <a href="#fig_104">104</a>). Almost as a rule he puts in his field three -standing figures of large dimensions, in which he demonstrates to the -eye his progress in observation of nature. Under the garments bodies -begin to move, and their anatomy male and female is studied by the -artists of this period with tireless zeal.</p> - -<p>The fruits of this study appear on the Munich Priam vase (Fig. <a href="#fig_105">105</a>), in -the drawing of hands, in the differentiated pose of the legs, in the -bold front view of the foot, still more on the reverse in the bendings -and turnings of three naked drunken men with full indication of muscles. -Certainly the limitations of his eye for perspective appear, when the -further from sight of the two chest muscles comes under the nearer one, -when the woman’s breast is turned outwards, when the transition of the -breast seen in front view to the legs in profile is not made clear, and -the head of the man walking to the right and looking round in archaic -fashion is still turned in profile to the left; the artist, it is true, -breaks through the old scheme of the figure in one place, but his -avoidance of lines shewing depth is so strong that he prefers to put -those parts of the body, of whose front and back he is conscious, simply -one beside the other. But it is<span class="pagenum"><a name="page_118" id="page_118">{118}</a></span> just the contrast between the bold -attempt at progress on the painter’s part and the perspective -constraint, the feeling of conflict; if you like, that gives their charm -to the vase-paintings of this period.</p> - -<p>Though the bodies are no longer as previously packed into the garments, -and drapery is rather subordinate to the treatment of the body, studies -in drapery also have been very fruitful. The contrast between the heavy -woollen himation, and the more delicate crinkles of the linen chiton is -plainly marked. The depths of the folds in the cloak, according as they -are close together or more freely distributed, are given in gradation by -thicker or thinner lines of colour; the chiton folds join in separate -masses and run out in the expressive so-called swallow-tail borders, -which divide the outline of the drapery much more rhythmically than the -layered borders of the ‘Andokides’ painter.</p> - -<p>Chalkidian painters had already rendered scenes of arming. But those of -Euthymides mark a great psychological advance. The paternal anxiety of -the bald-pated old man and the nervousness of the mother’s pet making -his first début are finely expressed. The feeling for everyday life, in -an age which suddenly recognized in common things a world of artistic -problems, was keener than ever. What cared Euthymides about his subject -“Hector’s departure”? He drew a scene from his neighbour’s door and -added heroic names.</p> - -<p>His best work the master left unsigned, the Munich amphora, on which -Theseus under protest from Helen (note the thumb) with gay impudence -carries off Korone (Fig. <a href="#fig_107">107</a>). The head of the ravisher, which gets its -increased liveliness not merely from the shifting of the pupil from the -centre inwards, may serve as example of the newly-conquered -possibilities of expression, and the extract from the picture may give -an idea of the charm of archaic art.</p> - -<p class="ills"><a name="plt_LXI" id="plt_LXI"></a></p> -<div class="figcenter"> -<a href="images/i_fp118-a_lg.jpg"> -<img src="images/i_fp118-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXI.</p> - -<p><a name="fig_107" id="fig_107">Fig. 107</a>. THE RAPE OF KORONE BY THESEUS; FROM AN AMPHORA BY EUTHYMIDES.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp118-b_lg.jpg"> -<img src="images/i_fp118-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_108" id="fig_108">Fig. 108</a>. DRUNKEN SATYR: FROM AN ARCHAIC RED-FIGURED KYLIX.</p></div> -</div> - -<p class="ills"><a name="plt_LXII" id="plt_LXII"></a></p> -<div class="figcenter"> -<a href="images/i_fp119_lg.jpg"> -<img src="images/i_fp119_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXII.</p> - -<p><a name="fig_109" id="fig_109">Fig. 109</a>. RHYTON WITH RED-FIGURED DECORATION ON THE NECK.</p></div> -</div> - -<p><span class="pagenum"><a name="page_119" id="page_119">{119}</a></span></p> - -<p>The Bonn hydria of Euthymides with the praise of Megakles shows a quite -new type of vase; in contrast to the offset black-figured shape, it -unites neck and body in an elegant curve, so that the old-fashioned -division of the decoration into two or three parts disappears. The same -fair youth is praised by his gifted colleague Phintias, whom we see from -his beginnings in the workshop of Deiniades expanding more and more -brilliantly, on a London hydria of the old shape; but the gracefully -moving boys, who in the picture while drawing water are addressed by an -older man, already carry water-pots of both types in their hands, and -Phintias himself occasionally adopted the later shape; as does the -painter Hypsis with the pretty well-house scene (Fig. <a href="#fig_106">106</a>), on which -again both vase-shapes are represented; for the girl, who is just -putting the cushion on her head, has placed a pitcher of the old type -under the lion’s head spout from which the water is pouring, while her -companion is lifting a hydria of the new shape already well-filled from -the satyr’s mouth. The intensive study of the female form is seen in -Oltos’ picture of a hetaira (Fig. <a href="#fig_104">104</a>) and in many other vase-paintings -of the period, and even when they represent girls clothed, the painters -are unwilling to sacrifice their newly-won knowledge to external -probability, and even under the drapery help the charm of the body -outline to assert itself, as Hypsis does on his well-scene (Fig. <a href="#fig_106">106</a>).</p> - -<p>Like the Bonn hydria, the works of Euthymides witness to the emergence -of new vase-types, the Turin psykter and the unsigned Vienna pelike. An -idea may be obtained of the psykter (which is regarded as a cooling -vessel) by the later example in Rome (Fig. <a href="#fig_104">104</a>) in which the narrower -cylindrical lower part is however missing. The pelike is a kind of small -wineskin-shaped amphora. Even the transitional artist Pamphaios gave -Oltos a stamnos (cp. Fig. 146)<span class="pagenum"><a name="page_120" id="page_120">{120}</a></span> to paint, and the early red-figured -artist Smikros painted one. The calyx-krater, a kind of enlarged cup -with low-set handles, seems to appear in the Leagros period (Fig. <a href="#fig_113">113</a>). -The remarkable vases in the shape of a head (Figs. <a href="#fig_101">101</a>, <a href="#fig_109">109</a>) in a -smaller form served for the reception of unguents and oil even in -Protocorinthian and early Ionic styles, but seem only at this time to -become popular as bumpers in the service of the drinker, and the pretty -heads of negroes and girls with the love-names Epilykos and Leagros form -the beginning of the development, which culminates in Sotades (<a href="#page_142">p. 142</a>).</p> - -<p>The other drinking vessels, the kantharos, which is brandished by Duris’ -satyrs (Fig. <a href="#fig_122">122</a>), the skyphos, from which Euphronios’ hetairai are -drinking (Fig. <a href="#fig_112">112</a>) are only continuations and refinements of old shapes -(Figs. <a href="#fig_88">88</a>, <a href="#fig_43">43</a>). The favourite drinking utensil is naturally the kylix, -which even for the “little master” period in fabrication and exportation -is at the head of the vases, and now not only receives its finest -finish, but also through the abundance of specimens preserved and the -richness of inscriptions renders the most valuable service to the -historian.</p> - -<p>On the Andokides amphora (Fig. <a href="#fig_103">103</a>), the psykters of Euphronios (Fig. <a href="#fig_112"> -112</a>), and Duris (Fig. <a href="#fig_122">122</a>), the shape with offset rim appears. This late -specimen of the old type must have been more popular than the extant -painted examples lead one to suppose, but was certainly far less usual -than the shape with a single curve, which the red-figured style took -over with the eye kylikes and in the most delicate way simplified and -animated.</p> - -<p>The history of these kylikes, like that of the big-bellied amphorae, -begins with examples of mixed technique. Andokides actually extended his -principle of the black-figured and red-figured halves of the vase to -kylikes: but happily this procedure was extremely rare. In the early</p> - -<p class="ills"><a name="plt_LXIII" id="plt_LXIII"></a></p> -<div class="figcenter"> -<a href="images/i_fp120_lg.jpg"> -<img src="images/i_fp120_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXIII.</p> - -<p><a name="fig_110" id="fig_110">Fig. 110</a>. DRUNKEN LYRE-PLAYER: FROM A KYLIX BY SKYTHES.</p></div> -</div> - -<p class="ills"><a name="plt_LXIV" id="plt_LXIV"></a></p> -<div class="figcenter"> -<a href="images/i_fp121_lg.jpg"> -<img src="images/i_fp121_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXIV.</p> - -<p><a name="fig_111" id="fig_111">Fig. 111</a>. FLUTE-PLAYER AND DANCING GIRL: FROM A KYLIX BY EPIKTETOS.</p> - -<p><i>From Furtwängler-Reichhold, Griechische Vasenmalerei.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_121" id="page_121">{121}</a></span></p> - -<p class="nind">kylikes the mixture of technique is rather to be found in the fact, that -in the interior the black-figured picture, which with its circle in the -colour of the clay contrasted so decoratively with the black-covered -edge, was still retained, while outside between the eyes, and gradually -also in their place, figures were inserted in the colour of the ground. -This procedure is <i>e.g.</i> connected with the names of the potters -Nikosthenes, Pamphaios, Hischylos and Chelis, and with the painters’ -names Epiktetos and Psiax, and with the love-name Memnon. When Skythes -paints the outside in black-figured technique and the inside in -red-figured of a kylix (unsigned) dedicated to Epilykos, this is, like -the procedure of Andokides, an exception, and a conscious divergence -from the traditional relation. The transition to purely red-figured -technique compels the artists to separate the interior from the black -surroundings. Up to the Leagros period this separation is effected by a -narrow ring in the ground of the clay, which they leave uncovered by -black paint: on the kylikes the eye-decoration is gradually dropped. If -one takes the signatures of the masters of this group together with -those of the transitional kylikes and the contemporary big vases, the -number of the painters’ names comes to about a dozen, while the potters -are far more numerous; and thus in view of the mere accident of -preservation and the anonymity of other palpable artistic personalities -one can form an idea of the vigorous life, which then reigned in the -Kerameikos, the quarter of Athens where the potters lived.</p> - -<p>It is interesting to follow the process by which the early red-figured -kylikes from very decorative beginnings rise to even greater freedom and -objectivity. Even the insertion of the figure between the eyes, which -comes from the Ionic ‘Phineus’ fabric, is meaningless and a mere -decorative scheme; and also, when he gives up the decoration with<span class="pagenum"><a name="page_122" id="page_122">{122}</a></span> eyes, -the painter likes to put one or three figures as central motive between -the broad ornaments of the handles. Even the exterior pictures with -numerous figures, which occur in the late period of the potter Pamphaios -and in the full activity of the painter Oltos, are by no means free from -decorative schematism; arrangement in a row and heraldry still play a -part, and occasionally, as in the ‘little master’ style, winged horses -or sirens take the centre of the representation. Even the old Ionic -scheme of the horse-holding runner revives on a kylix of this group.</p> - -<p>The interior too at first is still under strong decorative constraint.</p> - -<p>Quite in contrast to the early Attic kylikes of the Klitias period and -to the Spartan, which often take no regard to the space in the -representation, the figure always adapts itself to the circular form, -extends its masses to fit the space, often presses head and feet against -the edge, and gives the interior a decorative and very animated -appearance, to some extent comparable to a rotating wheel. One imagines -the painters had studied and sketched the bending, crouching, running, -twisting, and turning of handsome youths often only to get motives for -their interior scenes. Skythes, the master of fine black-figured votive -tablets on the Acropolis, who liked to dedicate his kylikes to his young -colleague the painter Epilykos, in the interior of the kylix at Rome -(Fig. <a href="#fig_110">110</a>) goes beyond this stage, and fills the space more loosely with -the lyre held at right angles and the freely arranged knotted stick of -his singing boy; and Epiktetos, who painted his wonderfully subtle -figures in a long working life for various potters, Nikosthenes, -Hischylos, Pamphaios, Python and Pistoxenos, in the late Python kylix in -London (Fig. <a href="#fig_111">111</a>), under the influence of later masters, goes over to -the two figure picture. One can see from their bodies that they are -prior to the time of Euphronios and Euthymides. In his</p> - -<p class="ills"><a name="plt_LXV" id="plt_LXV"></a></p> -<div class="figcenter"> -<a href="images/i_fp122_lg.jpg"> -<img src="images/i_fp122_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXV.</p> - -<p><a name="fig_112" id="fig_112">Fig. 112</a>. HETAIRAI: FROM A PSYKTER BY EUPHRONIOS.</p> - -<p><i>From Furtwängler-Reichhold, Griechische Vasenmalerei.</i></p></div> -</div> - -<p class="ills"><a name="plt_LXVI" id="plt_LXVI"></a></p> -<div class="figcenter"> -<a href="images/i_fp123_lg.jpg"> -<img src="images/i_fp123_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXXXVI.</p> - -<p><a name="fig_113" id="fig_113">Fig. 113</a>. HERAKLES AND ANTAIOS: FROM A KALYX-KRATER BY EUPHRONIOS.</p> - -<p><i>From Furtwängler-Reichhold, Griechische Vasenmalerei.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_123" id="page_123">{123}</a></span></p> - -<p class="nind">vigorous lyre-player, whom we may identify with his favourite Epilykos, -Skythes does almost too much in the rendering of the chest-muscles and -makes the abdominal muscles seen in front view, and rendered in thinned -varnish, press against them in an impossible way; Epiktetos, who is for -a while disinclined for interior drawing, turns the breasts of his -dancing women outwards, and in their space-filling movement reminds of -old types. But the master of a Munich eye kylix has side-views of -shields, and draws a kneeling leg in back view, so that the sole is -visible and the calf almost disappears. Back views of the human body are -given also in kylikes from the workshop of Kachrylion, which takes us -over into the Leagros period just like the works of Phintias and Oltos, -whom we already know. For Phintias soon outdoes the theft of the tripod -of his early Deiniades kylix on a fine amphora at Corneto, and Oltos, -the painter of the Pamphaios amphora and most of the Memnon kylikes, -passes from the praise of Memnon to that of Leagros on the fine kylikes -from Euxitheos’ workshop.</p> - -<p>The Leagros period might be described as the culminating point of the -dramatic tension prevailing in the older red-figured style. In it -Phintias breaks the archaic fetters of his youth, Euthymides creates his -decisive works, and we see the development of the great master -Euphronios, whom Euthymides boasts to have beaten on the Priam amphora -(Fig. <a href="#fig_105">105</a>). All the three vases, which bear the signature of Euphronios -as painter, praise the fair Leagros, <i>i.e.</i> the Munich Geryon kylix, -which appeared in Kachrylion’s workshop, which, like the Leagros kylikes -of Oltos, has under the exterior scenes a band of circumscribed -palmettes in the colour of the ground, the Petrograd psykter with the -hetairai (Fig. <a href="#fig_112">112</a>) and the Paris calyx-krater with Herakles and Antaios -(Fig. <a href="#fig_113">113</a>).</p> - -<p>The harmonious indoors scene of the psykter in its quite<span class="pagenum"><a name="page_124" id="page_124">{124}</a></span> neat and sure -drawing of the nude sets the finishing touch to the studies of Epiktetos -(Fig. <a href="#fig_111">111</a>), Oltos (Fig. <a href="#fig_104">104</a>), and their contemporaries, and does the -subject more justice than many pictures more advanced in perspective. -The leg of the thirsty Palaisto disappearing in the background recurs in -the Antaios scene, where the painter fully exhibits his anatomical -knowledge, and shows as little regard for the concealing skin as other -painters do for female drapery; the inner drawing is not even as usual -put on in thinner colour. The composition of the scene is not very -flexible. The struggle of the muscular but quite civilized Herakles with -the rugged giant (whose right hand is a masterpiece of drawing) is the -true theme, while the horrified women, who are almost old-fashioned in -their drawing, serve like club, quiver and lion’s skin, only as filling -for the triangular wrestling scheme, which was probably borrowed. A band -of palmettes, and another of palmette and lotus in the red-figured -style, vigorously frame the bold picture. The reverse of the Antaios -krater shows the artist well on the way to represent correctly the -course of the abdominal muscles from the chest to the pudenda, and thus -to give a convincing expression to the old distortion of the body. -Unfortunately we cannot further follow Euphronios on this path in the -light of signed vases, for the ten kylikes with his name, which fill the -gap between the youth of Leagros and that of his son Glaukon, were only -signed by him as potter and some of them were demonstrably handed over -to others to paint. That a progressive artist like Euphronios in this -whole period never again took brush in hand, is more than improbable, -and among the unsigned vases of the succeeding period his more mature -works must be represented.</p> - -<p>The kylix made in the workshop of Sosias (Fig. <a href="#fig_114">114</a>) has been variously -ascribed to Euphronios and to the painter</p> - -<p class="ills"><a name="plt_LXVII" id="plt_LXVII"></a></p> -<div class="figcenter"> -<a href="images/i_fp124_lg.jpg"> -<img src="images/i_fp124_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXVII.</p> - -<p><a name="fig_114" id="fig_114">Fig. 114</a>. ACHILLES AND PATROKLOS: FROM A KYLIX WITH THE SIGNATURE OF THE -POTTER SOSIAS.</p></div> -</div> - -<p class="ills"><a name="plt_LXVIII" id="plt_LXVIII"></a></p> -<div class="figcenter"> -<a href="images/i_fp125_lg.jpg"> -<img src="images/i_fp125_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXVIII.</p> - -<p><a name="fig_115" id="fig_115">Fig. 115</a>. BOY CHASING A HARE: RED-FIGURED KYLIX.</p></div> -</div> - -<p><span class="pagenum"><a name="page_125" id="page_125">{125}</a></span></p> - -<p>Peithinos: the remarkable work of art must rather belong to an unknown -third person (the ‘Sosias’ painter). The composition filling the space -suggests the old style, especially the pressing of the foot against the -rim: but the boldly fore-shortened right leg of Patroklos with the foot -viewed from above, known also to Euthymides and to Phintias in his -maturity, the full development of the bunches of drapery and the -swallow-tail edges, and above all the extremely bold attempt to open the -corner of the eye, lead us into the critical phase of the archaic -red-figured painting, the Leagros period. Only an intense study of the -model could lead this master so far from the beaten track; that with the -added names of Achilles and Patroklos he came into conflict with the -Iliad, mattered little to him. Furthermore on the Sosias vase a -technical innovation comes seriously into play, which is gradually -adopted by Euphronios (Fig. <a href="#fig_112">112</a>), Euthymides (Fig. <a href="#fig_107">107</a>), Phintias and -Hypsis (Fig. <a href="#fig_106">106</a>); the outline of the hair is no longer separated from -the black ground by the old hard incised line, but by a narrow line of -the colour of the ground. Within the kylikes, which praise the fair -Leagros, a change takes place in the framing of the interior picture; in -place of the ring in the colour of the clay, of which occasionally they -attempt to increase the effect by doubling, comes the maeander in -different varieties, first simple and continuous (Frontispiece and Figs. -108, 115, 126), then ever more frequently in broken up shape (Fig. <a href="#fig_116">116</a>). -The new frame comes <i>e.g.</i> on the London kylix, which by the hare-hunt -gives such a natural motive for the space-filling movements of the -running Leagros (Fig. <a href="#fig_115">115</a>). The Leagros of the kylix agrees so exactly -with that of the Antaios krater, that one may ascribe this advance to -Euphronios; for the line of the ground giving the hair outline and the -organic connection of chest and belly are beyond the stage of the krater -in question.<span class="pagenum"><a name="page_126" id="page_126">{126}</a></span></p> - -<p>A further step forward on the part of the same master may probably be -seen in the Boston kylix, which praises both Leagros and Athenodotos -(Fig. <a href="#fig_108">108</a>). Never perhaps was the inmost nature of the satyr so fully -caught as in this fine example: he is squatting on the emptied pointed -amphora and positively breathing out an aroma of wine and wantonness. -His lifelike picture goes far beyond the Antaios krater, and a closely -connected Athenodotos kylix in Athens actually carries this vivacity -into the same subject, the wrestle of Herakles and Antaios.</p> - -<p>If Euphronios thus surpassed himself one may believe him also -responsible for the next step, the ‘Panaitios’ stage, to which it is a -very short distance from the Athenodotos kylikes. To the transition, -that is about the end of the 6th century, belongs the Paris Theseus -kylix, signed by Euphronios as potter but without love-name. The boldly -drawn exterior seems to form the bridge to the style of the ‘Panaitios’ -master, that vigorous painter, perhaps identical with the later -Euphronios, from whose hand comes the London Panaitios kylix with the -signature of Euphronios as potter. The rich and ornamental interior -(Frontispiece) is in a certain contrast with the exterior scenes, and is -so closely connected with the early works of Duris, that we may enquire, -whether Euphronios did not entrust the decoration of the interior to a -talented pupil with a great tendency to elaboration. But perhaps this -contrast is due only to the representative seriousness of the subject. -Young Theseus, in order to receive his rightful position as son of -Poseidon, has gone down to the bottom of the sea, and in the presence of -Athena is greeted by Amphitrite.</p> - -<p>The time of Panaitios and that of Chairestratos, which partly coincides -with it, remove many hard features of the Leagros stage. The turnings of -bodies lose all violence: in the frontal stand of both feet, and in the -oblique view of</p> - -<p class="ills"><a name="plt_LXIX" id="plt_LXIX"></a></p> -<div class="figcenter"> -<a href="images/i_fp126_lg.jpg"> -<img src="images/i_fp126_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXIX.</p> - -<p><a name="fig_116" id="fig_116">Fig. 116</a>. AFTER THE BANQUET: FROM A KYLIX WITH THE SIGNATURE OF THE -POTTER BRYGOS.</p></div> -</div> - -<p class="ills"><a name="plt_LXX" id="plt_LXX"></a></p> -<div class="figcenter"> -<a href="images/i_fp127_lg.jpg"> -<img src="images/i_fp127_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXX.</p> - -<p><a name="fig_117" id="fig_117">Fig. 117</a>. A MAENAD IN FRENZY: FROM AN ARCHAIC RED-FIGURED POINTED -AMPHORA.</p></div> -</div> - -<p><span class="pagenum"><a name="page_127" id="page_127">{127}</a></span></p> - -<p class="nind">the head, new possibilities are indicated. The pupil is now always in -the inner corner of the eye, though the bold experiment of the ‘Sosias’ -painter is not generally adopted. Above all a new current enters the -drapery. The divisions of the chiton with patterns of folds gives way to -a more natural and uniform distribution: the play of folds at the edges -of the cloaks is generally emphasized by a thick pair of lines. These -tendencies become complete in the later Chairestratos and the Hippodamas -period, with which we get down to about 480 B.C.</p> - -<p>The masters of this later date deal now quite freely and easily with the -achievements of their predecessors: the old rude vigour gives way to -ornamental elegance or swinging liveliness. The relation of figures to -space also alters: the forms move more freely, are less confined by -space, and are surrounded with air. Thus the free decoration of the -Oltos amphora (Fig. <a href="#fig_104">104</a>) asserts itself once more. The small so-called -‘Nolan’ necked amphorae, and the popular amphorae of Panathenaic shape, -only reserve one figure or group in the black surface. The fine and -elegant effect of this ‘Nolan’ decoration often attacks other types of -vases, to which is now added the bell-krater (cp. Fig. 123 centre).</p> - -<p>Of these later masters, the one who keeps most the massiveness and -dignity of the older style is the ‘Kleophrades’ painter, who grew up in -the Leagros period and has furnished one of his works with the potter’s -signature of Kleophrades, son of Amasis. As an example of his style let -us take the Munich pointed amphora belonging about to the Panaitios -period: the passionate frenzy of frantic Maenads has never been more -perfectly caught than in the back-tossed head of the rushing waver of -the thyrsos (Fig. <a href="#fig_117">117</a>). The ‘Kleophrades’ painter was a pupil of -Euthymides: but for a number of his contemporaries it can be shown that -they won their spurs in the celebrated studio of<span class="pagenum"><a name="page_128" id="page_128">{128}</a></span> Euphronios. It is true -that we only have evidence in an inscription of activity in the service -of Euphronios for one painter denoted by name, and malicious accident -has deprived us of all but the last four letters of his name. Onesimos, -as his name is usually restored, combines in simple composition on his -kylix riders and boys leading horses, and thus is the predecessor of the -‘Horse’ master. On the other hand the master of the Troilos kylix in -Perugia, which Euphronios also signed as potter (the ‘Perugia’ master) -inherited more of the fire and dramatic vigour of the ‘Panaitios’ -master. His Munich Centaur kylix is worthy of the great teacher, and the -interior (Fig. <a href="#fig_126">126</a>) is equally perfect as filling the space and as -rendering animated life. The shield in profile view, which shows -indication of shading, the Centaur’s head, and especially the grandiose -foreshortening of the horse-body, point beyond the Panaitios period.</p> - -<p>To this group must have belonged the ‘Brygos’ painter, who in earlier -works, <i>e.g.</i>, in the clearly and vigorously composed Iliupersis in -Paris (Figs. <a href="#fig_118">118</a> and <a href="#fig_119">119</a>), is still strongly inspired by the -achievements of the Perugia master, and later develops the fiery vigour -of his youthful period in ever more delicate and elegant shapes. He is -fond of shaded shields, hairy bodies and cloaks adorned with spots. -Perhaps the finest work of his maturity is the interior of the Würzburg -kylix (Fig. <a href="#fig_116">116</a>), on which a young Athenian, supported by the hands of a -girl, relieves himself of the wine he has imbibed too freely. The -picture not only in its free adaptation to space and in the sure hand -with which the movement of body and drapery is rendered, but especially -in the fine animation of the expression, is a worthy last note of -archaic art. The unsigned Vienna skyphos of the Brygos painter (Fig. <a href="#fig_120"> -120</a>) must be placed between the Paris and Würzburg kylikes. It also -gives a</p> - -<p class="ills"><a name="plt_LXXI" id="plt_LXXI"></a></p> -<div class="figcenter"> -<a href="images/i_fp128_lg.jpg"> -<img src="images/i_fp128_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXXI.</p> - -<p><a name="fig_118" id="fig_118"></a> -<a name="fig_119" id="fig_119"></a> -Figs. 118 & 119. THE SACK OF TROY: FROM A KYLIX WITH THE SIGNATURE OF -THE POTTER BRYGOS.</p> - -<p><i>From Furtwängler-Reichhold, Griechische Vasenmalerei.</i></p></div> -</div> - -<p class="ills"><a name="plt_LXXII" id="plt_LXXII"></a></p> -<div class="figcenter"> -<a href="images/i_fp129-a_lg.jpg"> -<img src="images/i_fp129-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXXII.</p> - -<p><a name="fig_120" id="fig_120">Fig. 120</a>. SKYPHOS WITH THE RANSOMING OF HECTOR.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp129-b_lg.jpg"> -<img src="images/i_fp129-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_121" id="fig_121">Fig. 121</a>. THESEUS DESERTS THE SLEEPING ARIADNE (?): FROM THE EXTERIOR OF -A KYLIX.</p></div> -</div> - -<p><span class="pagenum"><a name="page_129" id="page_129">{129}</a></span></p> - -<p class="nind">fine picture full of life: Achilles has placed under the table the dead -body of Hector, which he daily drags round the walls of Troy, is -reclining at his meal, and talking to his charming cup-bearer, as if he -did not hear the appeal of the old Priam for his son’s corpse and did -not see the presents brought in by the attendants. The clear dramatic -disposition is as much in the manner of the master as the free pose of -the cup-bearer with weight on one leg, and the delicate psychological -animation of the countenances. The kylix in Corneto (Fig. <a href="#fig_121">121</a>), the -outside of which has been interpreted as the secret departure of Theseus -from the sleeping Ariadne, is at least closely related to the works of -the ‘Brygos’ painter. In the workshop of Euphronios the youthful Duris -must also have been a pupil. For his earliest work, the Vienna kylix, -with an arming scene, painted for the potter Python, is quite under the -influence of the Panaitios master, and can only be recognized as the -work of a painter of another tendency by the greater elegance and -slimness of the figures, and the more schematic composition.</p> - -<p>In the kylikes with the names of Panaitios and Chairestratos, it can -still be traced to some extent, how out of the docile imitator of the -Panaitios master comes the real Duris, the routine draughtsman, who puts -down his elegant figures with almost academic objectivity and who cares -more for the uniform decorative effect of his neat silhouettes than for -complicated compositions of life. The pair of Berlin kylikes, perhaps -made by Kleophrades, and the kantharos, on which Duris signs as potter -and painter, show as plainly as possible this gradual realization of -independence, and also pass more and more, though not finally, from the -artificial fold packets of the chiton to a uniform system of wavy lines. -How entirely Duris altered his style even during the Chairestratos -period, is shown <i>e.g.</i> by the Vienna kylix, painted for Python with the -contest for the Arms of<span class="pagenum"><a name="page_130" id="page_130">{130}</a></span> Achilles, which not merely in its more elegant -shape, but also in drawing and the relation of the figures to the space, -is widely distant from the arming scene on a kylix of the same workshop. -The fine Eos kylix in the Louvre, which Duris painted for the potter -Kalliades and dedicated to Hermogenes, the London Theseus kylix, and -probably also the fine London psykter with the love-name Aristagoras -(Fig. <a href="#fig_122">122</a>) belong to this period. The satyrs of this psykter, who -instead of joining in procession play all kinds of unprofitable tricks -behind the back of the leader of the chorus, need only be compared with -their fellows on the Boston kylix, and one can recognize at once the -routine hand and slighter artistic endowment of the master, but also the -more elegant and easy draughtsmanship of the later time.</p> - -<p>In the later period of the artist (about 480 B.C.) we must put along -with their congeners the kylikes with the love-name Hippodamas, the -finest of which is the Berlin school vase (Fig. <a href="#fig_124">124</a>). In the drapery of -the teachers and pupils, who are here assembled in the class-room, -nothing of archaic stiffness remains. If even the Leagros period had -made the cloak folds come to a natural end, they now bend round their -ends and pave the way for the “drapery eyes,” which in the next period -so naturally characterize the packings in the material.</p> - -<p>The great development, which is evidenced for Duris by his many -signatures, suggests considerations. We ask whether other masters too -did not fundamentally change, and whether <i>e.g.</i> Euphronios did not -develop out of the ‘Leagros’ stage to that of the ‘Panaitios’ master and -the Perugia painter, and on his later works include the painter’s -signature in that of the potter’s firm, <i>i.e.</i> whether works like the -Munich Centauromachy (Fig. <a href="#fig_126">126</a>) do not represent a late phase of this -gifted painter, who can be proved to have lived into the ‘Glaukon’ -period.</p> - -<p class="ills"><a name="plt_LXXIII" id="plt_LXXIII"></a></p> -<div class="figcenter"> -<a href="images/i_fp130_lg.jpg"> -<img src="images/i_fp130_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXXIII.</p> - -<p><a name="fig_122" id="fig_122">Fig. 122</a>. HERMES AND SATYRS: FROM A PSYKTER BY DURIS.</p> - -<p><i>From Furtwängler-Reichhold, Griechische Vasenmalerei.</i></p></div> -</div> - -<p class="ills"><a name="plt_LXXIV" id="plt_LXXIV"></a></p> -<div class="figcenter"> -<a href="images/i_fp131_lg.jpg"> -<img src="images/i_fp131_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXXIV.</p> - -<p><a name="fig_123" id="fig_123">Fig. 123</a>. DRUNKEN MAENADS: FROM A KYLIX WITH THE SIGNATURE OF THE POTTER -HIERON.</p></div> -</div> - -<p><span class="pagenum"><a name="page_131" id="page_131">{131}</a></span></p> - -<p>Of the other painters of this period, we must content ourselves with -naming three, the Berlin master, Makron, and the Bronze-Foundry master. -The ‘master of the Berlin amphora’ even surpasses Duris in elegance, and -is fond of introducing his slim elastic figures in ‘Nolan’ style, <i>i.e.</i> -isolated on a dark background.</p> - -<p>Makron, who painted almost all the vases on which Hieron’s signature as -potter is found, studied by choice in the Palaestra, where boys -performed gymnastics and were addressed by older men. A Berlin kylix -(Fig. <a href="#fig_123">123</a>), like several works of his hand, introduces us to Bacchic -revelry, an excited chorus of drunken and vigorously gesticulating -maenads, whose bodies are not concealed by the rustling pomp of folds: -the ‘kolpos’ or fold of the chiton drawn up through the belt, which -Brygos also is fond of, is more transparent than the upper and lower -parts of the complicated garment. These figures in which all is life, -movement and expression, should be compared with those of the Andokides -painter or even those of Euphronios, in order to realize, how in these -few decades the liberation from archaic stiffness and adherence to type -was almost tempestuously accomplished.</p> - -<p>We take leave of the archaic styles with the charming picture of an -anonymous painter, the ‘master of the bronze foundry,’ who on a Berlin -kylix (Fig. <a href="#fig_125">125</a>) transplants us into the interior of the workshop of a -sculptor in bronze. A workman is poking the oven, another is handling -the bellows, the assistant looks on, the master is working at a statue, -not yet fully put together: so intimate is the contact with life in this -scene. Everything interested the vase-painters of this time equally; -they have spread out before us human life, got their material from every -quarter, and wherever they laid hold of it, it was interesting. How -closely they came to grips with their subject, how they tried<span class="pagenum"><a name="page_132" id="page_132">{132}</a></span> to be -clear, and to give a lively picture of what they saw, and how under -their hands the object at once changed into the artistic type, the human -body into the clearly defined study of the nude, the garment into a -thing of decorative life, and an assemblage of human beings into an -ornamental figure composition!</p> - -<p class="ills"><a name="plt_LXXV" id="plt_LXXV"></a></p> -<div class="figcenter"> -<a href="images/i_fp132-a_lg.jpg"> -<img src="images/i_fp132-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXXV.</p> - -<p><a name="fig_124" id="fig_124">Fig. 124</a>. SCHOOL-SCENE: FROM A KYLIX BY DURIS.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp132-b_lg.jpg"> -<img src="images/i_fp132-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_125" id="fig_125">Fig. 125</a>. BRONZE-FOUNDRY: FROM A KYLIX WITH THE “LOVE-NAME” OF -DIOGENES.</p></div> -</div> - -<p class="ills"><a name="plt_LXXVI" id="plt_LXXVI"></a></p> -<div class="figcenter"> -<a href="images/i_fp133_lg.jpg"> -<img src="images/i_fp133_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXXVI</p> - -<p><a name="fig_126" id="fig_126">Fig. 126</a>. CENTAUROMACY: FROM A RED-FIGURED KYLIX.</p></div> -</div> - -<p><span class="pagenum"><a name="page_133" id="page_133">{133}</a></span></p> - -<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI.<br /><br /> -THE STYLE OF POLYGNOTOS AND PHEIDIAS</h2> - -<p class="nind"><span class="letra">I</span>N the studio of Euphronios the so-called ‘Horse master’ painted a kylix -now in Berlin with the praise of the fair Glaukon. The outside is -decorated in the usual red-figured technique with lively scenes of -riders and stables, the inside (a youth and a girl) is rendered in -outline, with coloured interior lines and surfaces, on the ground -covered with a white slip. The progress in the rendering of bodies and -drapery is unmistakeable; the oblique view of the female breast is -almost correctly caught, the material of the cloaks is packed in lost -folds with bent-round end. But even the whole conception of the figures -goes far beyond the archaic art of the pre-Persian time: the proportions -and faces have a touch of greatness, beside which all preceding art -seems narrow and embarrassed. The simplification of the profile and the -severe long lower part of the face essentially determine one’s -impression of the heads. A new period is announcing itself: a time of -progressive naturalism and at the same time a period of noble greatness -of style and exalted types. The statements of the ancients as to the -great painting of this age, of Polygnotos and his company, lay stress on -these qualities; not only the progress, which relieves the rendering of -body and garment of the old stiffness, but the great Ethos of these -paintings is praised. So with good reason we call the vase painting of -the post-Persian generation Polygnotan, even if at the beginning of this -epoch the influence of the great art is not felt so much as at its -culmination.<span class="pagenum"><a name="page_134" id="page_134">{134}</a></span></p> - -<p>The name of Glaukon, which we have met with on the Euphronios kylix of -Berlin, recurs on a series of vases, almost always in the two-line -arrangement, which comes now into vogue, and often in combination with -his father Leagros’ name. Lekythoi, or slender oil-flasks, which now -become the regular offering for graves, and when so employed invariably -use the white-ground technique of the Berlin kylix, afford several -examples of this favourite’s name, which has become the hinge of -vase-chronology. On a Bonn fragment (Fig. <a href="#fig_128">128</a>), which in the older style -has a domestic scene, not one taken from the cemetery, and paints the -flesh in white, a woman is sitting in an arm-chair and putting on a -golden necklace, which the handmaid in front of her has offered in a -box. The face of this woman signifies a new world: the archaic types are -discarded, the old traditions replaced by a quite individual almost -portrait-like conception. The eye, which has hardly any traces of the -old full-view and puts the pupil entirely into the open inner corner, -gives the face a very natural and living effect, it is really looking: -and the hair hanging out from the cap in confusion, the profile not -dominated by any canon of beauty, and the drawing of the hands, show the -painter penetrated by the same effort after truth. It is perhaps an idle -question, what period inaugurates the history of Greek portraiture, -since each innovation taken from the model individualizes the -traditional type; but it is just the vase-paintings of the post-Persian, -Kimonian age, which went further than the later ones in thus -individualizing. The woman of the Glaukon lekythos, the old woman on a -skyphos in Schwerin from the workshop of Pistoxenos (Fig. <a href="#fig_127">127</a>) and on a -loutrophoros in Athens, the head of a warrior from a krater in New York -(Fig. <a href="#fig_130">130</a>) may be taken as symptoms of a very personal portraiture in -the age of Kimon. The effort to get rid of the traditional ideal types -led a series of these</p> - -<p class="ills"><a name="plt_LXXVII" id="plt_LXXVII"></a></p> -<div class="figcenter"> -<a href="images/i_fp134-a_lg.jpg"> -<img src="images/i_fp134-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXXVII.</p> - -<p><a name="fig_127" id="fig_127">Fig. 127</a>. OLD WOMAN: FROM A SKYPHOS WITH THE SIGNATURE OF THE POTTER -PISTOXENOS.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp134-b_lg.jpg"> -<img src="images/i_fp134-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_128" id="fig_128">Fig. 128</a>. DETAIL OF A FRAGMENTARY WHITE-GROUND LEKYTHOS.</p></div> -</div> - -<p class="ills"><a name="plt_LXXVIII" id="plt_LXXVIII"></a></p> -<div class="figcenter"> -<a href="images/i_fp135-a_lg.jpg"> -<img src="images/i_fp135-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXXVIII.</p> - -<p><a name="fig_129" id="fig_129">Fig. 129</a>. APHRODITE ON A GOOSE: FROM A KYLIX WITH WHITE-GROUND INTERIOR. -BEARING THE “LOVE-NAME” OF GLAUKON.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp135-b_lg.jpg"> -<img src="images/i_fp135-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_130" id="fig_130">Fig. 130</a>. WARRIOR: FROM A RED-FIGURED KRATER.</p></div> -</div> - -<p><span class="pagenum"><a name="page_135" id="page_135">{135}</a></span></p> - -<p class="nind">masters to recast even the divine figures with a strikingly individual, -coarse and almost common effect. The master of the Boston ‘Eos’ kylix, a -successor of Makron in Hieron’s studio, makes his undistinguished -goddess of the morning be carried off by a spindly street-lad; the -Demeter, who on a Munich hydria attends the departure of Triptolemos, -betrays little of the sacred beauty of the motherly goddess; and other -vase-paintings have almost the effect of conscious caricatures of ideal -types.</p> - -<p>The new possibilities of ‘Physiognomy’ in differentiating character by -the facial type, however, brought the expression of divine nature to its -fullest expansion, and helped not merely to make men more human but also -gods more divine. A London white-ground kylix from Rhodes (Fig. <a href="#fig_129">129</a>) is -connected with the Bonn lekythos and the Berlin kylix of Euphronios by -the common name of Glaukon. The goddess of love, riding through the air -on her sacred bird, the goose, is of more than earthly beauty: her -hands, not only the one with the flower but the unoccupied left hand, -speak the same expressive language as her face and whole form. The -effect of this picture is comparable to that of a song. Now for the -first time the inner kinship of the art of words with that of pictures -presses itself on the observer of works of art. No one will think of -comparing the Geometric style with the Homeric Epic in value of -expression, or the ornamental style of the 7th century with contemporary -Lyric poetry, though one may see a reflection of Anacreontic and ballad -feeling in the art of the later 6th century. But the weight of the -Aeschylean pathos is as little to be mistaken in works of graphic and -plastic art as the Sophoclean glow and pure beauty of line.</p> - -<p>The more delicate animation, which this period could bestow on its -forms, of itself pointed away from archaic loquacity and pleasure in -narration. The genre scene is<span class="pagenum"><a name="page_136" id="page_136">{136}</a></span> certainly as old as the historical, and -we have seen that there was no difference of principle. The nearer the -red-figured style came, the more representations of feeling were -combined with representations of action, and towards the end of the -archaic style they are no longer rarities. With the new liberation of -the style, especially with the enlivening of the eye, a different sort -of inward feeling asserts itself. Figures devoid of action, occupied -with themselves or contemplating another figure, are themes which the -painters of lekythoi in particular were never tired of inventing; and in -later times, when the cemetery scenes replaced the domestic ones on -these vases, and the privacy of the indoor scenes was transferred to the -visit to the grave, the harmony of soul between the visitor and the -dead, whose living likeness fancy could not separate from the grave, -often found an unspeakably intimate expression (<a href="#page_145">p. 145</a>).</p> - -<p>The quantity of pictures of ‘pure existence’ does much to determine the -altered aspect presented by post-Persian vase-painting. On the slim -‘Nolan’ amphorae and those with twisted handles, on the calyx-kraters -and the bell-kraters often decorated on the mouth with a branch, on the -‘stamnoi’ and other vases, which are decorated like the ‘Nolan,’ the -slender restful figures heighten the impression of quiet elegance. Thus -the grandeur of the new style at the same time gets a marked decorative -value, a value not without danger for the living rendering of reality. -Greatness is not every man’s affair, and the painters, who only took -over externally the big forms and the lofty simplicity, and could not -fill them with a life of their own, can only rank as decorative artists -and should by the same right be called ‘affected’ as the refined masters -of the Amasis period (<a href="#page_106">p. 106</a>). Even talented painters consciously gave -up to decorative effect the reverses of their vases, which they adorn -with quickly drawn motionless figures wrapped in cloaks.</p> - -<p class="ills"><a name="plt_LXXIX" id="plt_LXXIX"></a></p> -<div class="figcenter"> -<a href="images/i_fp136_lg.jpg"> -<img src="images/i_fp136_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXXIX.</p> - -<p><a name="fig_131" id="fig_131">Fig. 131</a>. THE DEATH OF AKTAION: FROM A RED-FIGURED KRATER.</p> - -<p><i>From Furtwängler-Reichhold, Griechische Vasenmalerei.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_137" id="page_137">{137}</a></span></p> - -<p>The three Glaukon representations we have met with till now are pure -pictures of ‘existence.’ The ‘horse’ master dedicated to the same boy -Glaukon a second kylix, the fragments of which, found on the Acropolis, -represent the death of Orpheus at the hands of the Thracian women. The -scheme, if one may speak of such, is in so far old, as the victor moving -to the right attacks an opponent in kneeling position also moving to the -right and looking round; but an infinite nobility is poured over the old -type, and the fight is carried through with dramatic weight, though in -the faces of the fighters the inward excitement is not reflected, as on -later works of the same hand. Yet, as on the Aphrodite kylix (Fig. <a href="#fig_129">129</a>) -the living expression of the eye is already strengthened by the line of -the upper lid.</p> - -<p>In place of the very fragmentary Orpheus kylix, the fight in a -contemporary picture may show the progress, which scenes of dramatic -movement attain in Polygnotan times. The slaying of Aktaion by the -divine huntress Artemis was brought to great effect by the Pan master, -so called from the reverse of the same Boston bell-krater (Fig. <a href="#fig_131">131</a>). In -the stiff folds of the cloak of Artemis this vigorous and original -painter betrays his descent from the archaic style, which can be plainly -followed in his works, always full as they are of dramatic life. -Otherwise there is little archaic in this picture. The long lower part -of the face, which lends the heads their severity, the folds running -themselves out, which assert themselves even in the chiton, the surely -drawn fore-shortened foot of Artemis, the lower legs of Aktaion -disappearing in the background, show the progressive master; the -suggestive effect of the composition, and the urgent language of the -gestures are quite in the spirit of the noble new style.</p> - -<p>With the Centaur psykter in Rome (Fig. <a href="#fig_132">132</a>) we get<span class="pagenum"><a name="page_138" id="page_138">{138}</a></span> perhaps beyond the -bloom of Glaukon’s beauty, and what reminds us of old times in the -grotesque movement of the battle scene is probably only individual -failings of the master, which he outweighs by many innovations. The -three-quarters view of the face, the fore-shortening of the shield, the -motive of the falling man seen from behind, are significant of the -struggle with perspective; the bestial lust for battle speaks out of the -eyes of the attackers as does the penetrating pain of the wounded; and -the pathos of the gestures is at least post-archaic. The impression of -this vase is remarkably determined by the experiments in colouring, -which the master undertakes with help of thinned colour: the helmets, -greaves, and hides he has made dark in contrast with the human skin, he -has given an effect of light to the material of the hair of head and -beard, and rounded the horses’ bodies by shading.</p> - -<p>These novelties of the somewhat crude and quaint master are only -intelligible as reflection of a great painting, which struggled with -problems of expression and light, as is expressly testified for the art -of the great Polygnotos and his contemporaries. Naturally at no time -were vase-painters entirely uninfluenced by the achievements of the -great art. But just now in the sixties of the 5th century, this -borrowing made itself felt more than ever, and enticed the vase-painters -often beyond the limits of their branch of art. This comes not only from -the overpowering impression of the great personalities among the -painters of this period, but especially from the fact, that -wall-painting now struck out new bold paths, on which vase-painting -could follow it less than ever.</p> - -<p>Among the vase-pictures, which very strongly echo these new strains, are -the later works of the ‘horse’ master. The interior of the Penthesileia -kylix (Fig. <a href="#fig_134">134</a>) only enclosed by a delicate branch, the master did not -paint as in</p> - -<p class="ills"><a name="plt_LXXX" id="plt_LXXX"></a></p> -<div class="figcenter"> -<a href="images/i_fp138-a_lg.jpg"> -<img src="images/i_fp138-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXXX.</p> - -<p><a name="fig_132" id="fig_132">Fig. 132</a>. BATTLE WITH CENTAURS: RED-FIGURED PSYKTER.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp138-b_lg.jpg"> -<img src="images/i_fp138-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_133" id="fig_133">Fig. 133</a>.</p> - -<p>TOP-PLAYER: FROM A WHITE-GROUND KYLIX WITH THE SIGNATURE OF THE POTTER -HEGESIBULOS.</p></div> -</div> - -<p class="ills"><a name="plt_LXXXI" id="plt_LXXXI"></a></p> -<div class="figcenter"> -<a href="images/i_fp139_lg.jpg"> -<img src="images/i_fp139_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXXXI.</p> - -<p><a name="fig_134" id="fig_134">Fig. 134</a>. ACHILLES KILLS PENTHESILEIA: INTERIOR OF A RED-FIGURED KYLIX.</p> - -<p><i>From Furtwängler-Reichhold, Griechische Vasenmalerei.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_139" id="page_139">{139}</a></span></p> - -<p class="nind">the kylikes of Berlin and Athens on white ground, but he heightens the -red-figured technique by the application of thinned black glaze, by dull -red and light grey surfaces, with brown and white additions, and by -applications of gold. The four figures which are forced into this circle -almost burst the frame, not merely by the disproportion of their tall -forms, but still more by their inner greatness and passion. In the midst -of the battle-field, where the sword rages, and the ground lies full of -corpses, Achilles has overtaken the Amazon queen, and furious with rage, -plunges his sword in her heart: however much her hands and eyes plead -for mercy, it is too late.</p> - -<p>The features of Penthesileia betray more of inner life than those of -Orpheus: and on a second Munich kylix, on which Apollo in presence of Ge -slays her son Tityos, the master has gone a step further in physiognomy. -The three faces are as convincingly graduated in expression as for -example those on the beautiful ‘Lament for the dead,’ by a contemporary -master, in Athens.</p> - -<p>On the big interior of his kylikes (Fig. <a href="#fig_134">134</a>) the ‘horse’ master could -give freer play to his genius than on the exteriors, which, as in the -kylikes of Berlin and Athens, he adorned with pretty scenes from the -stable. The contrast between the great round pictures with their fine -technique, and the lightly sketched exteriors, is so great, that some -have thought of two artists working in the same studio, who divided the -work, so that the ‘horse’ master would be different from the -Penthesileia master; but the white-ground exterior of the Orpheus kylix -seems to build the bridge. It is certainly characteristic that the -exteriors of kylikes in this period no longer tempted talented painters -to such lively compositions, as in the days of the Brygos and Perugia -painters, and that even in the lifetime of the great Euphronios the -paratactic decorative<span class="pagenum"><a name="page_140" id="page_140">{140}</a></span> style most consistently prepared by Duris laid -hold of these exteriors. The new style required big surfaces, and the -most faithful reflexions of wall-painting are to be found on large -vases.</p> - -<p>The most famous of these great Polygnotan vases is the Paris -calyx-krater from Orvieto (Fig. <a href="#fig_135">135</a>), the figures of which, apart from -Athena and Herakles, have not yet been certainly identified. From the -expectant attitude of the figures it has been suggested that the picture -represents the start of the Argonauts, or the preparation of the Attic -heroes for the battle of Marathon. The great mythological scene is at -any rate in the manner of the new period, which no longer has the -preference of the ancients for the crisis of action but rather depicts -preparation and after-effect, reflection on the deed accomplished and -rest from action. That a Polygnotan wall-painting preceded the -vase-painting in this psychologically refined conception, may be -regarded as proved. For the figures not only appear in all sorts of bold -foreshortenings, front and side views, not only surprise us by an -abundance of motives, which are quite beyond previous vase-painting, but -also show a series of peculiarities, which are expressly described as -innovations of the great fresco-painter. When the figures of the krater -open their mouths and show their teeth, when the stationary interior -folds, the so-called drapery eyes have shadows painted in them, this can -only be explained as imitation of the great painters, and similarly the -gnashing of teeth and the shading of the horses’ bellies on the Centaur -psykter. The Argonautic krater shows this dependence very strongly in -its composition. Great painting had not only graduated the parts of the -body in deep spatial layers, but transferred this novel deepening to the -arrangement of its groups, distributing the actors over hilly country, -which either elevated</p> - -<p class="ills"><a name="plt_LXXXII" id="plt_LXXXII"></a></p> -<div class="figcenter"> -<a href="images/i_fp140_lg.jpg"> -<img src="images/i_fp140_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXXXII.</p> - -<p><a name="fig_135" id="fig_135">Fig. 135</a>. THE ARGONAUTS (?). KALIX-KRATER OF POLYGNOTAN PERIOD.</p> - -<p><i>From Furtwängler-Reichhold, Griechische Vasenmalerei.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_141" id="page_141">{141}</a></span></p> - -<p class="nind">the figures of the background or often partly concealed them. It is -clear that an art, which characterized the rounding of shields and -bodies and the recesses of drapery by the distribution of light and -shade, also gave actuality and effect of depth to the landscape by -shading, though in primitive fashion, and a series of ‘Polygnotan’ vases -proves the fact, by making flowers, bushes and plants spring out of the -ground. It is true the painter of the Argonaut krater does not go so -far, but he shows more strikingly than any other vase-painter the -landscape of Polygnotan paintings, which, not forgetting the surface -effect of vase-decoration, he does not shade but only indicates in -outline by the incising tool. That in other ways, too, he altered his -pattern to suit the technique of vase-painting, is proved by the freedom -in the use of colour and perspective, which on other specimens of this -period burst the barriers of vase-painting.</p> - -<p>Both encouraged and warned by such examples, one must look through the -vase-painting of this period for other traces of Polygnotan painting, -especially on vases which agree in subject with the wall-paintings of -which we have accounts, and not only in the freedom named, but also in -the inferiority of the execution to the conception, show of what spirit -they are the offspring. One can never expect copies. The very fact that -exact replicas never occur among the Polygnotan types, shows that the -vase-painters dealt with the borrowed property according to their own -individuality and for their definite purpose. So the two cases we have -selected must be judged individually. The ‘Penthesileia’ master was -probably stimulated to his treatment of the theme by a big Amazon -painting; but the clever painter not merely translated this impulse into -his own brilliant technique and adapted it to his circular field, but -also extended over it his personal great feeling, and<span class="pagenum"><a name="page_142" id="page_142">{142}</a></span> translated the -picture into his personal style, so that it has the effect of a natural -continuation of his earlier works. The ‘Argonaut’ master had no concern -with this great ‘Ethos’ or the delicate polychrome technique. He -borrowed more superficially, took an extract from the big scene of his -model in his strong relief-lines, and emphasized the individual -characteristics rather than the dash of the original. In realism, his -bearded hero holding a spear is not inferior to the contemporary warrior -of the New York krater (Fig. <a href="#fig_130">130</a>). Great painting went on tempestuously -developing, and in the next age burst its fetters of colour and space in -a manner which could not but deter even the boldest vase-painter from -imitation, if he were not to shake off every sane regard for the -preservation of his surface-effect. So reflexions of wall-painting on -vases become rarer, and the ‘Polygnotan’ vases remain an episode.</p> - -<p>Naturally there were many vase-painters who did not enter this dangerous -ground: nay, the majority did not do so. With many the avoidance of a -big surface went so far that they divided the outside of a calyx-krater -or big ‘aryballos’ into two friezes and filled them with small figures -in defiance of constructive considerations. Out of the series of these -‘little masters,’ who beside the big-figure painters continued the -traditions of the elegant style, let us mention <i>e.g.</i> the painter who -decorated the box signed by the potter Megakles (Fig. <a href="#fig_136"> 136-7</a>) with -charming scenes from women’s apartments, and the lid with five comic -hares; or the author of the girl plying the top on a white-ground kylix -of the potter Hegesibulos (Fig. <a href="#fig_133">133</a>), a potter who was active as early -as the Leagros period; and especially Sotades, from whose workshop came -not only plastic vases in the shapes of horses, sphinxes, knuckle-bones, -crocodiles devouring negroes, etc., but also white-ground kylikes of -most elegant shape, whose exquisite interiors, like the friezes of -those</p> - -<p class="ills"><a name="plt_LXXXIII" id="plt_LXXXIII"></a></p> -<div class="figcenter"> -<a href="images/i_fp142-a_lg.jpg"> -<img src="images/i_fp142-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXXXIII.</p> - -<p><a name="fig_136" id="fig_136"></a> -<a name="fig_137" id="fig_137"></a> -Figs. 136 & 137.</p> - -<p>LID AND SIDE OF A PYXIS WITH THE SIGNATURE OF THE POTTER MEGAKLES.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp142-b_lg.jpg"> -<img src="images/i_fp142-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_138" id="fig_138">Fig. 138</a>. MAENADS: FROM A RED-FIGURED POINTED AMPHORA.</p></div> -</div> - -<p class="ills"><a name="plt_LXXXIV" id="plt_LXXXIV"></a></p> -<div class="figcenter"> -<a href="images/i_fp143-a_lg.jpg"> -<img src="images/i_fp143-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXXXIV.</p> - -<p><a name="fig_139" id="fig_139">Fig. 139</a>. POLYNEIKES OFFERS ERIPHYLE THE NECKLACE: FROM A RED-FIGURED -PELIKE.</p> - -<p><i>From Furtwängler-Reichhold, Griechische Vasenmalerei.</i></p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp143-b_lg.jpg"> -<img src="images/i_fp143-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_140" id="fig_140">Fig. 140</a>.</p> - -<p>ORPHEUS AMONG THE THRACIANS: FROM A RED-FIGURED KRATER.</p></div> -</div> - -<p><span class="pagenum"><a name="page_143" id="page_143">{143}</a></span></p> - -<p class="nind">drinking vessels, lead us to the beginning of the age of Pheidias.</p> - -<p>This transition is also accompanied by some painters’ signatures, which -become rarer, the more the individual performances of vase-painters are -cast in the shade by the great art. The signatures do not present us -with the first artists of the time. Hermonax is somewhat smooth and -tedious, and Polygnotos, the namesake of the great painter, to judge -from the mixed nature of his unoriginal style, must have lived by -borrowing. His pelike from Gela is a Polygnotan vase with an Amazon -scene; on the London stamnos, to be dated about the middle of the -century, advanced and old-fashioned types are combined in an unpleasing -fashion.</p> - -<p>Anonymous masters better represent the transition from Polygnotos to -Pheidias. The master of a krater with a dancing scene in Rome (the -‘Villa Giulia’ master), is not distinguished for temperament and -progressiveness, but is rather a correct and academic individual; but -the neatly drawn scenes of his krater and stamnoi, in the noble bearing -of the figures and the manner in which they gaze at each other, betray -the approach of a new ideal of man. Much more talented is the master, -who on a pointed amphora at Paris combined the wonderful group of two -Maenads (Fig. <a href="#fig_138">138</a>) with a scene of Bacchic revelry, as Amasis did almost -a century before (Fig. <a href="#fig_98">98</a>). The two girls are of truly royal dignity, -like each other in this, but subtly distinguished in expression. The -three-quarter view of the head is almost devoid of harshness, and only -the ladle-shaped under lip connects her with the Polygnotan female -heads.</p> - -<p>How even the drapery becomes a vehicle of expression and every fold -breathes the greatness of the whole picture, may become clearer if we -look at the ‘Eriphyle’ of a pelike at Lecce (Fig. <a href="#fig_139">139</a>), with which we -also pass the middle of the century. This picture must be compared to -the<span class="pagenum"><a name="page_144" id="page_144">{144}</a></span> Corinthian Amphiaraos krater (Fig. <a href="#fig_66">66</a>) to see, how in the interval -of 120-130 years the soul of art has changed. The later master -represents not the dramatic culmination of the story but the -psychological climax, when Polyneikes offers to the wife of Amphiaraos -the seductive necklace, for which she will send her husband to death. As -often on vases of this period, two figures stand calmly facing one -another, but they are here united by most delicate psychology; Eriphyle, -simply attired in plain peplos, is full of an inner life which -circulates through her body to the finger-tips. This harmonious union of -a monumental type with intimate feeling is at the beginning of the most -Greek period of Greek art-history, the most human period of the history -of mankind, the age of Pheidias.</p> - -<p>If we name the following decades of the history of vase-painting after -Pheidias, we do not mean that he was in very close relations with the -art of the vase-painters. But the artist, who in the Parthenon frieze -introduced that inconceivable nobility of form, who in the West side of -the frieze developed the play of lines to new greatness, to heighten it -in the pediment to a great outburst of passion, impressed this age so -much with his nature that one cannot imagine the vase-paintings as -unaffected by this powerful influence.</p> - -<p>Never was Greek art so much an art of expression as at this period. As -if in response to the search for a word to describe this new expression, -the beautiful musical pictures of the time present themselves. Since the -Geometric style art had continually represented musical performers, but -it was reserved for the age of Pheidias to give pictorial expression to -the effect of musical sounds on men. The krater from Gela (Fig. <a href="#fig_140">140</a>) -belongs to the early Periclean age; the sure touch in the rendering of a -twist of the body and its rounded form is now a matter of course even in -the hasty execution of a second-rate draughtsman; the head type gets -the</p> - -<p class="ills"><a name="plt_LXXXV" id="plt_LXXXV"></a></p> -<div class="figcenter"> -<a href="images/i_fp144_lg.jpg"> -<img src="images/i_fp144_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXXXV.</p> - -<p><a name="fig_141" id="fig_141">Fig. 141</a>. MUSIC: RED-FIGURED NECKED AMPHORA.</p></div> -</div> - -<p class="ills"><a name="plt_LXXXVI" id="plt_LXXXVI"></a></p> -<div class="figcenter"> -<a href="images/i_fp145_lg.jpg"> -<img src="images/i_fp145_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXXXVI.</p> - -<p><a name="fig_142" id="fig_142">Fig. 142</a>. SLEEP AND DEATH CARRY OUT A WARRIOR TO BURIAL: WHITE-GROUND -LEKYTHOS.</p></div> -</div> - -<p><span class="pagenum"><a name="page_145" id="page_145">{145}</a></span></p> - -<p class="nind">square outline, the shortened jaw, the long drawn nose, which are -characteristic of the age of Pheidias; the repetition of the epithet -<i>kalos</i> shows that the custom of inscribing a love-name is dying out. -About contemporary is the London amphora with twisted handles (Fig. <a href="#fig_141">141</a>) -with the Muses Melusa and Terpsichore and the bard Musaios. Orpheus -among the Thracians and Terpsichore in a reverie with the harp are -purely pictures of lyric feeling.</p> - -<p>As if music had tamed them, the vase-pictures of the Periclean age -change their nature. All crudities have gone: the too bold -foreshortenings and the realistic details taken from great paintings are -less obvious: nothing any longer disturbs the free play of the lines. -The conception of men rises to its highest possible point. The figures -on the Munich stamnos (Fig. <a href="#fig_146">146</a>) are not merely masterpieces of fully -developed drawing but also ideal types of pure free humanity. Movements -are often merely motives of beauty: the fold style combines a new -naturalism with the most monumental effect.</p> - -<p>This new spirit also animates the finest of the white-ground lekythoi, -whose proper history begins in the Glaukon period (<a href="#page_134">p. 134</a>) and cannot be -traced far beyond the 5th century. In their first period they had -preferred to render domestic scenes, representations from the female -apartments. But the purpose of these grave vases continually asserts -itself more and more. The ferryman of the dead appears, to take goodly -men into his bark; the brothers Sleep and Death dispose of the corpse -(Fig. <a href="#fig_142">142</a>); Hermes, the conductor of souls, waits to be followed; the -dead man laments for his life. But the domestic scenes have given place -to the walk to the grave; and the visit to the tombstone, beside which -the dead man stands or sits as if alive, becomes the typical subject of -the lekythoi. The special technique of these vases produces an effect -often very<span class="pagenum"><a name="page_146" id="page_146">{146}</a></span> different from the red-figured style, especially since the -white filling of the outlines (<a href="#page_134">p. 134</a>) is dropped. The employment of -glaze-colour in the rendering of outlines, and the transition to -brush-painting, with which from the first surfaces had been covered in -different varieties of colour, lead afterwards to an unusual -individualization of the line. One cannot say that this technique -approximates the lekythoi to the effect of wall-painting as much as it -severs it from red-figured vase-painting. Only a few exceptional late -specimens in their pictures operating freely with light and shade burst -the bounds of vase-decoration, and show clearly with what good sense the -vase-painters renounced competition with the great art, which now -victoriously solves the problems of full perspective, of giving the -effect of depth in space, with the gradation of dimensions, and the -contrasts of light and dark.</p> - -<p>In a Boston lekythos (Figs. <a href="#fig_143">143</a> and <a href="#fig_144">144</a>) we have an ‘existence’ picture -in the manner of the new period (<a href="#page_136">p. 136</a>). The dead warrior stands in -Polygnotan attitude, with bent arm resting on his hip (cp. Fig. 135, -last to left), beside his altar-shaped tomb, and looks over it to the -girl, who without perceiving him approaches with funeral offerings. One -notices in the treatment of the nude, that he is the product of an age -which already had the perspective sense: so vividly do the few lines of -his contour, his muscles, and his knee-pan, give the suggestion of a -rounded body; and also the drawing of the female nude, which accident -has freed from the drapery added in perishable dull paint, in its very -realistic outline goes beyond anything previous. Since the Circe and -Phineus kylikes, and the numerous black-figured and red-figured pictures -of bathing, dancing, and drinking hetairai, art had busied itself with -the naked bodies of women as much as of men: and where nudity could not -be represented, it indicated the outlines of the body through</p> - -<p class="ills"><a name="plt_LXXXVII" id="plt_LXXXVII"></a></p> -<div class="figcenter"> -<a href="images/i_fp146-a_lg.jpg"> -<img src="images/i_fp146-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXXXVII.</p> - -<p><a name="fig_143" id="fig_143"></a> -<a name="fig_144" id="fig_144"></a> -Figs. 143 & 144. YOUTH AND MAIDEN ON A WHITE-GROUND LEKYTHOS.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp146-b_lg.jpg"> -<img src="images/i_fp146-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_145" id="fig_145">Fig. 145</a>. WOMAN SEATED AT A GRAVESTONE: FROM A WHITE-GROUND LEKYTHOS.</p></div> -</div> - -<p><span class="pagenum"><a name="page_147" id="page_147">{147}</a></span></p> - -<p class="nind">the cover of the drapery (<a href="#page_119">p. 119</a>). For Polygnotos we have the express -tradition of women with transparent garments, and on the Argonaut krater -even Athena’s grand forms are indicated; the great liberator of -wall-painting must also have been a pioneer in the drawing of the female -body. The new style here too brings perfection and fills the form of -women with its noble greatness and simplicity. That it too, in contrast -with the 4th century, eschews all that is typically feminine, soft and -unformed, is a proof how strong was the ideal of male beauty.</p> - -<p>A London lekythos (Fig. <a href="#fig_142">142</a>) also represents a dead soldier at the -grave. The winged brothers Sleep and Death with tender hand dispose of -his corpse, as they do with the dead Sarpedon in the Iliad: and the -lekythos-painter took his type also from the Sarpedon pictures; the -young warrior who had fallen far from his country, should on the vase -have the same boon of burial in his native soil, as was granted by Zeus -to the Lycian king. The fine type was then divested of its proper -meaning and received a more general signification. The London vase, -which uses lustreless colours for the outlines of its figures also, must -be somewhat later than the Boston vase, although the new technique, that -is pure brush technique, went on for a time beside the old. Though -stylistic estimates now become difficult, one fancies in the wonderful -vigour of the drawing, and in the stronger individuality of the hair, -that one is nearer to the period of the Parthenon pediments than in the -somewhat more austere Boston group. Where the way led may be shown by -the woman sitting on the steps of a tomb on a lekythos in Athens (Fig. <a href="#fig_145"> -145</a>), which not only by the strongly plastic suggestion of the outline -goes beyond the Pheidian period proper, but also in the grandiose -heightening of the simple motive shows itself as one of the works which -take up and cast in new moulds the pathos of<span class="pagenum"><a name="page_148" id="page_148">{148}</a></span> the Parthenon pediments. -Every line in the very individual drawing of the woman, who is -supporting her left hand and lifting her garment with her right, while -her feet are unruly in submitting to the sitting posture, is animated by -passionate unrest.</p> - -<p>Though the age of Pheidias liked pictures of feeling with quiet figures -like the music-scenes, the Munich stamnos and the lekythoi, it did not -exhaust itself in them. Beside the vases with large figures, there are -others, which continue to cultivate the elegant style and prepare the -way for a class which flourishes in the last decades of the century. -Little jugs with nursery scenes, pomade boxes with pictures of female -life, globular unguent pots with lekythos-like mouth are the principal -vehicles of this style, and the “Eretria” master is a typical -representative. On great and small vases we find scenes of animated -motion, passionate scenes of conflict, which on their side too, share in -the nobility of the style of the age. The brutal vigour and hardness of -old motives seems broken, softened, often almost takes a turn to -elegance. The order of the large compositions with its arrangement of -the figures over one another and indication of the broken ground by -lines closely follows the Polygnotan system. But while the Polygnotan -depth in space was produced by a naturalistic tendency, which soon led -to complete freedom in the great art, it is continued by the -vase-painters as a mere principle of distribution and space-filling, -<i>i.e.</i>, it receives a decorative character.</p> - -<p>One of the finest pictures of movement from this period decorates a -stamnos at Naples (Fig. <a href="#fig_147">147</a>): women who are sacrificing before a -tree-trunk dressed out as Dionysos and dancing to the tambourine. The -exact dating of this picture, like the whole chronology of the late and -post-Pheidian vases, is a matter of dispute: but this much is certain, -that it cannot be understood except as a near echo of the art of</p> - -<p class="ills"><a name="plt_LXXXVIII" id="plt_LXXXVIII"></a></p> -<div class="figcenter"> -<a href="images/i_fp148-a_lg.jpg"> -<img src="images/i_fp148-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXXXVIII.</p> - -<p><a name="fig_146" id="fig_146">Fig. 146</a>. RED-FIGURED STAMNOS.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp148-b_lg.jpg"> -<img src="images/i_fp148-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_147" id="fig_147">Fig. 147</a>. OFFERINGS AT THE IMAGE OF DIONYSOS: FROM A RED-FIGURED -STAMNOS.</p></div> -</div> - -<p class="ills"><a name="plt_LXXXIX" id="plt_LXXXIX"></a></p> -<div class="figcenter"> -<a href="images/i_fp149_lg.jpg"> -<img src="images/i_fp149_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LXXXIX.</p> - -<p><a name="fig_148" id="fig_148">Fig. 148</a>. PELOPS AND HIPPODAMEIA: FROM A RED-FIGURED NECKED AMPHORA.</p> - -<p><i>From Furtwängler-Reichhold, Griechische Vasenmalerei.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_149" id="page_149">{149}</a></span></p> - -<p class="nind">the Parthenon pediments. Into the noble line-drawing of the middle style -of Pheidias has come a new passionate movement, which draws the contour -in more violent curves, dissolves the hair in strong waves, throws the -drapery into great folds, and enlivens the clinging parts with -restlessly curving inner folds. The upper garment of Dionysos is given -rich effect by long border zig-zags, interspersed stars and an -embroidered wreath, the expression of his eyes is strengthened by -emphasis on the upper lid. Details added in white and liberal use of -thinned black heighten the coloured effect. This new style with its -marked enhancement of the lines is the later style of Pheidias, a -reflection of the last and highest development of the Parthenon master, -which pointed Attic art into new paths, and lived its life out and died -in the school of Pheidias.</p> - -<p>The amphora with twisted handles at Arezzo (Fig. <a href="#fig_148">148</a>) must be in close -connection with the last phase of the Pheidian style and cannot be far -removed from the Naples stamnos. Its shape enriches the type of the -Terpischore vase in London (Fig. <a href="#fig_141">141</a>) by sharper profiling of the mouth -and foot, but does not yet draw the lower part into the dull curve, -which robs the amphorae and bell-kraters of the end of the century of -strong and taut effect. Similarly the scene, the wild career of Pelops -and Hippodameia over the sea, heightens the tendencies of Pheidian art -without succumbing to the palsy which can be felt in the style of -Meidias. The divine horses, the gift of Poseidon, emit sparks of the -fire of the steeds on the pediments; the majestically animated attitude -of Hippodameia reminds one of the Athenian lekythos (Fig. <a href="#fig_145">145</a>); in -Pelops every line is full of passion and bold movement. Here too the -draperies are rich and elaborate, the restless billowing of the folds is -more marked than on the Naples stamnos, and the flowing chiton folds, -which cling close to the body, pre<span class="pagenum"><a name="page_150" id="page_150">{150}</a></span>pare for the exaggeration dear to -post-Pheidian sculpture and painting. Not only does the drawing of -individual forms show a plastic conception of space, but the whole scene -is inconceivable without a contemporary big painting with considerable -landscape capacities: from the tree-clad hilly coast the chariot rushes -out upon the deep sea.</p> - -<p>In fiery impetus only one of the vase-paintings of this period can -compare with the Pelops vase, the somewhat later Naples fragment of a -Gigantomachia (Fig. <a href="#fig_149"> 149-151</a>). An invention of truly Titanic force, -which is also echoed on other later vases, must be the basis of this -picture, and even the unusual division (unsuited to vases) by an arch -points to a model from another branch of art. In a rocky landscape the -fight for existence of the gods and the sons of the earth-goddess takes -place in the early morning, when Helios is rising on the vault of heaven -and Selene is sinking down into ocean, as on the east pediment of the -Parthenon. The bold movements, the twistings and bendings of the -combatants, the ‘lost’ profile, the swellings and packings of the skin -and muscles are rendered with sure touch. The plastic effect of the -middle line of chest and abdomen is increased by doubling, and -horizontal folds bring out the lower part of the forehead, the locks of -hair and tips of hide flutter as if they were alive; the breasts of the -earth-goddess are modelled out of the drapery as if bare, the eyes are -deep-set, the underlips project.</p> - -<p>That the rendering of the female body was now not less accomplished than -that of the male, beside the lekythos in Athens, a picture of a -different order may show. On an Oxford jug appears in the spaciousness -favoured by these vases an old theme, Satyr and Nymph (Fig. <a href="#fig_154">154</a>). One -can scarcely realize the nobility of Pheidian conception more fully than -by comparing this scene with the Phineus kylix (Fig. <a href="#fig_74">74</a>) and its -congeners. What early ages had represented</p> - -<p class="ills"><a name="plt_XC" id="plt_XC"></a></p> -<div class="figcenter"> -<a href="images/i_fp150_lg.jpg"> -<img src="images/i_fp150_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XC.</p> - -<p><a name="fig_149" id="fig_149"></a> -<a name="fig_150" id="fig_150"></a> -<a name="fig_151" id="fig_151"></a>Figs. 149-151. GIGANTOMACHIA: FRAGMENT OF A RED-FIGURED KRATER.</p></div> -</div> - -<p class="ills"><a name="plt_XCI" id="plt_XCI"></a></p> -<div class="figcenter"> -<a href="images/i_fp151_lg.jpg"> -<img src="images/i_fp151_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XCI.</p> - -<p><a name="fig_152" id="fig_152">Fig. 152</a>. ADONIS AND APHRODITE: FROM A RED-FIGURED HYDRIA.</p></div> -</div> - -<p><span class="pagenum"><a name="page_151" id="page_151">{151}</a></span></p> - -<p class="nind">with drastic humour, is here refined and given a soul: even the Satyrs -and Centaurs, the rugged monsters of the woods and mountains, are tamed -by the new spirit which will not any longer endure brutality and -obscenity.</p> - -<p>The sleeping nymph Tragodia is not only correctly observed in her -foreshortening, in movement and distribution of the weight of the body, -she is also the vehicle of a wonderful feeling. The picture, which -immediately prepares for the works of the Meidias painter and the -‘Pronomos’ master, and beside the great style of the Pelops and Giant -vases shows us the continuance of the refined and elegant style, cannot -have been produced long after Pheidias’ death.</p> - -<p>The time of the School of Pheidias, of whose best works we have been -introduced to a selection, gives us again a few artists’ names. The -painter Aison gives us a Madrid kylix with the exploits of Theseus, -which must be about contemporary with the Giant vase. On the Theseus of -the interior the hair is dissolved into lively curls, which stand out -dark on a lighter ground, and the plastic swelling of the belly goes to -the utmost limit of what is possible; in his protectress Athena we see -already the contrast between the leg that bears the weight and is -covered by hanging folds, and the free leg, which is closely covered by -the drapery; which is exaggerated by Aristophanes, whom the potter -Erginos employed, just as is the hair with light under-painting, and the -chiton clinging as if moist and blowing back. Aison, who began his -activity even in Pheidian days, draws more elegantly than his younger -colleague, but neither master initiated a new development of kylix -painting. The greatness of both lay in exploiting as artizans accessible -types.</p> - -<p>With the works of Aristophanes we probably go further from the time of -Pheidias than with the Naples fragment: the works of the ‘Meidias’ -painter take us to the time of<span class="pagenum"><a name="page_152" id="page_152">{152}</a></span> the Nike balustrade, <i>i.e.</i>, the two -last decades of the 5th century. They too are an echo of the art of the -Parthenon pediments, but in travelling along the road this echo has lost -its vigour. On the unsigned Adonis hydria in Florence (Fig. <a href="#fig_152">152</a>) all the -figures exuberate in lazy grace and fine motives of beauty. Particularly -the groups, Adonis in the lap of Aphrodite, and Hygieia with Paidia, -remind us of the Parthenon, the wonderful melting forms of the ‘Fates’ -and other pediment figures. But what there was born of passion, is here -become fashion, and is playfully treated. The excitement of the faces -with wide nostrils, the bowing and bending of bodies conscious of their -beauty, the supporting of arms and play of fingers, the whole extent of -the carelessly united society on the wavy hill-lines (<a href="#page_141">p. 141</a>) in spite -of all its grace has something of the formula about it. The style of the -drapery is certainly an indication of the weakening of earlier vigour. -The many and over elegant broken-up folds, which cling unnaturally close -to breast and free leg, the curling of the cloak folds, and the -independent movement of the tips, is a long way off the Parthenon -pediments, which inaugurate this enhancement of style, but without loss -of vigour and by a kind of natural evolution. The effort for fine -effect, which is expressed in the rich patterning, is in noticeable -contrast to the restlessness of the drapery. A certain inclination to -pomp is characteristic of the post-Pheidian style. The raised gilt -details of the clay, which we know already on the white ground lekythoi -(Fig. <a href="#fig_134">134</a>), the box of Megakles (Fig. <a href="#fig_137">137</a>) and the works of the Eretria -master (<a href="#page_148">p. 148</a>), are now in high honour, and are plentifully employed on -the Adonis vase.</p> - -<p>The Meidias painter also produced a series of similar pure pictures of -‘existence’ on hydriae, <i>e.g.</i>, the fair Phaon, the singer ‘Thamyris,’ -Paris with the goddesses,</p> - -<p class="ills"><a name="plt_XCII" id="plt_XCII"></a></p> -<div class="figcenter"> -<a href="images/i_fp152_lg.jpg"> -<img src="images/i_fp152_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XCII.</p> - -<p><a name="fig_153" id="fig_153">Fig. 153</a>. THE GIANT TALOS OVERCOME BY THE DIOSKUROI: RED-FIGURED -VOLUTE-KRATER.</p></div> -</div> - -<p><span class="pagenum"><a name="page_153" id="page_153">{153}</a></span></p> - -<p class="nind">the Eleusinian deities, and decorated other vases also in this manner. -These scenes, on which the figures move less vigorously than the lines, -are more successfully rendered than the pathos of the scene of abduction -on the London hydria signed by the potter Meidias. He was no bold -progressive artist; his technically exquisite and very delicately drawn -pictures recast in new shapes the new phenomena of art: in him the -series of masters of the type of the ‘Sotades’ painter and the Eretria -master comes to an end.</p> - -<p>His contemporary, who may after the chief figure of the Satyric play -vase at Naples be called the ‘Pronomos’ master, likes figures of -‘existence’ in pretty poses, but he draws them with more spirit and does -more justice to the vehement style of his time. On the Naples vase, a -showy volute-krater with rich profiling, he puts on the obverse the cast -of an Attic theatrical performance in two almost equal rows one above -the other, and thus starts a principle of composition which was taken up -by the vase-painting of Lower Italy (Fig. <a href="#fig_158">158</a>). Liberal use is made of -thinned colour, the centre of the scene is denoted by a white figure, -the luxuriantly ornamented dresses confuse the general impression. In -respect of shape and decoration one may speak of a decay of the finer -tectonic sense, which reminds us surprisingly of the vases of Lower -Italy. The perspective side-view of the footstool and of the tripod -column are liberties taken by the great art, which generally Attic -vase-painters consciously avoid so as to keep to the surface treatment.</p> - -<p>The tripod-column, which transplants us into the Theatre of Athens, as -the Athena of the Panathenaic vases to the Acropolis, recurs after -Polygnotan times often in the midst of mythological scenes, and brings -the vases, which show it, anyhow in relation to dramatic exhibitions.</p> - -<p>It has been proposed to recognise the effect of the stage<span class="pagenum"><a name="page_154" id="page_154">{154}</a></span> on -vase-painting, <i>e.g.</i> in the increased pomp of the dresses. This effect -might at the most have taken place indirectly; for that the -vase-painters often took as their patterns votive paintings of -victorious Choregi, is more than probable. And in general one may draw -conclusions as to the great art from many a fine invention, which is -seen on vase-paintings at second-hand, <i>e.g.</i> from the Bacchic scenes on -the reverse of the ‘Pronomos’ vase. This conclusion is certainly also -justified in view of the Talos vase (Fig. <a href="#fig_153">153</a>) which transforms the -mighty echoes of the late Pheidian art into the pompous, as the Meidias -vases into the ornamental-elegant. The vase-shape is closely allied to -that of the ‘Pronomos’: the central figure in white, so popular in this -period, recurs, and in its spatial effect is enhanced by shaded -modelling far above the proportions of the other figures, which show -plainly the conscious restraint of the vase-painters. Though the ‘Talos’ -master altered the composition of his pattern to suit his vase, he must -have preserved with tolerable faithfulness the grandiose invention of -the centre group; the passionate impetus, which fills the whole scene -and catches even the cloaked figures of the reverse, is here most -convincing.</p> - -<p>With this fine masterpiece, which almost exaggerates the element of -show, not separated by more than two decades from the Parthenon -pediment, we close the history of the vases that show the style of -Pheidias. Nay, one may regard the proper history of Greek vase-painting -as closed with these post-Pheidian vases. Not merely does the potter -make his vases untectonic by excessive profiling and elaborate -extension, but the painter too, interrupts the unity of the vase-surface -with the white-painted and plastically modelled central figure; thus in -a sense the silhouette style is declared bankrupt.</p> - -<p class="ills"><a name="plt_XCIII" id="plt_XCIII"></a></p> -<div class="figcenter"> -<a href="images/i_fp154-a_lg.jpg"> -<img src="images/i_fp154-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XCIII.</p> - -<p><a name="fig_154" id="fig_154">Fig. 154</a>. SATYR AND SLEEPING MAENAD: FROM A RED-FIGURED JUG.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp154-b_lg.jpg"> -<img src="images/i_fp154-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_155" id="fig_155">Fig. 155</a>. WOMEN AT THE BATH: FROM A LATE ATTIC PELIKE.</p> - -<p><i>From Furtwängler-Reichhold, Griechische Vasenmalerei.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_155" id="page_155">{155}</a></span></p> - -<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII.<br /><br /> -LATE OFFSHOOTS</h2> - -<p class="nind"><span class="letra">W</span>E should unnaturally shift the centre of gravity in our narrative if we -treated the late period of Greek vase-painting with anything like the -same fulness as its development from the Geometric to Meidias. The fully -developed and often almost playfully treated vase-shapes give no longer -any really tectonic ground for the silhouette style, which had exhausted -the qualities compatible with its inward nature: the elegance of the -vases feels the pictorial decoration to be a burden, as does the style -of the figures feel the tectonic compulsion. Even in the last third of -the 5th century examples are multiplied of the transition to free brush -technique. The Pelops amphora (Fig. <a href="#fig_148">148</a>) adorns its black neck with a -sphinx added in white, the Talos vase (Fig. <a href="#fig_153">153</a>) and with it a multitude -of other vases seek to fix the impression by a white central figure, to -which the others rendered in ordinary technique are only a pale foil. In -the course of the 4th century this foil too, was dropped, and black -glazed vases of elegant shape were decorated only with figures or -ornaments loosely added in white. The brush technique, both the black of -Boeotian vases (<a href="#page_110">p. 110</a>) and the white of Attic and Lower Italian, made a -new development in ornamentation, which culminates in spiral tendrils -and branches with depth of space, in combination of figures and foliage -of plastic effect. Besides these freely decorated vases the red-figured -long continue. But the centre of gravity of the manufacture lies no -longer in Athens. Even in the time of Pheidias the Attic school sent a -branch to Lower Italy, which took root in the Periclean<span class="pagenum"><a name="page_156" id="page_156">{156}</a></span> colonies of -Lucania, extended to various places in Lucania, Campania, Apulia, and -Southern Etruria, and soon grew up as a strong plant. In this -production, which in the 4th century completely supplanted Attic -importation, few really original artists took part, who all seem to -belong to the early period, and perhaps were emigrated Athenians; the -master of the Paris ‘Tiresias’ krater is one of them. From the early -group, in which good Attic tradition is strongly felt, we select two -bell-kraters. The full, and rather empty heads, the very general -conception of the divine types leave us no doubt as to the Italian -origin of the Paris ‘Orestes’ vase found in Lucania (Fig. <a href="#fig_156">156</a>), while -the wonderful group of the sleeping Erinyes, Klytemnestra urging them to -vengeance, and the purified Orestes, show us not only a fine model but a -clever hand. From the drawing and shape of the vase it may very well -belong to the end of the 5th century, like the closely analogous London -krater (Fig. <a href="#fig_157">157</a>). This vase with much humour introduces to us one of -the favourite Italian farces (the Phlyakes) and begins a long series of -similar representations from different workshops. Thus <i>e.g.</i> the -painter Assteas painted two Phlyax vases, one of which in comic parody -gives the violation by Aias of Kassandra, while the other is a serious -theatrical scene, which with its detailed rendering of the stage clearly -demonstrates the influence of the drama on vase-painting.</p> - -<p>The activity of this painter, who from the stiff variety of the style -and the localities of the finds must be localized in South Campania, -belongs to a later phase, which does not concern us. For the more these -Italo-Greek vases in shape, decoration and representation develop local -peculiarities and depart from their purely Attic starting point, the -less do they belong to our survey, which excludes provincial varieties. -Out of the mass of Lower Italian vases of the 4th century, which in -shape partly run parallel with the Attic,</p> - -<p class="ills"><a name="plt_XCIV" id="plt_XCIV"></a></p> -<div class="figcenter"> -<a href="images/i_fp156-a_lg.jpg"> -<img src="images/i_fp156-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XCIV.</p> - -<p><a name="fig_156" id="fig_156">Fig. 156</a>. ORESTES AND THE FURIES: FROM A LUCANIAN BELL-KRATER.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp156-b_lg.jpg"> -<img src="images/i_fp156-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_157" id="fig_157">Fig. 157</a>. COMEDY SCENE: LOWER-ITALIAN BELL-KRATER.</p></div> -</div> - -<p class="ills"><a name="plt_XCV" id="plt_XCV"></a></p> -<div class="figcenter"> -<a href="images/i_fp157_lg.jpg"> -<img src="images/i_fp157_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XCV.</p> - -<p><a name="fig_158" id="fig_158">Fig. 158</a>. ACHILLES AND THERSITES: APULIAN VOLUTE-KRATER.</p></div> -</div> - -<p><span class="pagenum"><a name="page_157" id="page_157">{157}</a></span></p> - -<p class="nind">partly develop noticeably baroque and locally limited peculiarities, -which in their chiefly sepulchral representations, influenced by -Orphic-Dionysiac cults, often fall into coarseness, stiffness, or -effeminate insipidity, let us take only one example. The Boston volute -krater, 1¼ metres high (Fig. <a href="#fig_158">158</a>) belongs to a group of Apulian grand -vases, which elongate the shape of the Talos vase (Fig. <a href="#fig_153">153</a>) and add -rich ornament in white colour. On the reverse bearers of offerings above -one another in the favourite borrowed motives (sitting, standing, -running, leaning on a pillar, drawing up one foot) surround a -white-painted Heröon with the dead man: the obverse combines a similar -building with a mythological scene, the slaying of Thersites by -Achilles, and thus gives a mythical prototype to the dead man, for whose -grave the vase is designed. The liberal use of white paint, the ‘black -ground’ ornamentation of the neck and foot with branches and tendrils -are progressive elements, which lead the way for Hellenistic products -like the Apulian Gnathia vases; in the increased pathos of the faces is -traced, though provincially coarsened, the stronger weight given to -sentiment in the 4th century; and the perspective rendering of the -building operating with light and shade, which often extends to the -ornament, points to a period, which had won complete freedom in space, -and certainly could distribute figures over the landscape more naturally -than the vase-painter, who filled the tall space with them only in a -superficially decorative way.</p> - -<p>Sentiment and light, the great achievements of 4th century art, were the -ruin of the decorative silhouette style, whose figure world can admit of -pathos, as little as the bursting of its vase sides by perspective views -corresponds to its surface decoration. Even in Athens, where out of the -successors of the Meidias, Pronomos and Talos styles an after-bloom -developed (Figs. <a href="#fig_155">155</a> and <a href="#fig_159">159</a>), which from the<span class="pagenum"><a name="page_158" id="page_158">{158}</a></span> rich exports in the Black -Sea is usually called the Kerch style, the new tendencies of art were -fatal to the red-figured style. To be sure this was in a different -direction to Lower Italy. The figure world of the elegant Attic vases, -which in the new naturalness of motives and drapery, in the strong -emphasis on female forms, is far removed from the types of Pheidias, -betrays little of the enhanced pathos of the great painting, which one -would have to deduce from the sculpture of Skopas and Praxiteles, even -if it were not expressly witnessed to by literary tradition. From the -same finer decorative sense the Attic masters made no use of the full -perspective of their time, and interrupted the vase-surface neither by -buildings or ornaments drawn in perspective nor by composition in -several planes, but following the old manner simply arranged above and -beside each other on the surface their generally large and restful -figures. As in the post-Pheidian style they like to pick out single -figures by white colour, and do not despise gilded additions, nay, they -even often heighten the decorative effect of colour by the application -of light blue, green and rose, occasionally also by figures in relief -and painted (as Xenophantos did in his aryballos with hunting Persians, -meant for Eastern customers, in signing which he emphasizes his Athenian -citizenship). The varying shades of the colour scale give one an inkling -of the new problems of light, which were certainly struggling for -expression not only in sculpture; in the drawing of the figures, -rendered in strong relief strokes, nothing of this is observed. Thus the -‘Kerch’ masters ensure to their vases a finer general aspect than the -Southern Italians, just as their commonest figures are distinguished -from the Italian by a certain nobility; but they are far behind the huge -advances of the great art, which now in its methods of expression -attained the heights perhaps of Titian and Tintoretto, and have an -<i>arrieré</i> effect, listless and</p> - -<p class="ills"><a name="plt_XCVI" id="plt_XCVI"></a></p> -<div class="figcenter"> -<a href="images/i_fp158-a_lg.jpg"> -<img src="images/i_fp158-a_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XCVI.</p> - -<p><a name="fig_159" id="fig_159">Fig. 159</a>. LATE ATTIC KALYX-KRATER.</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_fp158-b_lg.jpg"> -<img src="images/i_fp158-b_sml.jpg" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p><a name="fig_160" id="fig_160">Fig. 160</a>. HELLENISTIC CUP.</p></div> -</div> - -<p><span class="pagenum"><a name="page_159" id="page_159">{159}</a></span></p> - -<p class="nind">dull. Just as the new style could express itself better by the applied -than by the reserved ornamentation, which in spite of new formations has -a stiff and lifeless effect, so too the red-figured style, which as is -proved by finds at Alexandria, continued to exist down into the early -Hellenistic age, was no longer the congenial vehicle of the expression -of its age; and it was only seldom that notable personalities attempted -to practise it.</p> - -<p>Rightly recognising that the days of the draughtsman and his decorative -figure style were past and gone, the ceramic workshops of the late 4th -century, and the Hellenistic, which appeared in several spots of the now -decentralized Greek world, more and more gave up the red-figured -technique. The great increase of the means of colouring, which is to be -assumed for the late painting, the complete suppression of formal -tendencies in favour of impressionism did not permit the silhouette -style even a subsidiary place. The future belonged to free brush -technique, that which painted in black, and that which had a black -ground (pp. <a href="#page_110">110</a> and <a href="#page_157">157</a>).</p> - -<p>The figured world, the representations, no longer play any part; the -Hellenistic painters prefer to put on their elegant, often playfully -treated vases tendrils, festoons, hanging branches and fillets, wreathes -and masks in loose arrangement. With these products of the mere -craftsman, which are often of fascinating effect (cp. <a href="#fig_160">Fig. 160</a>), but -often in shape and decoration cause one to miss the delicate taste of -earlier times, ends the history of Greek vase-painting; by pottery with -relief ornament (already heralded by the completely black channelled -vases of the 4th century and works like the aryballos of Xenophantos), -which now gains ground more and more, painted pottery is completely -driven off the field.<span class="pagenum"><a name="page_160" id="page_160">{160}</a></span></p> - -<h2><a name="NOTE" id="NOTE"></a>NOTE</h2> - -<p>Thanks are due to Messrs. F. Bruckmann, of Munich, for permission to -reproduce several drawings from Furtwängler-Reichhold, <i>Griechische -Vasenmalerei</i>.<span class="pagenum"><a name="page_161" id="page_161">{161}</a></span></p> - -<h2><a name="INDEX_OF_ILLUSTRATIONS" id="INDEX_OF_ILLUSTRATIONS"></a>INDEX OF ILLUSTRATIONS</h2> - -<table border="0" cellpadding="3" cellspacing="0" summary="" -style="font-size:80%;margin:auto 15% auto 15%;"> - -<tr> -<td valign="top" colspan="3"><p><a href="#plt_I">Plate I.</a> Interior of a kylix signed by Euphronios as potter: from -Caere; Paris, Louvre, G 104. Diameter 0,39. From <i>Furtwängler-Reichhold</i> -5.</p></td> -<td valign="bottom"> <i><a href="#plt_I">Frontispiece</a></i></td></tr> - -<tr><th colspan="4">CHAPTER I.: THE STONE AND BRONZE AGES:—</th></tr> - -<tr> -<td valign="top" class="rt"><a href="#plt_II">Pl. II.</a></td> - -<td valign="top"><a href="#fig_1">Fig. 1</a></td> -<td valign="top">Bowl from Sesklo: Athens. Height -0,20. Dark painting on lemon-coloured -ground. From Tsountas, -<i>Dimini and Sesklo</i> (Greek), pl. 22</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_2">Fig. 2.</a></td> -<td valign="top">Face-urn from Troy II.-V.: Berlin. -Height 0,30. From <i>British School</i> -yellowish clay. From <i>H. Schliemann’s -Sammlung Trojanischer -Altertümer, Hubert Schmidt</i>, <i>No.</i> -1,080 and 1,084</td> -<td class="rt" valign="bottom"><a href="#page_2"><i>To face page</i> 2</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_III">Pl. III.</a></td> -<td valign="top"><a href="#fig_3">Fig. 3</a></td> -<td valign="top">Beaked jug from Syros: Athens, -Nicole 123. Height 0,16. Light-brown -painting on yellow ground. -From <i>Ephemeris Arch.</i> 1899, pl. 10. -No. 8</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_4">Fig. 4.</a></td> -<td valign="top">Beaked jug from the sixth shaft-grave -at Mycenae: Athens, Nicole -189. Height 0,30. Turned on the -wheel, polished, lustreless brown -(and red) painting. From Furtwängler -and Löschcke, <i>Mykenische -Tongefässe</i>, pl. IX. No. 44.</td> -<td class="rt" valign="bottom"><a href="#page_4">4</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_IV">Pl. IV.</a></td> -<td valign="top"><a href="#fig_5">Fig. 5</a></td> -<td valign="top">Vase of Kamares style from the -palace of Knossos: Candia. Height, -0,22. Painting white, orange and -carmine-red on black glaze. From -<i>British School Annual</i> IX, p. 120.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_6">Fig. 6.</a></td> -<td valign="top">Unpainted kylix with yellow -smoothed surface, from the fourth -shaft-grave at Mycenae: Athens, -Nicole 164. Diameter 0,12. From -Furtwängler and Löschcke, <i>Mykenische -Tongefässe</i>, pl. V. No. 22</td> -<td class="rt" valign="bottom"><a href="#page_6">6</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_V">Pl. V.</a></td> -<td valign="top"><a href="#fig_7">Fig. 7</a></td> -<td valign="top">Funnel-vase of late Minoan I. from -a house at Palaikastro: Candia. -Height 0,10. Turned on the wheel, -<i>Annual</i> IX, p. 311, fig. 10</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_8">Fig. 8.</a></td> -<td valign="top">Funnel-vase of late Minoan I. from -house on the island of Pseira: -Candia. From Seager, <i>Excavations -<span class="pagenum"><a name="page_162" id="page_162">{162}</a></span>on the island of Pseira</i>, p. 25, fig. 8</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_9">Fig. 9.</a></td> -<td valign="top">Vase (Pithos) of Kamares style from -Phaistos: Candia. Height 0,50. -Red and white painting on black -glaze. From <i>Monumenti Antichi</i> -XIV., pl. XXXV. b.</td> -<td class="rt" valign="bottom"><a href="#page_8"><i>To face page</i> 8</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_VI">Pl. VI.</a></td> -<td valign="top"><a href="#fig_10">Fig. 10</a></td> -<td valign="top">Stirrup-vase of late Minoan I., from -a house at Gournia: Candia. Height -0,20. From H. Boyd Hawes, -<i>Gournia</i>, pl. H.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_11">Fig. 11.</a></td> -<td valign="top">Amphora of late Minoan I., from a -house on Pseira. With many details -overpainted in white. From -Seager <i>op. cit.</i>, pl. VII.</td> -<td class="rt" valign="bottom"><a href="#page_10">10</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_VII">Pl. VII.</a></td> -<td valign="top"><a href="#fig_12">Fig. 12</a></td> -<td valign="top">Amphora of Palace style from a -grave of Knossos. From <i>Archæologia</i>, -1905, pl. CI.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_13">Fig. 13.</a></td> -<td valign="top">Amphora of Palace style from a -grave of Knossos. From <i>Archæologia</i>, -1905, pl. C.</td> -<td class="rt" valign="bottom"><a href="#page_12">12</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_VIII">Pl. VIII.</a></td> -<td valign="top"><a href="#fig_14">Fig. 14</a></td> -<td valign="top">Late Mycenean Cup from Ialysos -(Rhodes): London. Height 0,20. -Dark-brown glaze-colour on yellow -ground, details in white. From -Furtwängler-Löschcke, <i>Mykenische -Vasen</i>, pl. VIII., 49.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_15">Fig. 15.</a></td> -<td valign="top">Late Mycenean stirrup-vase from -Ialysos (Rhodes): London. Height -0,23. Yellowish-red glaze-colour on -yellow ground. The tentacles of -the cuttle-fish from a peculiar ornament -on the reverse, a bird by the -side of it. From Furtwängler-Löschcke, -<i>Mykenische Vasen</i>, pl. -IV., 24.</td> -<td class="rt" valign="bottom"><a href="#page_14">14</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_IX">Pl. IX.</a></td> -<td valign="top"><a href="#fig_16">Fig. 16</a></td> -<td valign="top">Late Mycenean vase with ribbed -handles from Ialysos (Rhodes): -London. Height 0,34. Dark-brown -glaze-colour (in parts burnt -red) on yellow ground. From Furtwängler-Löschcke, -<i>Mykenische -Vasen</i>, pl. VI., 32.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_17">Fig. 17.</a></td> -<td valign="top">Late Mycenean vase with ribbed -handles from Rhodes: Munich 47. -<span class="pagenum"><a name="page_163" id="page_163">{163}</a></span>Height 0,45. Brown, partly red, -glaze-colour on yellow ground. Biga -with driver and companion. <i>Münchener -Vasensammlung</i> I., p. 6, -fig. 7</td> -<td class="rt" valign="bottom"><a href="#page_16"><i>To face page</i> 16</a></td></tr> - -<tr><th colspan="4">CHAPTER II.: THE GEOMETRIC STYLE:—</th></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_X">Pl. X.</a></td> -<td valign="top"><a href="#fig_18">Fig. 18</a></td> -<td valign="top">Attic Geometric Amphora (Dipylon -class): Munich 1,250. Height O,50. -From photo.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_19">Fig. 19.</a></td> -<td valign="top">Geometric Amphora, said to come -from Melos, probably Attic (Black -Dipylon): Munich. Height O,73. -<i>Münchener Jahrbuch</i>, 1909, II., p. -202, fig. 1</td> -<td class="rt" valign="bottom"><a href="#page_20">20</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XI">Pl. XI.</a></td> -<td valign="top"><a href="#fig_20">Fig. 20</a></td> -<td valign="top">Upper half of a Dipylon grave-vase: -Athens, Collignon-Couve 214. -Height I,23. From <i>Monumenti dell’ -Istituto</i> IX., pl. 40, 1</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_21">Fig. 21.</a></td> -<td valign="top">Frieze from the upper half of a bowl -from Thebes, of which the rest is -only decorated with stripes: London. -From <i>Journal of Hellenic Studies</i>, -1899, pl. 8</td> -<td class="rt" valign="bottom"><a href="#page_22">22</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XII">Pl. XII.</a></td> -<td valign="top"><a href="#fig_22">Fig. 22</a></td> -<td valign="top">Rhodian Geometric jug, said to -come from Crete: Munich 455. -Height O,22. <i>Münchener Vasensammlung</i> -I., p. 44, fig. 57</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_23">Fig. 23.</a></td> -<td valign="top">Protocorinthinian Geometric cup -(skyphos) from Greece: Munich. -Height O,12. <i>Münchener Jahrbuch</i>, -1913, I., p. 78</td> -<td class="rt" valign="bottom"><a href="#page_26">26</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XIII">Pl. XIII.</a></td> -<td valign="top"><a href="#fig_24">Fig. 24</a></td> -<td valign="top">Attic Geometric kylix from Athens: -Munich. Diameter O,18. <i>Münchener -Jahrbuch</i>, 1913, I., p. 78.</td></tr> - -<tr><th colspan="4">CHAPTER III.: THE SEVENTH CENTURY:—</th></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_25">Fig. 25.</a></td> -<td valign="top">Cretan hydria from Praisos: Candia. -Height O,30. From <i>British School -Annual</i>, IX., pl. 9c</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_26">Fig. 26.</a></td> -<td valign="top">Cretan jug from Praisos: Candia. -Height O,33. White on glaze. From -<i>B.S.A.</i> IX., pl. 9d</td> -<td class="rt" valign="bottom"><a href="#page_28">28</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XIV">Pl. XIV.</a></td> -<td valign="top"><a href="#fig_27">Fig. 27</a></td> -<td valign="top">Cretan miniature jug with female -head: Berlin 307. Height O,10. -From <i>Athenische Mitteilungen</i>, -<span class="pagenum"><a name="page_164" id="page_164">{164}</a></span>1897, pl. 6</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_28">Fig. 28.</a></td> -<td valign="top">Fragment of a jug from Aegina: -Athens. Nicole 848. Diameter -ca. 0,25. <i>Athenische Mitteilungen</i>, -1897, pl. VIII.</td> -<td class="rt" valign="bottom"><a href="#page_30"><i>To face page 30</i></a></td></tr> - -<tr> -<td valign="top" class="rt"><a href="#plt_XV">Pl. XV.</a></td> -<td valign="top"><a href="#fig_29">Fig. 29</a></td> -<td valign="top">Fragment of a plate from a grave -at Praisos: Candia. Original diameter -ca. 0,35. Wrestle with a sea -monster. From <i>B.S.A.</i> X., pl. III.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_30">Fig. 30.</a></td> -<td valign="top">Krater of Aristonothos: Rome, -Palazzo dei Conservatori. Height -0,36. From <i>Mélanges d’Archéologie -et d’histoire</i>, 1911, pl. I.</td> -<td class="rt" valign="bottom"><a href="#page_32">32</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XVI">Pl. XVI.</a></td> -<td valign="top"><a href="#fig_31">Fig. 31</a></td> -<td valign="top">Protocorinthian lekythos: London, -B.M. Height 0,07. From <i>Journal -of Hellenic Studies</i>, XI., pl. I., 2</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_32">Fig. 32.</a></td> -<td valign="top">Protocorinthian lekythos, said to -come from Corinth: Berlin 336. -Height 0,06. From <i>Archäologische -Zeitung</i>, 1883, I.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_33">Fig. 33.</a></td> -<td valign="top">Protocorinthian jug of post-Geometric -style from Aegina: Munich -225a. Height 0,18. <i>Münchener -Vasensammlung</i> I., p. 11, fig. 17</td> -<td class="rt" valign="bottom"><a href="#page_34">34</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XVII">Pl. XVII.</a></td> -<td valign="top"><a href="#fig_34">Fig. 34</a></td> -<td valign="top">Protocorinthian lekythos, said to -come from Thebes: Boston. Height -0,07. From <i>American Journal of -Archæology</i>, 1900, pl. IV.</td> -<td class="rt" valign="bottom"><a href="#page_36">36</a></td></tr> - -<tr> -<td valign="top" class="rt"><a href="#plt_XVIII">Pl. XVIII.</a></td> -<td valign="top"><a href="#fig_35">Fig. 35-7</a></td> -<td valign="top">Protocorinthian jug, from the neighbourhood -of Rome: Rome, Villa di -Papa Giulio. Height 0,26. From -<i>Antike Denkmäler</i> II., pls. 44 and 45</td> -<td class="rt" valign="bottom"><a href="#page_38">38</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XIX">Pl. XIX.</a></td> -<td valign="top"><a href="#fig_38">Fig. 38</a></td> -<td valign="top">Protocorinthian or Corinthian jug: -Munich 234. Height 0,44. From -photo.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_39">Fig. 39.</a></td> -<td valign="top">Corinthian alabastron, from Greece: -Cambridge, Fitzwilliam Museum 30. -Height 0,20. From <i>Catalogue</i>, -pl. IV.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_40">Fig. 40.</a></td> -<td valign="top">Corinthian aryballos, from Greece: -Cambridge, Fitzwilliam Museum 36. -Height 0,20. From <i>Catalogue</i>, -pl. IV.</td> -<td class="rt" valign="bottom"><a href="#page_40">40</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XX">Pl. XX.</a></td> -<td valign="top"><a href="#fig_41">Fig. 41</a></td> -<td valign="top">Animal frieze from an early Corinthian -jug: Munich 228. <i>Münch. -<span class="pagenum"><a name="page_165" id="page_165">{165}</a></span>Vasens.</i> I., p. 12, fig. 18</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_42">Fig. 42.</a></td> -<td valign="top"> Animal frieze from a Corinthian jug - of wine-skin shape: Munich 246. - <i>Münch. Vasens.</i> I., p. 16, fig. 24</td> -<td class="rt" valign="bottom"><a href="#page_42"><i>To face page</i> 42</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XXI">Pl. XXI.</a></td> -<td valign="top"><a href="#fig_43">Fig. 43</a></td> -<td valign="top"> Corinthian skyphos, from Samos: - Boston. Height O,08. From photo.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_44">Fig. 44.</a></td> -<td valign="top"> Scene from the late Corinthian flask - of Timonidas, from Kleonai (Peloponnese): - Athens, Collignon-Couve - 620. Height of vase 0,14. From - <i>Athenische Mitteilungen</i>, 1905, pl. - VIII.</td> -<td class="rt" valign="bottom"><a href="#page_44">44</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XXII">Pl. XXII.</a></td> -<td valign="top"><a href="#fig_45">Fig. 45</a></td> -<td valign="top"> Pinax (votive-tablet), from Corinth, - signed by Timonidas: Berlin 846. - Height 0,22. From <i>Antike Denkmäler</i> - I., pl. 8, 13</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_46">Fig. 46.</a></td> -<td valign="top"> Frieze of an early Phaleron jug, from - Analatos (Attica): Athens, Collignon-Couve - 468. From <i>Jahrbuch</i>, - 1887, pl. 3</td> -<td class="rt" valign="bottom"><a href="#page_46">46</a></td></tr> - -<tr> -<td valign="top" class="rt"><a href="#plt_XXIII">Pl. XXIII.</a></td> -<td valign="top"><a href="#fig_47">Fig. 47-8</a></td> -<td valign="top">Neck and body designs of an early - Attic Amphora, from Athens: - Athens, Collignon-Couve 657. - Height 1,22. From <i>Antike Denkmäler</i> - I., pl. 57</td> -<td class="rt" valign="bottom"><a href="#page_48">48</a></td></tr> - -<tr> -<td valign="top" class="rt"><a href="#plt_XXIV">Pl. XXIV.</a></td> -<td valign="top"><a href="#fig_49">Fig. 49</a></td> -<td valign="top">Early Attic Amphora, from Piraeus: - Athens, Collignon-Couve 651. Height - 1,10. From <i>Ephemeris</i>, 1897, pl. 5</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_50">Fig. 50.</a></td> -<td valign="top"> Cycladic (Euboic) Amphora: Stockholm. - Height 0,59. From <i>Jahrbuch</i>, - 1897, pl. 7</td> -<td class="rt" valign="bottom"><a href="#page_50">50</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XXV">Pl. XXV.</a></td> -<td valign="top"><a href="#fig_51">Fig. 51</a></td> -<td valign="top"> Jug with griffin’s head, from Aegina: - London, B.M., A 547. From photo.</td> -<td class="rt" valign="bottom"><a href="#page_52">52</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XXVI">Pl. XXVI.</a></td> -<td valign="top"><a href="#fig_52">Fig. 52</a></td> -<td valign="top"> Chief design on a “Melian” amphora, - from Melos: Athens, Collignon-Couve - 475. Height of amphora - 0,95. From Conze, <i>Melische Tongefässe</i>, - pl. IV.</td> -<td class="rt" valign="bottom"><a href="#page_54">54</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XXVII">Pl. XXVII.</a></td> -<td valign="top"><a href="#fig_53">Fig. 53</a></td> -<td valign="top"> Herakles and Iole (?) on a “Melian” - amphora, said to come from Crete: - Athens, Collignon-Couve 477. From - <i>Ephemeris</i>, 1894, pl. 13</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_54">Fig. 54.</a></td> -<td valign="top"> Early Rhodian jug, from Rhodes: - Hague, Scheurleer Collection. - Height 0,22. From photo.</td> -<td class="rt" valign="bottom"><a href="#page_55">55</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XXVIII">Pl. XXVIII.</a></td> -<td valign="top"><a href="#fig_55">Fig. 55</a></td> -<td valign="top"> Rhodian jug: Munich 449. Height - 0,33. <i>Münch. Vasens.</i> I., p. 42, - fig. 54</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_56">Fig. 56.</a></td> -<td valign="top"> Late Rhodian jug, from Rhodes: - Munich 450. Height 0,33. <i>Münch.</i> - <i>Jahrb.</i>, 1911, II., p. 200</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_57">Fig. 57.</a></td> -<td valign="top"> Euphorbos plate, from Rhodes: - London, B.M. Diameter 0,38. From - Photo.</td> -<td class="rt" valign="bottom"><a href="#page_56"><i>To face page</i> 56</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XXIX">Pl. XXIX.</a></td> -<td valign="top"><a href="#fig_58">Fig. 58</a></td> -<td valign="top"> Late Rhodian cauldron (lebes), - from Italy: Paris, Louvre. Height - 0,35. From photo.</td> -<td class="rt" valign="bottom"><a href="#page_58">58</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XXX">Pl. XXX.</a></td> -<td valign="top"><a href="#fig_59">Fig. 59</a></td> -<td valign="top"> Gorgon plate, from Rhodes: London, - B.M. From <i>J.H.S.</i>, 1885, - pl. 59.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_60">Fig. 60.</a></td> -<td valign="top"> Sherd from Naukratis: Oxford. - (Busiris’ head painted red on white - slip, details by leaving the parts unpainted). - From <i>J.H.S.</i>, 1905, pl. - VI., I.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_61">Fig. 61.</a></td> -<td valign="top"> Naukratite sherd found on the - Acropolis of Athens: Athens, Acropolis - 450a. Yellow, red and white - painting on bright ground. From - <i>Akropolisvasen</i> I., pl. 24</td> -<td class="rt" valign="bottom"><a href="#page_60">60</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XXXI">Pl. XXXI.</a></td> -<td valign="top"><a href="#fig_62">Fig. 62</a></td> -<td valign="top"> Amphora, from Rhodes (Fikellura): - London, B.M., A 1311. Height 0,34. - From <i>Münchener Archäol: Studien</i>, - p. 300, fig. 24.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_63">Fig. 63.</a></td> -<td valign="top"> Amphora (Fikellura): Altenburg. - Height 0,31. From Böhlau, <i>Nekropolen</i>, - p. 56</td> -<td class="rt" valign="bottom"><a href="#page_62">62</a></td></tr> - -<tr><th colspan="4">CHAPTER IV.: THE BLACK-FIGURED STYLE:—</th></tr> - -<tr> -<td valign="top" class="rt"><a href="#plt_XXXII">Pl. XXXII.</a></td> -<td valign="top"><a href="#fig_64">Fig. 64</a></td> -<td valign="top"> Two friezes of a Corinthian krater, - from Caere: Paris, Louvre E. 635. - Height 0,46. After photo.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_65">Fig. 65.</a></td> -<td valign="top"> Corinthian krater, from Corinth: - Munich 344. Height 0,31. <i>Münch.</i> - <i>Jahrb.</i>, 1911, II., p. 290, fig. 1.</td> -<td class="rt" valign="bottom"><a href="#page_70">70</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XXXIII">Pl. XXXIII.</a></td> -<td valign="top"><a href="#fig_66">Fig. 66</a></td> -<td valign="top"> Frieze of a Corinthian krater, from - Caere: Berlin 1655. Height 0,46. - From <i>Monumenti</i> X., pl. 4, 5</td> -<td class="rt" valign="bottom"><a href="#page_72">72</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XXXIV">Pl. XXXIV.</a></td> -<td valign="top"><a href="#fig_67">Fig. 67</a></td> -<td valign="top"> Corinthian plate: Munich 346a. - Diameter 0,28. <i>Münch. Vasens.</i> - I., p. 31, fig. 46</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_68">Fig. 68.</a></td> -<td valign="top"> Chalkidian hydria, from Italy: - Munich 596. Height 0,46. From - photo.</td> -<td class="rt" valign="bottom"><a href="#page_74"><i>To face page</i> 74</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XXXV">Pl. XXXV.</a></td> -<td valign="top"><a href="#fig_69">Fig. 69</a></td> -<td valign="top"> Chalkidian amphora, from Vulci: - Würzburg. Height 0,41. From - photo.</td> -<td class="rt" valign="bottom"><a href="#page_74"><i>To face page</i> 74</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XXXVI">Pl. XXXVI.</a></td> -<td valign="top"><a href="#fig_70">Fig. 70</a></td> -<td valign="top"> Chalkidian amphora, from Caere: - London, B.M., B 155. Height 0,45. - From photo.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_71">Fig. 71.</a></td> -<td valign="top"> Scene from Chalkidian amphora of - Italian provenance: Munich 592. - <i>Münch. Vasens.</i> I., p. 65, fig. 75.</td> -<td class="rt" valign="bottom"><a href="#page_78">78</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XXXVII">Pl. XXXVII.</a></td> -<td valign="top"><a href="#fig_72">Fig. 72</a></td> -<td valign="top"> Ionic eye kylix, from Italy: Munich - 589. Height 0,10. From photo.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_73">Fig. 73.</a></td> -<td valign="top"> Head of Athena, from Ionic eye - kylix: Munich 590. <i>Münch. Vasens.</i> - I., p. 64, fig. 74.</td> -<td class="rt" valign="bottom"><a href="#page_80">80</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XXXVIII">Pl. XXXVIII.</a></td> -<td valign="top"><a href="#fig_74">Fig. 74</a></td> -<td valign="top"> Phineus kylix, from Vulci: Würzburg. - Diameter 0,39. From - <i>Furtwängler-Reichhold</i> 41.</td> -<td class="rt" valign="bottom"><a href="#page_82">82</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XXXIX">Pl. XXXIX.</a></td> -<td valign="top"><a href="#fig_75">Fig. 75</a></td> -<td valign="top"> Ionic b.f. fragments, from Kyme - (Asia Minor): London, B.M. From - photo.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_76">Fig. 76.</a></td> -<td valign="top"> Neck design of an Ionic b.f. Amphora, - from Italy: Munich 586. - <i>Münch. Vasens.</i> I., p. 62, fig. 73.</td> -<td class="rt" valign="bottom"><a href="#page_84">84</a></td></tr> - -<tr> -<td valign="top" class="rt"><a href="#plt_XL">Pl. XL.-I.</a></td> -<td valign="top"><a href="#fig_77">Fig. 77-8</a></td> -<td valign="top">Obverse and reverse of an Ionic b.-f. - Amphora, from Italy: Munich 585. - From <i>Münch. Vasens.</i> I., p. 59, - figs. 69 and 70.</td> -<td class="rt" valign="bottom"><a href="#page_86">86 & 87</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XLII">Pl. XLII.</a></td> -<td valign="top"><a href="#fig_79">Fig. 79</a></td> -<td valign="top"> Chief design on a Caeretan hydria: - Vienna, Museum für Kunst und Industrie - 217. From <i>Furtwängler-Reichhold</i> - 51.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_80">Fig. 80.</a></td> -<td valign="top"> Spartan kylix, from Italy: Munich - 382. Height 0,15. From <i>Münch.</i> - <i>Vasens.</i> I., p. 34, fig. & 48</td> -<td class="rt" valign="bottom"><a href="#page_88">88</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XLIII">Pl. XLIII.</a></td> -<td valign="top"><a href="#fig_81">Fig. 81</a></td> -<td valign="top"> Caeretan hydria, from Caere: Paris, - Louvre E 701. Height 0,43. From - photo.</td> -<td class="rt" valign="bottom"><a href="#page_89">89</a></td></tr> - -<tr> -<td valign="top" class="rt"><a href="#plt_XLIV">Pl. XLIV.</a></td> -<td valign="top"><a href="#fig_82">Fig. 82-3</a></td> -<td valign="top">Obverse and reverse of a Pontic amphora, - from Italy: Munich 837. - Height of vase 0,33. From <i>Furtwängler-Reichhold</i> - 21.</td> -<td class="rt" valign="bottom"><a href="#page_90">90</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XLV">Pl. XLV.</a></td> -<td valign="top"><a href="#fig_84">Fig. 84</a></td> -<td valign="top"> Spartan kylix, from Corneto: Berlin. - From <i>Jahrbuch d. D. Instatus</i> 1901, - pl. III.</td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XLVI">Pl. XLVI.</a></td> -<td valign="top"><a href="#fig_85">Fig. 85</a></td> -<td valign="top"> Spartan kylix (Arkesilas), from - Vulci: Paris, Cabinet des Médailles - 189. Diameter 0,29. From <i>Monumenti</i> - I., pl. 47ᴬ</td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XLVII">Pl. XLVII.</a></td> -<td valign="top"><a href="#fig_86">Fig. 86</a></td> -<td valign="top"> Fragments of a cauldron (lebes) by - Sophilos: Athens, Acropolis. Gräf - 587. Height of the frieze 0,09. - From Gräf, <i>Akropolisvasen</i>, pl. 26</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_87">Fig. 87.</a></td> -<td valign="top"> Attic tripod vase, from Athens: - Munich. Height 0,12. From - <i>Münch. Jahrb.</i>, 1911, II., p. 291, - fig. 5.</td> -<td class="rt" valign="bottom"><a href="#page_94">94</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XLVIII">Pl. XLVIII.</a></td> -<td valign="top"><a href="#fig_88">Fig. 88</a></td> -<td valign="top"> Boeotian b.-f. kantharos: Munich - 419. Height 0,19. From <i>Münch.</i> - <i>Vasens.</i> I., p. 40, fig. 52</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_89">Fig. 89.</a></td> -<td valign="top"> Detail of the François vase. From - <i>Furtwängler-Reichhold</i>, 13</td> -<td class="rt" valign="bottom"><a href="#page_96">96</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XLIX">Pl. XLIX.</a></td> -<td valign="top"><a href="#fig_90">Fig. 90</a></td> -<td valign="top"> François vase, from Chiusi: Florence, - Museo archeologico. Height - 0,66. From <i>Furtwängler-Reichhold</i>, - pl. 3, 10</td> -<td class="rt" valign="bottom"><a href="#page_98">98</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_L">Pl. L.</a></td> -<td valign="top"><a href="#fig_91">Fig. 91</a></td> -<td valign="top"> ‘Little Master’ kylix, from Vulci: - Munich, Jahn 36. Height 0,15. - From photo.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_92">Fig. 92.</a></td> -<td valign="top"> Attic b.-f. kylix with knob handles: - Boston. From photo.</td> -<td class="rt" valign="bottom"><a href="#page_100">100</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LI">Pl. LI.</a></td> -<td valign="top"><a href="#fig_93">Fig. 93</a></td> -<td valign="top"> Interior of an eye kylix of Exekias, - from Vulci: Munich, Jahn 339. Diameter - 0,30. From Gerhard, <i>Auserlesene</i> - <i>Vasenbilder</i> I., pl. 49</td> -<td class="rt" valign="bottom"><a href="#page_102">102</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LII">Pl. LII.</a></td> -<td valign="top"><a href="#fig_94">Fig. 94</a></td> -<td valign="top"> Scene from an Attic b.-f. Amphora, - from Vulci: Berlin 1685. Height - of vase 0,49. From Gerhard, <i>Etruskische</i> - <i>und Kampanische Vasenbilder</i>, - pl. 21</td> -<td class="rt" valign="bottom"><a href="#page_104">104</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LIII">Pl. LIII.</a></td> -<td valign="top"><a href="#fig_95">Fig. 95</a></td> -<td valign="top"> Scene from an Attic b.-f. Amphora, - probably from Vulci: Würzburg, - Urlichs 331. From photo.</td> -<td class="rt" valign="bottom"><a href="#page_105">105</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LIV">Pl. LIV.</a></td> -<td valign="top"><a href="#fig_96">Fig. 96</a></td> -<td valign="top"> Amphora of Exekias, from Vulci: - Rome, Museo Gregoriano, Helbig - 1220. Height of vase 0,80. From - photo.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_97">Fig. 97.</a></td> -<td valign="top"> Attic b.-f. necked Amphora, from - Italy: Munich. Height 0,40. From - photo.</td> -<td class="rt" valign="bottom"><a href="#page_106"><i>To face page</i> 106</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LV">Pl. LV.</a></td> -<td valign="top"><a href="#fig_98">Fig. 98</a></td> -<td valign="top"> Necked Amphora of Amasis: Paris, - Cabinet des Médailles 222. Height - 0,33. From photo.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_99">Fig. 99.</a></td> -<td valign="top"> Detail from interior of a cauldron of - Exekias, from Caere: formerly Castellani - Collection, Rome. From - <i>Wiener Vorlegeblätter</i>, 1888, pl. 5, - 3 b</td> -<td class="rt" valign="bottom"><a href="#page_107">107</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LVI">Pl. LVI.</a></td> -<td valign="top"><a href="#fig_100">Fig. 100</a></td> -<td valign="top"> Chief scene on a late b.-f. hydria, - from Vulci: Berlin, 1897. Height - of vase 0,44. From Gerhard, <i>Auserlesene</i> - <i>Vasenbilder</i> IV., pl. 249-50</td> -<td class="rt" valign="bottom"><a href="#page_108">108</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LVII">Pl. LVII.</a></td> -<td valign="top"><a href="#fig_101">Fig. 101</a></td> -<td valign="top"> Attic vase in shape of negro’s head - with late b.-f. decoration of neck: - Boston. From photo.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_102">Fig. 102.</a></td> -<td valign="top"> Panathenaic Amphora, from Vulci: - Munich, Jahn 655. Height 0,62. - From photo.</td> -<td class="rt" valign="bottom"><a href="#page_110">110</a></td></tr> - -<tr><th colspan="4">CHAPTER V.: THE RED-FIGURED STYLE IN THE ARCHAIC PERIOD:—</th></tr> - -<tr> -<td valign="top" class="rt"><a href="#plt_LVIII">Pl. LVIII.</a></td> -<td valign="top"><a href="#fig_103">Fig. 103</a></td> -<td valign="top"> Scene on an Amphora in the style of - the Andokides painter, from Vulci: - Munich, Jahn 388. Height 0,535. - From <i>Furtwängler-Reichhold</i> 4</td> -<td class="rt" valign="bottom"><a href="#page_114">114</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LIX">Pl. LIX.</a></td> -<td valign="top"><a href="#fig_104">Fig. 104</a></td> -<td valign="top"> Amphora of the potter Pamphaios - (Nikosthenes’ shape), from Etruria: - Paris, Louvre G 2. Height 0,38. - From photo.</td> -<td class="rt" valign="bottom"><a href="#page_116">116</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LX">Pl. LX.</a></td> -<td valign="top"><a href="#fig_105">Fig. 105</a></td> -<td valign="top"> Scene on an Amphora of Euthymides, - from Vulci: Munich, Jahn - 378. Height 0,60. From <i>Furtwängler-Reichhold</i> - 14.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_106">Fig. 106.</a></td> -<td valign="top"> Shoulder scene on a hydria of Hypsis, - from Vulci: Rome, Torlonia - Collection. From <i>Antike Denkmäler</i> - II., pl. 8</td> -<td class="rt" valign="bottom"><a href="#page_117">117</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXI">Pl. LXI.</a></td> -<td valign="top"><a href="#fig_107">Fig. 107</a></td> -<td valign="top"> Detail of Amphora of Euthymides, - from Vulci: Munich, Jahn 410. - From photo.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_108">Fig. 108.</a></td> -<td valign="top"> Detail from interior of an archaic - r.-f. kylix, from Orvieto: Boston. - From photo.</td> -<td class="rt" valign="bottom"><a href="#page_118">118</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXII">Pl. LXII.</a></td> -<td valign="top"><a href="#fig_109">Fig. 109</a></td> -<td valign="top"> Rhyton (in shape of a horse’s head) - with r.-f. decoration of neck: - Boston. From photo.</td> -<td class="rt" valign="bottom"><a href="#page_119"><i>To face page</i> 119</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXIII">Pl. LXIII.</a></td> -<td valign="top"><a href="#fig_110">Fig. 110</a></td> -<td valign="top"> Interior of a kylix by Skythes, from - Caere: Rome, Villa di Papa Giulio. - Diameter of interior O,10. From - <i>Monuments Piot XX.</i>, pl. 7</td> -<td class="rt" valign="bottom"><a href="#page_120">120</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXIV">Pl. LXIV.</a></td> -<td valign="top"><a href="#fig_111">Fig. 111</a></td> -<td valign="top"> Interior of a kylix by Epiktetos, - from Vulci. London, B.M., E. 38. - From <i>Furtwängler-Reichhold</i> 73, 1</td> -<td class="rt" valign="bottom"><a href="#page_121">121</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXV">Pl. LXV.</a></td> -<td valign="top"><a href="#fig_112">Fig. 112</a></td> -<td valign="top"> Part of the design on the psykter of - Euphronios, from Caere. Petrograd, - Hermitage, 1670. From <i>Furtwängler-Reichhold</i> - 63</td> -<td class="rt" valign="bottom"><a href="#page_122">122</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXVI">Pl. LXVI.</a></td> -<td valign="top"><a href="#fig_113">Fig. 113</a></td> -<td valign="top"> Obverse of a kalyx-krater of Euphronios, - from Caere. Paris, Louvre - G 103. Height of krater O,46. - From <i>Furtwängler-Reichhold</i> 92</td> -<td class="rt" valign="bottom"><a href="#page_123">123</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXVII">Pl. LXVII.</a></td> -<td valign="top"><a href="#fig_114">Fig. 114</a></td> -<td valign="top"> Kylix signed by the potter Sosias, - from Vulci: Berlin 2278. Diameter - 0,32. From photo.</td> -<td class="rt" valign="bottom"><a href="#page_124">124</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXVIII">Pl. LXVIII.</a></td> -<td valign="top"><a href="#fig_115">Fig. 115</a></td> -<td valign="top"> Interior of a r.-f. kylix, from Caere: - formerly Branteghem Collection, - now London, B.M., E 46. From - Hartwig, <i>Griechische Meisterschalen</i>, - pl. VIII.</td> -<td class="rt" valign="bottom"><a href="#page_125">125</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXIX">Pl. LXIX.</a></td> -<td valign="top"><a href="#fig_116">Fig. 116</a></td> -<td valign="top"> Interior of a kylix of Brygos, from - Vulci: Würzburg, Urlichs (1872) - 346. From photo.</td> -<td class="rt" valign="bottom"><a href="#page_126">126</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXX">Pl. LXX.</a></td> -<td valign="top"><a href="#fig_117">Fig. 117</a></td> -<td valign="top"> Detail of an archaic r.-f. pointed amphora, - from Vulci: Munich, Jahn - 408. From Photo.</td></tr> - -<tr> -<td valign="top" class="rt"><a href="#plt_LXXI">Pl. LXXI.</a> <a href="#fig_118">Figs. 118-9.</a> Exteriors of a kylix of Brygos: - Paris, Louvre. From <i>Furtwängler-Reichhold</i> - 25</td> -<td class="rt" valign="bottom"><a href="#page_128">128</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXXII">Pl. LXXII.</a></td> -<td valign="top"><a href="#fig_120">Fig. 120</a></td> -<td valign="top"> R.-f. skyphos, from Italy: Vienna, - Museum für Kunst und Industrie - 328. From photo.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_121">Fig. 121.</a></td> -<td valign="top"> Exterior of a kylix, from Corneto: - Corneto. From <i>Monumenti XI.</i>, - pl. 20</td> -<td class="rt" valign="bottom"><a href="#page_129">129</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXXIII">Pl. LXXIII.</a></td> -<td valign="top"><a href="#fig_122">Fig. 122</a></td> -<td valign="top"> Scene on a psykter of Duris, from - Caere: London, B.M., E. 768. - Height of vase O,29. From <i>Furtwängler-Reichhold</i> - 48</td> -<td class="rt" valign="bottom"><a href="#page_130">130</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXXIV">Pl. LXXIV.</a></td> -<td valign="top"><a href="#fig_123">Fig. 123</a></td> -<td valign="top"> Kylix of Hieron, from Vulci: Berlin - 2290. Diameter O,33. From photo.</td> -<td class="rt" valign="bottom"><a href="#page_131">131</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXXV">Pl. LXXV.</a></td> -<td valign="top"><a href="#fig_124">Fig. 124</a></td> -<td valign="top"> Kylix of Duris, from Caere: Berlin - 2285. Diameter 0,28. From photo.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_125">Fig. 125.</a></td> -<td valign="top"> R.-f. kylix, from Vulci: Berlin 2294. - Diameter 0,30. From photo. -</td> -<td class="rt" valign="bottom"><a href="#page_132"><i>To face page</i> 132</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXXVI">Pl. LXXVI.</a></td> -<td valign="top"><a href="#fig_126">Fig. 126</a></td> -<td valign="top"> Interior of a r.-f. kylix, from Vulci: - Munich, Jahn 368. Diameter 0,305. - From <i>Furtwängler-Reichhold</i> 86.</td> -<td class="rt" valign="bottom"><a href="#page_133">133</a></td></tr> - -<tr><th colspan="4">CHAPTER VI.: THE STYLE OF POLYGNOTOS AND PHEIDIAS.</th></tr> - -<tr> -<td valign="top" class="rt"><a href="#plt_LXXVII">Pl. LXXVII.</a></td> -<td valign="top"><a href="#fig_127">Fig. 127</a></td> -<td valign="top"> Figure on a skyphos of Pistoxenos, - from Caere: Schwerin. From - <i>Jahrbuch des D. Instituts</i> 1912, pl. 6</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_128">Fig. 128.</a></td> -<td valign="top"> Detail of a fragmentary white-ground - lekythos, from Attica: Bonn. - From <i>J.H.S.</i> 1896, pl. 4</td> -<td class="rt" valign="bottom"><a href="#page_134">134</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXXVIII">Pl. LXXVIII.</a></td> -<td valign="top"><a href="#fig_129">Fig. 129</a></td> -<td valign="top"> Kylix with white-ground interior, - from Rhodes: London, B.M. D 2. - Diameter 0,24. From photo.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_130">Fig. 130.</a></td> -<td valign="top"> Detail of a r.-f. krater: New York. - From photo.</td> -<td class="rt" valign="bottom"><a href="#page_135">135</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXXIX">Pl. LXXIX.</a></td> -<td valign="top"><a href="#fig_131">Fig. 131</a></td> -<td valign="top"> Obverse of a r.-f. krater, from - Sicily (?): Boston. Height of vase - 0,36. From <i>Furtwängler-Reichhold</i> - 115, 1</td> -<td class="rt" valign="bottom"><a href="#page_136">136</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXXX">Pl. LXXX.</a></td> -<td valign="top"><a href="#fig_132">Fig. 132</a></td> -<td valign="top"> Fragmentary r.-f. psykter, from - Falerii: Rome, Villa di Papa Giulio. - From photo.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_133">Fig. 133.</a></td> -<td valign="top"> Interior of a kylix, of the potter - Hegesibulos: Brussels: <i>Münch.</i> - <i>Jahrb.</i> 1913, II., p. 89</td> -<td class="rt" valign="bottom"><a href="#page_138">138</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXXXI">Pl. LXXXI.</a></td> -<td valign="top"><a href="#fig_134">Fig. 134</a></td> -<td valign="top"> Interior of a r.-f. kylix, from Etruria: - Munich, Jahn 370. Diameter - 0,425. From <i>Furtwängler-Reichhold</i> - 6</td> -<td class="rt" valign="bottom"><a href="#page_139">139</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXXXII">Pl. LXXXII.</a></td> -<td valign="top"><a href="#fig_135">Fig. 135</a></td> -<td valign="top"> Obverse of a r.-f. kylix-krater, from - Orvieto: Paris, Louvre G 341. - Height of vase 0,55. From <i>Furtwängler-Reichhold</i> - 108</td> -<td class="rt" valign="bottom"><a href="#page_140">140</a></td></tr> - -<tr> -<td valign="top" class="rt"><a href="#plt_LXXXIII">Pl. LXXXIII.</a></td> -<td valign="top"><a href="#fig_136">Fig. 136-7</a></td> -<td valign="top">Design on lid and sides of a pyxis - of Megakles: Bibliothèque Royale, - Brussels. Height 0,063. Diameter - 0,085. From Fröhner, <i>Coll. Barre</i>, - pl. VII.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_138">Fig. 138.</a></td> -<td valign="top"> Detail of a r.-f. pointed amphora: - Paris, Cabinet des Médailles 357. - From <i>Furtwängler-Reichhold</i>, pl. - 77,1</td> -<td class="rt" valign="bottom"><a href="#page_142"><i>To face page</i> 142</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXXXIV">Pl. LXXXIV.</a></td> -<td valign="top"><a href="#fig_139">Fig. 139</a></td> -<td valign="top"> Scene on a r.-f. pelike, from Rugge - (Apulia): Lecce. From <i>Furtwängler-Reichhold</i> - 66</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_140">Fig. 140.</a></td> -<td valign="top"> Scene on a r.-f. krater, from Gela: - Berlin. Height of vase 0,50. From - <i>50 Berliner Winckelmannsprogramm</i> - (1890)</td> -<td class="rt" valign="bottom"><a href="#page_143">143</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXXXV">Pl. LXXXV.</a></td> -<td valign="top"><a href="#fig_141">Fig. 141</a></td> -<td valign="top"> R.-f. Amphora, from Vulci: London, - B.M., E 271. Height 0,57. - From photo.</td> -<td class="rt" valign="bottom"><a href="#page_144">144</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXXXVI">Pl. LXXXVI.</a></td> -<td valign="top"><a href="#fig_142">Fig. 142</a></td> -<td valign="top"> White-ground lekythos, from Attica: - London, D 58. Height ca. 0,48. - From photo.</td> -<td class="rt" valign="bottom"><a href="#page_145">145</a></td></tr> - -<tr> -<td valign="top" class="rt"><a href="#plt_LXXXVII">Pl. LXXXVII.</a></td> -<td valign="top"><a href="#fig_143">Fig. 143-4</a></td> -<td valign="top">Youth and maiden on a white-ground - lekythos, from Attica: Boston 8440. - Height of vase, 0,40. From photo.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_145">Fig. 145.</a></td> -<td valign="top"> Detail of a white-ground lekythos: - Athens, Collignon-Couve 1822. From - Furtwängler-Riezler, <i>Weissgrundige</i> - <i>Lekythen</i>, pl. 93</td> -<td class="rt" valign="bottom"><a href="#page_146">146</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXXXVIII">Pl. LXXXVIII.</a></td> -<td valign="top"><a href="#fig_146">Fig. 146</a></td> -<td valign="top"> R.-f. stamnos, from Vulci: Munich, - Jahn 382. Height 0,445. From - photo.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_147">Fig. 147.</a></td> -<td valign="top"> Scene on a r.-f. stamnos, from Campania: - Naples, Heydemann 2419. - From photo.</td> -<td class="rt" valign="bottom"><a href="#page_148">148</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_LXXXIX">Pl. LXXXIX.</a></td> -<td valign="top"><a href="#fig_148">Fig. 148</a></td> -<td valign="top"> Scene on a r.-f. Amphora, from - neighbourhood of Arezzo: Arezzo. - Height of vase 0,54. From <i>Furtwängler-Reichhold</i>, - pl. 67</td> -<td class="rt" valign="bottom"><a href="#page_149">149</a></td></tr> - -<tr> -<td valign="top" class="rt"><a href="#plt_XC">Pl. XC.</a></td> -<td valign="top"><a href="#fig_149">Fig. 149-51</a></td> -<td valign="top">Three details of a fragmentary r.-f. - vase: Naples. From three photos, - in the Munich Vase Collection</td> -<td class="rt" valign="bottom"><a href="#page_150">150</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XCI">Pl. XCI.</a></td> -<td valign="top"><a href="#fig_152">Fig. 152</a></td> -<td valign="top"> Scene on a r.-f. hydria, from Populonia: - Florence. Height of vase - 0,46. From Milani, <i>Monumenti</i> - <i>scelti</i>, pl. 4</td> -<td class="rt" valign="bottom"><a href="#page_151">151</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XCII">Pl. XCII.</a></td> -<td valign="top"><a href="#fig_153">Fig. 153</a></td> -<td valign="top"> R.-f. volute amphora, from Ruvo: - Ruvo, Jatta Collection 1501. Height - of frieze 0,35. From <i>Furtwängler-Reichhold</i> - 38.</td> -<td class="rt" valign="bottom"><a href="#page_152">152</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XCIII">Pl. XCIII.</a></td> -<td valign="top"><a href="#fig_154">Fig. 154</a></td> -<td valign="top"> Scene on a r.-f. jug: Oxford. Height - of vase 0,21. From <i>J.H.S.</i> 1905, - pl. 1.</td></tr> - -<tr><th colspan="4">CHAPTER VII.: LATE OFFSHOOTS:—</th></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_155">Fig. 155.</a></td> -<td valign="top">Scene on a late Attic pelike, from - Kerch (Crimea): Petrograd, Hermitage - 1795. Height 0,38. From - <i>Furtwängler-Reichhold</i> 87,2.</td> -<td class="rt" valign="bottom"><a href="#page_154"><i>To face page</i> 154</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XCIV">Pl. XCIV.</a></td> -<td valign="top"><a href="#fig_156">Fig. 156</a></td> -<td valign="top"> Lucanian bell-krater, from the - Basilicata: Paris, Louvre. Height - 0,53. From photo.</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_157">Fig. 157.</a></td> -<td valign="top"> Lower Italian bell-krater with - comedy scene (Phlyax vase), from - Apulia. London, B.M., F. 151. - Height of vase 0,39. From photo.</td> -<td class="rt" valign="bottom"><a href="#page_156">156</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XCV">Pl. XCV.</a></td> -<td valign="top"><a href="#fig_158">Fig. 158</a></td> -<td valign="top"> Apulian volute amphora, from Bari: - Boston. Height 1,25. From photo.</td> -<td class="rt" valign="bottom"><a href="#page_157">157</a></td></tr> -<tr> -<td valign="top" class="rt"><a href="#plt_XCVI">Pl. XCVI.</a></td> -<td valign="top"><a href="#fig_159">Fig. 159</a></td> -<td valign="top"> Late Attic kalyx-krater, from - Greece: Munich. Height 0,41. From - <i>Münch. Jahrb.</i>, 1913, 1., p. 79</td></tr> - -<tr valign="top"> -<td valign="top"> </td> -<td valign="top"><a href="#fig_160">Fig. 160.</a></td> -<td valign="top"> Hellenistic cup with designs painted - in white: Munich. Height 0,09. - From <i>Münch. Jahrb.</i>, 1909, II. p. - 204, fig. 8</td> -<td class="rt" valign="bottom"><a href="#page_158">158</a></td></tr> -</table> - -<p><span class="pagenum"><a name="page_174" id="page_174">{174}</a></span></p> - -<h2><a name="INDEX_OF_NAMES" id="INDEX_OF_NAMES"></a>INDEX OF NAMES</h2> - -<p>The names of painters and potters are printed in italics. All are -Athenian, unless it is otherwise stated.</p> - -<p class="c"><a href="#A">A</a>, -<a href="#B">B</a>, -<a href="#C">C</a>, -<a href="#D">D</a>, -<a href="#E">E</a>, -<a href="#F">F</a>, -<a href="#G">G</a>, -<a href="#H">H</a>, -<a href="#I">I</a>, -<a href="#J">J</a>, -<a href="#K">K</a>, -<a href="#L">L</a>, -<a href="#M">M</a>, -<a href="#N">N</a>, -<a href="#O">O</a>, -<a href="#P">P</a>, -<a href="#R">R</a>, -<a href="#S">S</a>, -<a href="#T">T</a>, -<a href="#V">V</a>, -<a href="#W">W</a>, -<a href="#X">X</a>, -<a href="#Z">Z</a></p> - -<p class="nind"> -<a name="A" id="A"></a><span class="letra">A</span>CHAEANS, <a href="#page_16">16</a>.<br /> - -Achilles, <a href="#page_46">46</a>, <a href="#page_65">65</a>, <a href="#page_68">68</a>, <a href="#page_125">125</a>, <a href="#page_128">128</a>, <a href="#page_129">129</a>, <a href="#page_139">139</a>, <a href="#page_157">157</a>.<br /> - -Acropolis (of Athens), <a href="#page_99">99</a>, <a href="#page_103">103</a>, <a href="#page_110">110</a>, <a href="#page_114">114</a>, <a href="#page_115">115</a>, <a href="#page_122">122</a>, <a href="#page_137">137</a>, <a href="#page_153">153</a>.<br /> - -Acropolis sculptures, <a href="#page_50">50</a>.<br /> - -Adonis, <a href="#page_152">152</a>.<br /> - -Ægean Sea, <a href="#page_17">17</a>.<br /> - -Ægina, <a href="#page_6">6</a>, <a href="#page_14">14</a>, <a href="#page_26">26</a>, <a href="#page_32">32</a>, <a href="#page_42">42</a>, <a href="#page_49">49</a>, <a href="#page_50">50</a>, <a href="#page_52">52</a>, <a href="#page_53">53</a>, <a href="#page_60">60</a>.<br /> - -Æolians, <a href="#page_17">17</a>.<br /> - -Æolis, <a href="#page_90">90</a>.<br /> - -Africa, <a href="#page_89">89</a>, <a href="#page_92">92</a>.<br /> - -Aias, <a href="#page_68">68</a>, <a href="#page_79">79</a>, <a href="#page_156">156</a>.<br /> - -<i>Aison</i>, <a href="#page_151">151</a>.<br /> - -Aktaion, <a href="#page_137">137</a>.<br /> - -Alabastron, <a href="#page_44">44</a>.<br /> - -Alexandria, <a href="#page_110">110</a>, <a href="#page_159">159</a>.<br /> - -Alkmaion, <a href="#page_73">73</a>.<br /> - -Altenburg, amphora at, <a href="#page_61">61</a>, <a href="#page_84">84</a>.<br /> - -<i>Amasis</i>, <a href="#page_97">97</a>, <a href="#page_102">102</a>, <a href="#page_103">103</a>, <a href="#page_105">105</a>, <a href="#page_106">106</a>, <a href="#page_107">107</a>, <a href="#page_108">108</a>, <a href="#page_113">113</a>, <a href="#page_116">116</a>, <a href="#page_127">127</a>, <a href="#page_136">136</a>, <a href="#page_143">143</a>.<br /> - -Amazons, <a href="#page_75">75</a>, <a href="#page_81">81</a>, <a href="#page_84">84</a>, <a href="#page_139">139</a>, <a href="#page_141">141</a>.<br /> - -Amphiaraos, <a href="#page_67">67</a>, <a href="#page_71">71</a>, <a href="#page_72">72</a>, <a href="#page_73">73</a>, <a href="#page_143">143</a>, <a href="#page_144">144</a>.<br /> - -Amphitrite, <a href="#page_126">126</a>.<br /> - -Amphora, <a href="#page_24">24</a>, <a href="#page_49">49</a>, <a href="#page_52">52</a>, <a href="#page_54">54</a>, etc.;<br /> -<span style="margin-left: 1em;">(big-bellied), <a href="#page_50">50</a>, <a href="#page_74">74</a>, <a href="#page_104">104</a>;</span><br /> -<span style="margin-left: 1em;">(necked), <a href="#page_51">51</a>, <a href="#page_74">74</a>; (pointed), <a href="#page_126">126</a>, <a href="#page_127">127</a>;</span><br /> -<span style="margin-left: 1em;">(Nolan), <a href="#page_127">127</a>, <a href="#page_136">136</a>;</span><br /> -<span style="margin-left: 1em;">(with twisted handles), <a href="#page_149">149</a>;</span><br /> -<span style="margin-left: 1em;">(Panathenaic), <a href="#page_99">99</a>, <a href="#page_110">110</a>, <a href="#page_127">127</a>, <a href="#page_153">153</a>.</span><br /> - -Anakreon, <a href="#page_114">114</a>, <a href="#page_135">135</a>.<br /> - -<i>Andokides</i>, <a href="#page_58">58</a>, <a href="#page_108">108</a>, <a href="#page_109">109</a>, <a href="#page_114">114</a>, <a href="#page_115">115</a>, <a href="#page_117">117</a>, <a href="#page_118">118</a>, <a href="#page_120">120</a>, <a href="#page_121">121</a>.<br /> - -<i>‘Andokides’ painter</i>, <a href="#page_115">115</a>, <a href="#page_131">131</a>.<br /> - -Antaios, <a href="#page_123">123</a>, <a href="#page_124">124</a>, <a href="#page_125">125</a>, <a href="#page_126">126</a>.<br /> - -Antenor (sculptor), <a href="#page_112">112</a>, <a href="#page_131">131</a>.<br /> - -Aphidna (Attica), <a href="#page_6">6</a>.<br /> - -Aphrodite, Temple of, <a href="#page_42">42</a>.<br /> - -Aphrodite, <a href="#page_135">135</a>, <a href="#page_137">137</a>, <a href="#page_152">152</a>.<br /> - -Apollo, <a href="#page_25">25</a>, <a href="#page_54">54</a>, <a href="#page_55">55</a>, <a href="#page_65">65</a>, <a href="#page_139">139</a>.<br /> - -<span class="pagenum"><a name="page_175" id="page_175">{175}</a></span>Apulia, <a href="#page_156">156</a>.<br /> - -Apulian vases, <a href="#page_157">157</a>.<br /> - -Arezzo, amphora at, <a href="#page_149">149</a>.<br /> - -Argive alphabet, <a href="#page_59">59</a>.<br /> - -Argolid, The, <a href="#page_5">5</a>, <a href="#page_6">6</a>, <a href="#page_7">7</a>, <a href="#page_12">12</a>, <a href="#page_19">19</a>, <a href="#page_26">26</a>, <a href="#page_33">33</a>, <a href="#page_42">42</a>.<br /> - -<i>Argonaut Master, The</i>, <a href="#page_140">140-2</a>.<br /> - -Argonauts, The, <a href="#page_140">140</a>, <a href="#page_147">147</a>.<br /> - -Argos (giant), <a href="#page_86">86</a>.<br /> - -Argos (town), <a href="#page_14">14</a>, <a href="#page_26">26</a>, <a href="#page_33">33</a>.<br /> - -Ariadne, <a href="#page_22">22</a>, <a href="#page_129">129</a>.<br /> - -Aristagoras (kalos), <a href="#page_130">130</a>.<br /> - -<i>Aristonothos</i> (? Aristonoos, perhaps Argive), <a href="#page_33">33</a>, <a href="#page_38">38</a>.<br /> - -<i>Aristophanes</i>, <a href="#page_151">151</a>.<br /> - -Arkesilas, king, <a href="#page_92">92</a>.<br /> - -Artemis, <a href="#page_55">55</a>, <a href="#page_137">137</a>.<br /> - -Artemis the Persian, <a href="#page_54">54</a>.<br /> - -Aryballos, <a href="#page_44">44</a>, <a href="#page_142">142</a>, <a href="#page_158">158</a>.<br /> - -Asia Minor, <a href="#page_5">5</a>, <a href="#page_6">6</a>, <a href="#page_15">15</a>, <a href="#page_17">17</a>, <a href="#page_19">19</a>, <a href="#page_42">42</a>, <a href="#page_55">55</a>, <a href="#page_80">80</a>, <a href="#page_87">87</a>, <a href="#page_101">101</a>.<br /> - -Assarlik, <a href="#page_19">19</a>.<br /> - -<i>Assteas</i> (Campanian painter), <a href="#page_156">156</a>.<br /> - -Astyanax, <a href="#page_65">65</a>.<br /> - -Athena, <a href="#page_49">49</a>, <a href="#page_65">65</a>, <a href="#page_66">66</a>, <a href="#page_67">67</a>, <a href="#page_68">68</a>, <a href="#page_71">71</a>, <a href="#page_81">81</a>, <a href="#page_99">99</a>, <a href="#page_100">100</a>, <a href="#page_106">106</a>, <a href="#page_110">110</a>, <a href="#page_126">126</a>, <a href="#page_147">147</a>, <a href="#page_153">153</a>.<br /> - -Athenodotos (kalos), <a href="#page_126">126</a>.<br /> - -Athens, <a href="#page_19">19</a>, <a href="#page_51">51</a>, <a href="#page_96">96</a>, <a href="#page_99">99</a>, <a href="#page_106">106</a>, <a href="#page_111">111</a>, <a href="#page_121">121</a>, <a href="#page_157">157</a>.<br /> - -Athens, Vases in, <a href="#page_139">139</a>, <a href="#page_147">147</a>, <a href="#page_149">149</a>.<br /> - -Attica, <a href="#page_6">6</a>, <a href="#page_25">25</a>, <a href="#page_42">42</a>, <a href="#page_51">51</a>.<br /> - -<br /> -<a name="B" id="B"></a><span class="letra">B</span>ARBOTINE, <a href="#page_8">8</a>.<br /> - -Beaked jug, <a href="#page_5">5</a>.<br /> - -Bellerophon, <a href="#page_39">39</a>, <a href="#page_40">40</a>, <a href="#page_64">64</a>.<br /> - -<i>Berlin amphora, Master of the</i>, <a href="#page_131">131</a>.<br /> - -Berlin, Vases in, <a href="#page_92">92</a>, <a href="#page_104">104</a>, <a href="#page_109">109</a>, <a href="#page_130">130</a>, <a href="#page_131">131</a>, <a href="#page_133">133</a>, <a href="#page_134">134</a>, <a href="#page_135">135</a>, <a href="#page_139">139</a>.<br /> - -Black Sea, <a href="#page_28">28</a>, <a href="#page_56">56</a>, <a href="#page_89">89</a>, <a href="#page_158">158</a>.<br /> - -Boeotia (Boeotians), <a href="#page_2">2</a>, <a href="#page_22">22</a>, <a href="#page_26">26</a>, <a href="#page_42">42</a>, <a href="#page_52">52</a>, <a href="#page_60">60</a>, <a href="#page_94">94</a>, <a href="#page_96">96</a>, <a href="#page_110">110</a>, <a href="#page_155">155</a>.<br /> - -Bonn, Vases in, <a href="#page_119">119</a>, <a href="#page_134">134</a>, <a href="#page_135">135</a>.<br /> - -<span class="pagenum"><a name="page_176" id="page_176">{176}</a></span>Boreas, <a href="#page_82">82</a>.<br /> - -Boreas, Sons of, <a href="#page_82">82</a>.<br /> - -Boston, Vases in, <a href="#page_45">45</a>, <a href="#page_100">100</a>, <a href="#page_126">126</a>, <a href="#page_130">130</a>, <a href="#page_135">135</a>, <a href="#page_137">137</a>, <a href="#page_146">146</a>, <a href="#page_147">147</a>, <a href="#page_157">157</a>.<br /> - -Bowl (Schüssel), <a href="#page_22">22</a>, <a href="#page_66">66</a>.<br /> - -Bronze Age, <a href="#page_2">2</a>, <a href="#page_3">3</a>, <a href="#page_4">4</a>.<br /> - -<i>Bronze-foundry Master</i>, <a href="#page_131">131</a>.<br /> - -<i>Brygos painter</i>, <a href="#page_128">128</a>, <a href="#page_129">129</a>, <a href="#page_131">131</a>, <a href="#page_139">139</a>.<br /> - -Bucchero ware, <a href="#page_90">90</a>.<br /> - -Busiris (Pharaoh), <a href="#page_89">89</a>.<br /> - -<i>Butades</i> (Sicyonian), <a href="#page_69">69</a>.<br /> - -<br /> -<a name="C" id="C"></a><span class="letra">C</span>ABLE pattern (Guilloche), <a href="#page_30">30</a>, <a href="#page_35">35</a>.<br /> - -Caere, <a href="#page_42">42</a>, <a href="#page_68">68</a>.<br /> - -Caeretan hydriae, <a href="#page_87">87-9</a>, <a href="#page_107">107</a>.<br /> - -Campania, <a href="#page_156">156</a>.<br /> - -Carthage, <a href="#page_42">42</a>.<br /> - -Castle Ashby, Amphora at, <a href="#page_86">86</a>, <a href="#page_87">87</a>.<br /> - -Centaurs, <a href="#page_22">22</a>, <a href="#page_39">39</a>, <a href="#page_86">86</a>, <a href="#page_89">89</a>, <a href="#page_98">98</a>, <a href="#page_128">128</a>, <a href="#page_140">140</a>, <a href="#page_150">150</a>.<br /> - -Centauromachy, <a href="#page_91">91</a>, <a href="#page_130">130</a>.<br /> - -Chairestratos (kalos), <a href="#page_126">126</a>, <a href="#page_127">127</a>, <a href="#page_129">129</a>.<br /> - -Chalkidian style, <a href="#page_69">69</a>, <a href="#page_70">70</a>, <a href="#page_75">75-80</a>, <a href="#page_94">94</a>, <a href="#page_96">96</a>, <a href="#page_97">97</a>, <a href="#page_100">100</a>, <a href="#page_104">104</a>, <a href="#page_105">105</a>, <a href="#page_106">106</a>, <a href="#page_107">107</a>, <a href="#page_118">118</a>.<br /> - -Chalkis, <a href="#page_71">71</a>, <a href="#page_75">75</a>, <a href="#page_76">76</a>, <a href="#page_77">77</a>, <a href="#page_80">80</a>, <a href="#page_94">94</a>, <a href="#page_96">96</a>, <a href="#page_99">99</a>, <a href="#page_100">100</a>, <a href="#page_105">105</a>, <a href="#page_106">106</a>, <a href="#page_108">108</a>.<br /> - -<i>Chares</i> (Corinthian painter), <a href="#page_45">45</a>.<br /> - -<i>Charitaios</i>, <a href="#page_101">101</a>, <a href="#page_103">103</a>.<br /> - -<i>Chelis</i>, <a href="#page_121">121</a>.<br /> - -Chigi jug, <a href="#page_38">38</a>, <a href="#page_40">40</a>, <a href="#page_45">45</a>, <a href="#page_59">59</a>, <a href="#page_66">66</a>.<br /> - -Chimaera, The, <a href="#page_39">39</a>, <a href="#page_40">40</a>.<br /> - -Circe, <a href="#page_100">100</a>, <a href="#page_146">146</a>.<br /> - -Corfu, <a href="#page_44">44</a>.<br /> - -Corinth, <a href="#page_26">26</a>, <a href="#page_34">34</a>, <a href="#page_42">42</a>, <a href="#page_50">50</a>, <a href="#page_56">56</a>, <a href="#page_69">69</a>, <a href="#page_70">70</a>, <a href="#page_90">90</a>, <a href="#page_94">94</a>, <a href="#page_100">100</a>.<br /> - -Corinthian style, <a href="#page_43">43</a>, <a href="#page_50">50</a>, <a href="#page_70">70-75</a>, <a href="#page_90">90</a>, <a href="#page_94">94</a>, <a href="#page_96">96</a>.<br /> - -Corneto, Vases in, <a href="#page_123">123</a>, <a href="#page_129">129</a>.<br /> - -Cretans, <a href="#page_10">10</a>, <a href="#page_12">12</a>, <a href="#page_34">34</a>.<br /> - -Crete, <a href="#page_1">1</a>, <a href="#page_2">2</a>, <a href="#page_13">13</a>, <a href="#page_14">14</a>, <a href="#page_15">15</a>, <a href="#page_16">16</a>, <a href="#page_17">17</a>, <a href="#page_19">19</a>, <a href="#page_27">27</a>, <a href="#page_33">33</a>, <a href="#page_55">55</a>.<br /> - -Cyclades, <a href="#page_15">15</a>, <a href="#page_25">25</a>, <a href="#page_94">94</a>.<br /> - -<span class="pagenum"><a name="page_177" id="page_177">{177}</a></span>Cycladic (pottery, etc.), <a href="#page_5">5</a>, <a href="#page_6">6</a>, <a href="#page_25">25</a>, <a href="#page_52">52</a>, <a href="#page_54">54</a>, <a href="#page_80">80</a>.<br /> - -Cyprus, <a href="#page_5">5</a>, <a href="#page_6">6</a>, <a href="#page_14">14</a>, <a href="#page_15">15</a>, <a href="#page_17">17</a>, <a href="#page_26">26</a>.<br /> - -Cyrene, <a href="#page_92">92</a>.<br /> - -<br /> -‘<a name="D" id="D"></a><span class="letra">D</span>AEDALIC’ types, <a href="#page_34">34</a>.<br /> - -Daedalus, <a href="#page_31">31</a>.<br /> - -Daphne, <a href="#page_86">86</a>.<br /> - -Deianeira, <a href="#page_34">34</a>.<br /> - -<i>Deiniades</i>, <a href="#page_119">119</a>, <a href="#page_123">123</a>.<br /> - -Delian (or Euboic) ware, <a href="#page_53">53</a>, <a href="#page_81">81</a>.<br /> - -Delos, <a href="#page_25">25</a>, <a href="#page_54">54</a>, <a href="#page_55">55</a>, <a href="#page_98">98</a>.<br /> - -Delphi, <a href="#page_26">26</a>.<br /> - -Delta, The, <a href="#page_56">56</a>, <a href="#page_59">59</a>.<br /> - -Demeter, <a href="#page_135">135</a>.<br /> - -Dimini, <a href="#page_2">2</a>.<br /> - -Diomede, <a href="#page_79">79</a>.<br /> - -Dionysos, <a href="#page_66">66</a>, <a href="#page_82">82</a>, <a href="#page_96">96</a>, <a href="#page_97">97</a>, <a href="#page_100">100</a>, <a href="#page_106">106</a>, <a href="#page_108">108</a>, <a href="#page_148">148</a>, <a href="#page_149">149</a>.<br /> - -Dipylon (Athens), <a href="#page_1">1</a>, <a href="#page_24">24</a>, <a href="#page_27">27</a>, <a href="#page_35">35</a>.<br /> - -Dörpfeld (Wilhelm), <a href="#page_4">4</a>.<br /> - -Dorians, The, <a href="#page_17">17</a>, <a href="#page_19">19</a>.<br /> - -<i>Duris</i>, <a href="#page_120">120</a>, <a href="#page_126">126</a>, <a href="#page_129">129</a>, <a href="#page_130">130</a>, <a href="#page_131">131</a>, <a href="#page_139">139</a>.<br /> - -<br /> -<a name="E" id="E"></a><span class="letra">E</span>GYPT, <a href="#page_9">9</a>, <a href="#page_15">15</a>, <a href="#page_83">83</a>.<br /> - -Egyptian, <a href="#page_89">89</a>.<br /> - -Eleusis, <a href="#page_6">6</a>, <a href="#page_25">25</a>, <a href="#page_26">26</a>.<br /> - -Eos, <a href="#page_130">130</a>, <a href="#page_135">135</a>.<br /> - -Ephesian sculpture, <a href="#page_88">88</a>.<br /> - -<i>Epiktetos</i>, <a href="#page_108">108</a>, <a href="#page_114">114</a>, <a href="#page_121">121</a>, <a href="#page_122">122</a>, <a href="#page_123">123</a>, <a href="#page_124">124</a>.<br /> - -Epilykos (kalos), <a href="#page_120">120-3</a>.<br /> - -Eretria, <a href="#page_25">25</a>, <a href="#page_52">52</a>, <a href="#page_94">94</a>.<br /> - -<i>Eretria master, The</i>, <a href="#page_148">148</a>, <a href="#page_152">152</a>, <a href="#page_153">153</a>.<br /> - -<i>Erginos</i>, <a href="#page_151">151</a>.<br /> - -<i>Ergoteles</i>, <a href="#page_101">101</a>.<br /> - -<i>Ergotimos</i>, <a href="#page_97">97</a>, <a href="#page_100">100</a>, <a href="#page_101">101</a>, <a href="#page_103">103</a>.<br /> - -Eriphyle, <a href="#page_73">73</a>, <a href="#page_143">143</a>, <a href="#page_144">144</a>.<br /> - -Ethos, <a href="#page_133">133</a>, <a href="#page_142">142</a>.<br /> - -Etruria, <a href="#page_90">90</a>, <a href="#page_91">91</a>, <a href="#page_94">94</a>, <a href="#page_99">99</a>, <a href="#page_156">156</a>.<br /> - -Etruscan, <a href="#page_1">1</a>, <a href="#page_35">35</a>, <a href="#page_90">90</a>.<br /> - -Euboea, <a href="#page_25">25</a>, <a href="#page_52">52</a>.<br /> - -Euboic (or Delian) ware, <a href="#page_53">53</a>.<br /> - -<i>Eucheiros</i>, <a href="#page_101">101</a>.<br /> - -<i>Eumares</i>, <a href="#page_111">111</a>, <a href="#page_112">112</a>.<br /> - -Euphorbos plate, <a href="#page_58">58</a>.<br /> - -<span class="pagenum"><a name="page_178" id="page_178">{178}</a></span>Euphrates, The, <a href="#page_12">12</a>.<br /> - -<i>Euphronios</i>, <a href="#page_18">18</a>, <a href="#page_109">109</a>, <a href="#page_114">114</a>, <a href="#page_116">116</a>, <a href="#page_117">117</a>, <a href="#page_120">120</a>, <a href="#page_122">122-9</a>, <a href="#page_131">131</a>, <a href="#page_133">133</a>, <a href="#page_134">134</a>, <a href="#page_135">135</a>, <a href="#page_139">139</a>.<br /> - -Europa, <a href="#page_68">68</a>, <a href="#page_88">88</a>.<br /> - -Eurytios, <a href="#page_72">72</a>, <a href="#page_79">79</a>, <a href="#page_97">97</a>.<br /> - -<i>Euthymides</i>, <a href="#page_114">114</a>, <a href="#page_116">116-9</a>, <a href="#page_122">122</a>, <a href="#page_123">123</a>, <a href="#page_125">125</a>, <a href="#page_127">127</a>.<br /> - -<i>Euxitheos</i>, <a href="#page_117">117</a>, <a href="#page_123">123</a>.<br /> - -<i>Exekias</i>, <a href="#page_68">68</a>, <a href="#page_101">101</a>, <a href="#page_102">102</a>, <a href="#page_103">103</a>, <a href="#page_105">105</a>, <a href="#page_107">107</a>, <a href="#page_108">108</a>, <a href="#page_113">113</a>, <a href="#page_115">115</a>.<br /> - -<br /> -<a name="F" id="F"></a><span class="letra">F</span>ACE urns, <a href="#page_4">4</a>.<br /> - -‘Fates,’ The, <a href="#page_152">152</a>.<br /> - -Fibulae, <a href="#page_22">22</a>.<br /> - -Fikellura (Samian) ware, <a href="#page_60">60-2</a>, <a href="#page_83">83</a>, <a href="#page_116">116</a>.<br /> - -Flamed ware, <a href="#page_7">7</a>.<br /> - -Florence, Vase in, <a href="#page_97">97</a>.<br /> - -François vase, <a href="#page_71">71</a>, <a href="#page_95">95</a>, <a href="#page_96">96</a>, <a href="#page_97">97-9</a>, <a href="#page_100">100</a>, <a href="#page_101">101</a>, <a href="#page_103">103</a>, <a href="#page_104">104</a>, <a href="#page_108">108</a>.<br /> - -Funnel vase, <a href="#page_12">12</a>.<br /> - -Furtwängler, Adolf, <a href="#page_20">20</a>, <a href="#page_64">64</a>.<br /> - -<br /> -<a name="G" id="G"></a><span class="letra">G</span>ALES, <a href="#page_114">114</a>.<br /> - -Ge, <a href="#page_139">139</a>.<br /> - -Gela, <a href="#page_143">143</a>, <a href="#page_144">144</a>.<br /> - -Geometric style, <a href="#page_16">16</a>, <a href="#page_17">17</a>, <a href="#page_18">18</a>, <a href="#page_19">19</a>, <a href="#page_20">20</a>, <a href="#page_22">22-8</a>, <a href="#page_29">29</a>, <a href="#page_31">31</a>, <a href="#page_41">41</a>, <a href="#page_54">54</a>, <a href="#page_56">56</a>, <a href="#page_69">69</a>, <a href="#page_135">135</a>, <a href="#page_144">144</a>.<br /> - -Geryon, <a href="#page_78">78</a>, <a href="#page_79">79</a>.<br /> - -Gigantomachia, <a href="#page_150">150</a>.<br /> - -Glaukon, son of Leagros (kalos), <a href="#page_114">114</a>, <a href="#page_124">124</a>, <a href="#page_130">130</a>, <a href="#page_133">133</a>, <a href="#page_134">134</a>, <a href="#page_135">135</a>, <a href="#page_137">137</a>, <a href="#page_138">138</a>, <a href="#page_145">145</a>.<br /> - -Gnathia vases, <a href="#page_157">157</a>.<br /> - -Gorgon, <a href="#page_44">44</a>, <a href="#page_50">50</a>, <a href="#page_58">58</a>, <a href="#page_101">101</a>.<br /> - -Gorgon lebes, <a href="#page_49">49</a>, <a href="#page_66">66</a>, <a href="#page_97">97</a>, <a href="#page_100">100</a>.<br /> - -Griffin head jug, <a href="#page_53">53</a>.<br /> - -<br /> -<a name="H" id="H"></a><span class="letra">H</span>ADRA vases, <a href="#page_110">110</a>.<br /> - -Halimedes, <a href="#page_73">73</a>.<br /> - -Hamilton, Sir William, <a href="#page_1">1</a>.<br /> - -Harpies, <a href="#page_50">50</a>, <a href="#page_82">82</a>.<br /> - -Head, Vases in shape of, <a href="#page_120">120</a>, <a href="#page_142">142</a> (Figs. <a href="#fig_101">101</a>, <a href="#fig_109">109</a>).<br /> - -Hector, <a href="#page_59">59</a>, <a href="#page_118">118</a>, <a href="#page_129">129</a>.<br /> - -<i>Hegesibulos</i>, <a href="#page_142">142</a>.<br /> - -<span class="pagenum"><a name="page_179" id="page_179">{179}</a></span>Helen, <a href="#page_22">22</a>, <a href="#page_23">23</a>, <a href="#page_118">118</a>.<br /> - -Helios, <a href="#page_150">150</a>.<br /> - -Hellenistic painting, <a href="#page_159">159</a>.<br /> - -Hephaistos, <a href="#page_66">66</a>, <a href="#page_67">67</a>, <a href="#page_71">71</a>, <a href="#page_88">88</a>, <a href="#page_98">98</a>.<br /> - -Herakles, <a href="#page_39">39</a>, <a href="#page_50">50</a>, <a href="#page_54">54</a>, <a href="#page_60">60</a>, <a href="#page_64">64</a>, <a href="#page_65">65</a>, <a href="#page_66">66</a>, <a href="#page_67">67</a>, <a href="#page_71">71</a>, <a href="#page_72">72</a>, <a href="#page_75">75</a>, <a href="#page_79">79</a>, <a href="#page_89">89</a>, <a href="#page_99">99</a>, <a href="#page_115">115</a>, <a href="#page_116">116</a>, <a href="#page_123">123</a>, <a href="#page_124">124</a>, <a href="#page_126">126</a>.<br /> - -Hermes, <a href="#page_40">40</a>, <a href="#page_49">49</a>, <a href="#page_86">86</a>, <a href="#page_88">88</a>, <a href="#page_145">145</a>.<br /> - -Hermogenes (kalos), <a href="#page_130">130</a>.<br /> - -<i>Hermonax</i>, <a href="#page_143">143</a>.<br /> - -Heröon, <a href="#page_157">157</a>.<br /> - -Hesiod, <a href="#page_22">22</a>.<br /> - -Hetairai, <a href="#page_116">116</a>, <a href="#page_119">119</a>, <a href="#page_120">120</a>, <a href="#page_123">123</a>, <a href="#page_146">146</a>.<br /> - -<i>Hieron</i>, <a href="#page_131">131</a>, <a href="#page_135">135</a>.<br /> - -Hipparchos (kalos), <a href="#page_109">109</a>, <a href="#page_114">114</a>.<br /> - -Hippodamas (kalos), <a href="#page_127">127</a>, <a href="#page_130">130</a>.<br /> - -Hippodameia, <a href="#page_149">149</a>.<br /> - -<i>Hischylos</i>, <a href="#page_101">101</a>, <a href="#page_121">121</a>, <a href="#page_122">122</a>.<br /> - -Hissarlik (Troy), <a href="#page_4">4</a>.<br /> - -Homer, <a href="#page_16">16</a>, <a href="#page_22">22</a>.<br /> - -Homeric poems, <a href="#page_17">17</a>, <a href="#page_71">71</a>, <a href="#page_135">135</a> (see <i>Iliad</i> and <i>Odyssey</i>).<br /> - -<i>Horse master</i>, <a href="#page_128">128</a>, <a href="#page_133">133</a>, <a href="#page_137">137</a>, <a href="#page_138">138</a>, <a href="#page_139">139</a>.<br /> - -Hydria, <a href="#page_67">67</a>, <a href="#page_74">74</a>, <a href="#page_108">108</a>, <a href="#page_109">109</a>, <a href="#page_119">119</a>.<br /> - -Hygieia, <a href="#page_152">152</a>.<br /> - -Hymettos, <a href="#page_48">48</a>.<br /> - -Hymn (Homeric), <a href="#page_55">55</a>.<br /> - -<i>Hypsis</i>, <a href="#page_119">119</a>, <a href="#page_125">125</a>.<br /> - -<br /> -<a name="I" id="I"></a><span class="letra">I</span>DA, Mt., <a href="#page_8">8</a>.<br /> - -Iliad, The, <a href="#page_59">59</a>, <a href="#page_65">65</a>, <a href="#page_125">125</a>, <a href="#page_147">147</a>.<br /> - -Iliupersis, <a href="#page_67">67</a>, <a href="#page_104">104</a>, <a href="#page_128">128</a>.<br /> - -Io, <a href="#page_86">86</a>.<br /> - -Iole, <a href="#page_72">72</a>, <a href="#page_73">73</a>.<br /> - -Ionia, <a href="#page_47">47</a>, <a href="#page_94">94</a>.<br /> - -Ionians, <a href="#page_17">17</a>, <a href="#page_62">62</a>.<br /> - -Ionic art, <a href="#page_25">25</a>, <a href="#page_55">55-62</a>, <a href="#page_79">79-89</a>, <a href="#page_120">120</a>.<br /> - -Isocephalism, Law of, <a href="#page_68">68</a>.<br /> - -Italy, <a href="#page_15">15</a>, <a href="#page_26">26</a>, <a href="#page_42">42</a>, <a href="#page_60">60</a>, <a href="#page_90">90</a>.<br /> - -<br /> -<a name="J" id="J"></a><span class="letra">J</span>APANESE art, <a href="#page_12">12</a>.<br /> - -Jug with rotelle, <a href="#page_41">41-3</a>, <a href="#page_57">57</a>;<br /> -<span style="margin-left: 1em;">wine-skin-shaped, <a href="#page_41">41</a>.</span><br /> - -<br /> -<a name="K" id="K"></a><span class="letra">K</span>ABIRION, <a href="#page_110">110</a>.<br /> - -<i>Kachrylion</i>, <a href="#page_123">123</a>.<br /> - -<span class="pagenum"><a name="page_180" id="page_180">{180}</a></span>Kalistanthe (kale), <a href="#page_102">102</a>.<br /> - -<i>Kalliades</i>, <a href="#page_130">130</a>.<br /> - -Kallinos, <a href="#page_92">92</a>.<br /> - -Kaloi, <a href="#page_102">102</a>, <a href="#page_114">114</a>.<br /> - -Kamares style, <a href="#page_5">5</a>, <a href="#page_8">8</a>, <a href="#page_9">9</a>, <a href="#page_10">10</a>, <a href="#page_11">11</a>, <a href="#page_13">13</a>.<br /> - -Kantharos, <a href="#page_96">96</a>, <a href="#page_120">120</a>, <a href="#page_129">129</a>.<br /> - -Kassandra, <a href="#page_156">156</a>.<br /> - -Kavusi, <a href="#page_27">27</a>, <a href="#page_30">30</a>.<br /> - -Kerameikos, <a href="#page_121">121</a>.<br /> - -Kerch style, <a href="#page_158">158</a>.<br /> - -Kimon (statesman), <a href="#page_134">134</a>.<br /> - -<i>Kimon of Kleonai</i>, <a href="#page_111">111</a>.<br /> - -Klazomenai, <a href="#page_83">83</a>, <a href="#page_84">84</a>, <a href="#page_87">87</a>, <a href="#page_116">116</a>.<br /> - -Klazomenian sarcophagi, <a href="#page_87">87</a>, <a href="#page_111">111</a>.<br /> - -Klazomenian style, <a href="#page_83">83</a>, <a href="#page_84">84</a>.<br /> - -<i>Kleanthes</i> (Corinthian painter), <a href="#page_65">65</a>, <a href="#page_67">67</a>.<br /> - -<i>‘Kleophrades’ painter</i>, <a href="#page_127">127</a>.<br /> - -<i>Kleophrades, son of Amasis</i>, <a href="#page_127">127</a>, <a href="#page_129">129</a>.<br /> - -<i>Klitias</i>, <a href="#page_18">18</a>, <a href="#page_97">97</a>, <a href="#page_98">98</a>, <a href="#page_101">101</a>, <a href="#page_103">103</a>, <a href="#page_104">104</a>, <a href="#page_108">108</a>, <a href="#page_113">113</a>.<br /> - -Klytemnestra, <a href="#page_156">156</a>.<br /> - -Knossos, <a href="#page_10">10</a>, <a href="#page_14">14</a>.<br /> - -<i>Kolchos</i>, <a href="#page_87">87</a>, <a href="#page_103">103</a>, <a href="#page_104">104</a>, <a href="#page_107">107</a>.<br /> - -Korone, <a href="#page_118">118</a>.<br /> - -Krater, <a href="#page_15">15</a>, <a href="#page_33">33</a>, <a href="#page_34">34</a>, <a href="#page_71">71</a>, <a href="#page_72">72</a>, <a href="#page_73">73</a>, (a colonnette) <a href="#page_74">74</a>, (calyx) <a href="#page_123">123</a>, <a href="#page_136">136</a>, <a href="#page_140">140</a>, <a href="#page_142">142</a>, (bell) <a href="#page_127">127</a>, <a href="#page_136">136</a>, <a href="#page_149">149</a>, <a href="#page_156">156</a>, (volute) <a href="#page_157">157</a>.<br /> - -Kyknos, <a href="#page_78">78</a>.<br /> - -Kylix (bird), <a href="#page_26">26</a>, <a href="#page_52">52</a>, <a href="#page_94">94</a>, (eye) <a href="#page_81">81</a>, (with offset rim) <a href="#page_91">91</a>.<br /> - -Kyme (Italy), <a href="#page_27">27</a>, <a href="#page_28">28</a>, <a href="#page_42">42</a>, <a href="#page_53">53</a>.<br /> - -Kypselos, Chest of, <a href="#page_67">67</a>, <a href="#page_71">71</a>, <a href="#page_78">78</a>, <a href="#page_95">95</a>.<br /> - -<br /> -<a name="L" id="L"></a><span class="letra">L</span>ANUVIAN Juno, <a href="#page_90">90</a>.<br /> - -Leagros, father of Glaukon (kalos), <a href="#page_109">109</a>, <a href="#page_114">114</a>, <a href="#page_115">115</a>, <a href="#page_120">120</a>, <a href="#page_121">121</a>, <a href="#page_123">123</a>, <a href="#page_124">124</a>, <a href="#page_125">125</a>, <a href="#page_126">126</a>, <a href="#page_127">127</a>, <a href="#page_130">130</a>, <a href="#page_134">134</a>, <a href="#page_142">142</a>.<br /> - -Lebes (cauldron) <a href="#page_49">49</a>, (bronze) <a href="#page_53">53</a>, <a href="#page_57">57</a>, <a href="#page_66">66</a>, <a href="#page_71">71</a>, (with stand) <a href="#page_74">74</a>, <a href="#page_86">86</a>, <a href="#page_91">91</a>, <a href="#page_95">95</a>, <a href="#page_108">108</a>.<br /> - -Lecce, Pelike at, <a href="#page_143">143</a>.<br /> - -Leto, <a href="#page_55">55</a>.<br /> - -Leukas, <a href="#page_5">5</a>, <a href="#page_6">6</a>.<br /> - -<span class="pagenum"><a name="page_181" id="page_181">{181}</a></span>Lion Gate, The, <a href="#page_7">7</a>.<br /> - -<i>Little Masters</i>, <a href="#page_101">101</a>, <a href="#page_102">102</a>, <a href="#page_105">105</a>.<br /> - -London, Vases in, <a href="#page_58">58</a>, <a href="#page_61">61</a>, <a href="#page_78">78</a>, <a href="#page_108">108</a>, <a href="#page_119">119</a>, <a href="#page_122">122</a>, <a href="#page_125">125</a>, <a href="#page_126">126</a>, <a href="#page_130">130</a>, <a href="#page_135">135</a>, <a href="#page_143">143</a>, <a href="#page_145">145</a>, <a href="#page_147">147</a>, <a href="#page_149">149</a>, <a href="#page_156">156</a>.<br /> - -Lotus, <a href="#page_11">11</a>.<br /> - -Loutrophoros in Athens, <a href="#page_134">134</a>.<br /> - -Louvre (see Paris).<br /> - -Lower Italy, Vases of, <a href="#page_153">153</a>, <a href="#page_155">155</a>, <a href="#page_158">158</a>.<br /> - -Lucania, <a href="#page_156">156</a>.<br /> - -<i>Lydos</i> (the Lydian), <a href="#page_103">103</a>.<br /> - -<br /> -<a name="M" id="M"></a><span class="letra">M</span>ADRID, vases in, <a href="#page_116">116</a>, <a href="#page_151">151</a>.<br /> - -Maenads, <a href="#page_66">66</a>, <a href="#page_100">100</a>, <a href="#page_106">106</a>, <a href="#page_127">127</a>, <a href="#page_131">131</a>, <a href="#page_143">143</a>.<br /> - -<i>Makron</i>, <a href="#page_131">131</a>, <a href="#page_135">135</a>.<br /> - -Marathon, <a href="#page_114">114</a>, <a href="#page_115">115</a>, <a href="#page_140">140</a>.<br /> - -Marina (Hagia), <a href="#page_5">5</a>, <a href="#page_6">6</a>.<br /> - -Massilia, <a href="#page_28">28</a>.<br /> - -Mattmalerei (lustreless painting), <a href="#page_6">6</a>.<br /> - -Medusa, <a href="#page_49">49</a>, <a href="#page_50">50</a>.<br /> - -Megakles (Alkmaeonid), <a href="#page_114">114</a>, <a href="#page_119">119</a>.<br /> - -<i>Megakles</i> (potter), <a href="#page_142">142</a>, <a href="#page_152">152</a>.<br /> - -<i>Meidias</i>, <a href="#page_18">18</a>, <a href="#page_149">149</a>, <a href="#page_151">151</a>, <a href="#page_157">157</a>.<br /> - -Meleager, <a href="#page_98">98</a>.<br /> - -‘Melian’ vases, <a href="#page_53">53-5</a>, <a href="#page_81">81</a>.<br /> - -Melos, <a href="#page_5">5</a>, <a href="#page_9">9</a>, <a href="#page_12">12</a>, <a href="#page_14">14</a>, <a href="#page_25">25</a>, <a href="#page_53">53</a>.<br /> - -Melusa, <a href="#page_145">145</a>.<br /> - -Memnon (epic hero), <a href="#page_65">65</a>.<br /> - -Memnon (kalos), <a href="#page_114">114</a>, <a href="#page_121">121</a>, <a href="#page_123">123</a>.<br /> - -Menelaos, <a href="#page_104">104</a>.<br /> - -<i>Menon, painter</i>, <a href="#page_116">116</a>.<br /> - -Metallic effect in vase shapes, <a href="#page_76">76</a>.<br /> - -Metope maeander, <a href="#page_57">57</a>, <a href="#page_61">61</a>.<br /> - -Metopes, <a href="#page_21">21</a>.<br /> - -Miletus, <a href="#page_25">25</a>, <a href="#page_30">30</a>, <a href="#page_55">55</a>, <a href="#page_56">56</a>, <a href="#page_114">114</a>.<br /> - -Minoan style (1), Early, <a href="#page_5">5</a>, <a href="#page_7">7</a>;<br /> -<span style="margin-left: 1em;">(2), Middle, <a href="#page_8">8</a>, <a href="#page_9">9</a>;</span><br /> -<span style="margin-left: 1em;">(3), Late, <a href="#page_10">10</a>, <a href="#page_12">12</a>, <a href="#page_13">13</a>, <a href="#page_14">14</a>.</span><br /> - -Minos, <a href="#page_7">7</a>.<br /> - -Minotaur, <a href="#page_66">66</a>, <a href="#page_104">104</a>.<br /> - -Minyan ware, <a href="#page_6">6</a>.<br /> - -<i>Mnasalkes</i> (Theban), <a href="#page_52">52</a>.<br /> - -Mochlos (Crete), <a href="#page_7">7</a>.<br /> - -<span class="pagenum"><a name="page_182" id="page_182">{182}</a></span>Monochromy, <a href="#page_33">33</a>, <a href="#page_44">44</a>, <a href="#page_48">48</a>.<br /> - -Munich, Vases in, <a href="#page_76">76</a>, <a href="#page_78">78</a>, <a href="#page_86">86</a>, <a href="#page_96">96</a>, <a href="#page_102">102</a>, <a href="#page_107">107</a>, <a href="#page_115">115</a>, <a href="#page_117">117</a>, <a href="#page_118">118</a>, <a href="#page_123">123</a>, <a href="#page_127">127</a>, <a href="#page_128">128</a>, <a href="#page_130">130</a>, <a href="#page_135">135</a>, <a href="#page_138">138</a>, <a href="#page_139">139</a>, <a href="#page_145">145</a>, <a href="#page_148">148</a>.<br /> - -Musaios, <a href="#page_145">145</a>.<br /> - -Muse, <a href="#page_95">95</a>, <a href="#page_145">145</a>.<br /> - -Mycenae, <a href="#page_6">6</a>, <a href="#page_7">7</a>, <a href="#page_12">12</a>, <a href="#page_14">14</a>.<br /> - -Mycenean, <a href="#page_1">1</a>, <a href="#page_7">7</a>, <a href="#page_8">8</a>, <a href="#page_13">13</a>, <a href="#page_14">14-19</a> (late).<br /> - -<br /> -<a name="N" id="N"></a><span class="letra">N</span>APLES, <a href="#page_1">1</a>.<br /> - -Naples, Vases in, <a href="#page_148">148</a>, <a href="#page_150">150</a>, <a href="#page_153">153</a>.<br /> - -Naturalistic style, <a href="#page_11">11</a>, <a href="#page_13">13</a>.<br /> - -Naukratis, <a href="#page_43">43</a>, <a href="#page_51">51</a>, <a href="#page_58">58</a>, <a href="#page_59">59</a>, <a href="#page_60">60</a>, <a href="#page_61">61</a>, <a href="#page_83">83</a>, <a href="#page_88">88</a>, <a href="#page_91">91</a>, <a href="#page_101">101</a>.<br /> - -Nauplia, <a href="#page_19">19</a>.<br /> - -<i>Nearchos</i>, <a href="#page_101">101</a>, <a href="#page_103">103</a>, <a href="#page_104">104</a>, <a href="#page_112">112</a>.<br /> - -Neolithic, <a href="#page_2">2</a>, <a href="#page_5">5</a>.<br /> - -Neoptolemos, <a href="#page_104">104</a>.<br /> - -Nereids, <a href="#page_89">89</a>.<br /> - -Nessos vase, <a href="#page_47">47</a>, <a href="#page_48">48</a>, <a href="#page_49">49</a>, <a href="#page_50">50</a>, <a href="#page_51">51</a>.<br /> - -New York, Vase in, <a href="#page_134">134</a>, <a href="#page_142">142</a>.<br /> - -Nike balustrade, <a href="#page_151">151</a>.<br /> - -<i>Nikosthenes</i>, <a href="#page_87">87</a>, <a href="#page_101">101</a>, <a href="#page_103">103</a>, <a href="#page_108">108</a>, <a href="#page_115">115</a>, <a href="#page_116">116</a>, <a href="#page_121">121</a>, <a href="#page_122">122</a>.<br /> - -Nile, The, <a href="#page_9">9</a>, <a href="#page_12">12</a>.<br /> - -Nolan style, <a href="#page_131">131</a>.<br /> - -Nudity, <a href="#page_20">20</a>.<br /> - -Nymph, <a href="#page_82">82</a>, <a href="#page_150">150</a>.<br /> - -<br /> -<a name="O" id="O"></a><span class="letra">O</span>DYSSEUS, <a href="#page_79">79</a>, <a href="#page_100">100</a>.<br /> - -Odyssey, <a href="#page_32">32</a>.<br /> - -Oichalia, <a href="#page_72">72</a>.<br /> - -<i>Oltos</i>, <a href="#page_116">116</a>, <a href="#page_119">119</a>, <a href="#page_122">122</a>, <a href="#page_123">123</a>, <a href="#page_124">124</a>, <a href="#page_127">127</a>.<br /> - -Olympia, <a href="#page_15">15</a>, <a href="#page_53">53</a>, <a href="#page_67">67</a>.<br /> - -Olympos, <a href="#page_65">65</a>, <a href="#page_66">66</a>, <a href="#page_67">67</a>, <a href="#page_71">71</a>.<br /> - -<i>Onesimos</i> (?), <a href="#page_128">128</a>.<br /> - -Onetorides (kalos), <a href="#page_106">106</a>.<br /> - -Orchomenos (Boeotia), <a href="#page_5">5</a>, <a href="#page_6">6</a>, <a href="#page_14">14</a>.<br /> - -Orestes, <a href="#page_156">156</a>.<br /> - -Oriental art, <a href="#page_29">29-32</a>, <a href="#page_35">35</a>, <a href="#page_37">37</a>.<br /> - -Orpheus, <a href="#page_137">137</a>, <a href="#page_139">139</a>.<br /> - -Orvieto, Calyx-Krater from, <a href="#page_140">140</a>.<br /> - -<span class="pagenum"><a name="page_183" id="page_183">{183}</a></span>Oxford, Vases in, <a href="#page_114">114</a>, <a href="#page_150">150</a>.<br /> - -<br /> -<a name="P" id="P"></a><span class="letra">P</span>AIDIA, <a href="#page_152">152</a>.<br /> - -Palace style (second late Minoan), <a href="#page_13">13</a>, <a href="#page_14">14</a>.<br /> - -Palaisto, <a href="#page_124">124</a>.<br /> - -<i>Pamphaios</i>, <a href="#page_101">101</a>, <a href="#page_103">103</a>, <a href="#page_108">108</a>, <a href="#page_109">109</a>, <a href="#page_115">115</a>, <a href="#page_116">116</a>, <a href="#page_121">121</a>, <a href="#page_122">122</a>, <a href="#page_123">123</a>.<br /> - -<i>‘Pan’ Master, The</i>, <a href="#page_137">137</a>.<br /> - -Panaitios (kalos), <a href="#page_126">126</a>, <a href="#page_127">127</a>.<br /> - -<i>‘Panaitios’ Master, The</i>, Frontispiece, <a href="#page_126">126</a>, <a href="#page_128">128</a>, <a href="#page_129">129</a>, <a href="#page_130">130</a>.<br /> - -Panathenaea, The, <a href="#page_99">99</a>.<br /> - -Panathenaic amphorae (see <i>Amphora</i>).<br /> - -Paris (of Troy), <a href="#page_22">22</a>, <a href="#page_40">40</a>, <a href="#page_152">152</a>.<br /> - -Paris , Vases in: (1) Louvre, <a href="#page_49">49</a>, <a href="#page_58">58</a>, <a href="#page_72">72</a>, <a href="#page_79">79</a>, <a href="#page_91">91</a>, <a href="#page_94">94</a>, <a href="#page_105">105</a>, <a href="#page_108">108</a>, <a href="#page_116">116</a>, <a href="#page_123">123</a>, <a href="#page_126">126</a>, <a href="#page_128">128</a>, <a href="#page_130">130</a>, <a href="#page_140">140</a>, <a href="#page_156">156</a>;<br /> -<span style="margin-left: 1em;">(2) Cabinet des Médailles, <a href="#page_92">92</a>, <a href="#page_106">106</a>, <a href="#page_143">143</a>.</span><br /> - -Parthenon, <a href="#page_144">144</a>, <a href="#page_147">147</a>, <a href="#page_148">148</a>, <a href="#page_150">150</a>, <a href="#page_151">151</a>.<br /> - -Patroklos, <a href="#page_125">125</a>.<br /> - -Pausanias (Descriptio Graeciæ), <a href="#page_71">71</a>.<br /> - -Pedieus (kalos), <a href="#page_109">109</a>.<br /> - -Pegasus, <a href="#page_39">39</a>.<br /> - -<i>Peithinos</i>, <a href="#page_124">124</a>.<br /> - -Peleus, <a href="#page_32">32</a>, <a href="#page_33">33</a>, <a href="#page_71">71</a>, <a href="#page_95">95</a>.<br /> - -Pelias, <a href="#page_67">67</a>.<br /> - -Pelike, <a href="#page_110">110</a>, <a href="#page_119">119</a>, <a href="#page_143">143</a>.<br /> - -Peloponnese, <a href="#page_17">17</a>, <a href="#page_90">90</a>.<br /> - -Pelops, <a href="#page_149">149</a>, <a href="#page_150">150</a>, <a href="#page_155">155</a>.<br /> - -Penthesileia, <a href="#page_81">81</a>, <a href="#page_138">138</a>.<br /> - -<i>Penthesileia Master, The</i>, <a href="#page_139">139</a>, <a href="#page_141">141</a>.<br /> - -Periclean age, <a href="#page_144">144</a>.<br /> - -Perseus, <a href="#page_49">49</a>, <a href="#page_59">59</a>, <a href="#page_64">64</a>.<br /> - -<i>Perugia Master, The</i>, <a href="#page_128">128</a>, <a href="#page_130">130</a>, <a href="#page_139">139</a>.<br /> - -Petrograd, Psykter in, <a href="#page_123">123</a>.<br /> - -Phaistos, <a href="#page_10">10</a>, <a href="#page_14">14</a>.<br /> - -Phaleron style, <a href="#page_47">47</a>, <a href="#page_48">48</a>, <a href="#page_49">49</a>, <a href="#page_54">54</a>.<br /> - -Phaon, <a href="#page_152">152</a>.<br /> - -Pheidias, <a href="#page_113">113</a>, <a href="#page_142">142</a>, <a href="#page_143">143</a>, <a href="#page_144">144</a>, <a href="#page_148">148</a>, <a href="#page_151">151</a>, <a href="#page_154">154</a>.<br /> - -<span class="pagenum"><a name="page_184" id="page_184">{184}</a></span>‘Phineus’ style, <a href="#page_80">80-3</a>, <a href="#page_102">102</a>, <a href="#page_105">105</a>, <a href="#page_107">107</a>, <a href="#page_121">121</a>.<br /> - -Phineus kylix, <a href="#page_76">76</a>, <a href="#page_79">79</a>, <a href="#page_80">80</a>, <a href="#page_81">81</a>, <a href="#page_93">93</a>, <a href="#page_146">146</a>, <a href="#page_150">150</a>.<br /> - -<i>Phintias</i>, <a href="#page_114">114</a>, <a href="#page_119">119</a>, <a href="#page_123">123</a>, <a href="#page_125">125</a>.<br /> - -Phlyakes, <a href="#page_156">156</a>.<br /> - -Phocis, <a href="#page_2">2</a>, <a href="#page_5">5</a>.<br /> - -Phœnicia, <a href="#page_15">15</a>.<br /> - -Phœnician metal work, <a href="#page_30">30</a>, <a href="#page_47">47</a>, <a href="#page_55">55</a>, <a href="#page_58">58</a>.<br /> - -Physiognomy, <a href="#page_135">135</a>, <a href="#page_139">139</a>.<br /> - -Pinax (votive tablet), <a href="#page_46">46</a>, <a href="#page_51">51</a>, <a href="#page_114">114</a>.<br /> - -Piraeus amphora, <a href="#page_49">49</a>.<br /> - -Pisistratidae, <a href="#page_114">114</a>.<br /> - -Pisistratus, <a href="#page_99">99</a>.<br /> - -<i>Pistoxenos</i>, <a href="#page_122">122</a>, <a href="#page_134">134</a>.<br /> - -Plate (Teller), <a href="#page_32">32</a>, <a href="#page_58">58</a>.<br /> - -Pliny, <a href="#page_111">111</a>, <a href="#page_112">112</a>.<br /> - -Polychromy, <a href="#page_8">8</a>, <a href="#page_10">10</a>, <a href="#page_60">60</a>, <a href="#page_93">93</a> (see <i>Kamares</i>, <i>Naukratis</i>.)<br /> - -Polygnotan vases, <a href="#page_140">140</a>, <a href="#page_141">141</a>.<br /> - -<i>Polygnotos</i>, <a href="#page_123">123</a>, <a href="#page_133">133</a>, <a href="#page_138">138</a>, <a href="#page_143">143</a>, <a href="#page_146">146</a>.<br /> - -<i>Polygnotos</i> (vase painter), <a href="#page_143">143</a>.<br /> - -Polyneikes, <a href="#page_144">144</a>.<br /> - -Polyphemus, <a href="#page_33">33</a>.<br /> - -‘Pontic’ vases, <a href="#page_89">89</a>, <a href="#page_90">90</a>.<br /> - -Pontus, <a href="#page_43">43</a>.<br /> - -Poseidon, <a href="#page_65">65</a>, <a href="#page_126">126</a>.<br /> - -Praisos, <a href="#page_31">31</a>, <a href="#page_32">32</a>, <a href="#page_36">36</a>, <a href="#page_46">46</a>, <a href="#page_59">59</a>.<br /> - -Praxiteles, <a href="#page_158">158</a>.<br /> - -Priam, <a href="#page_104">104</a>, <a href="#page_117">117</a>, <a href="#page_123">123</a>.<br /> - -<i>‘Pronomos’ Master, The</i>, <a href="#page_151">151</a>, <a href="#page_153">153</a>, <a href="#page_154">154</a>;<br /> - -Protocorinthian, <a href="#page_26">26</a>, <a href="#page_27">27</a>, <a href="#page_34">34</a>, <a href="#page_36">36</a>, <a href="#page_37">37</a>, <a href="#page_38">38</a>, <a href="#page_41">41</a>, <a href="#page_42">42</a>, <a href="#page_43">43</a>, <a href="#page_44">44</a>, <a href="#page_47">47</a>, <a href="#page_49">49</a>, <a href="#page_53">53</a>, <a href="#page_56">56</a>, <a href="#page_59">59</a>, <a href="#page_71">71</a>, <a href="#page_75">75</a>, <a href="#page_120">120</a>.<br /> - -<i>Psiax</i>, <a href="#page_121">121</a>.<br /> - -Psykter, <a href="#page_119">119</a>, <a href="#page_120">120</a>, <a href="#page_123">123</a>, <a href="#page_130">130</a>, <a href="#page_137">137</a>, <a href="#page_140">140</a>.<br /> - -Pylos, <a href="#page_14">14</a>.<br /> - -<i>Pyros</i> (Theban), <a href="#page_52">52</a>.<br /> - -<i>Python</i>, <a href="#page_122">122</a>, <a href="#page_129">129</a>.<br /> - -<br /> -<a name="R" id="R"></a><span class="letra">R</span>AM jug, <a href="#page_32">32</a>, <a href="#page_53">53</a>.<br /> - -Rankengeschling, <a href="#page_36">36</a>.<br /> - -Rays, Circle of, <a href="#page_35">35</a>.<br /> - -<span class="pagenum"><a name="page_185" id="page_185">{185}</a></span>Red-figured style, <a href="#page_87">87</a>, <a href="#page_102">102</a>, <a href="#page_109">109</a>, <a href="#page_111">111-3</a>.<br /> - -Rheneia, <a href="#page_25">25</a>, <a href="#page_54">54</a>.<br /> - -Rhodes, <a href="#page_1">1</a>, <a href="#page_15">15</a>, <a href="#page_17">17</a>, <a href="#page_26">26</a>, <a href="#page_30">30</a>, <a href="#page_42">42</a>, <a href="#page_61">61</a>, <a href="#page_135">135</a>.<br /> - -Rhodian ware, <a href="#page_56">56-9</a>, <a href="#page_81">81</a>.<br /> - -Rome, Vases in, <a href="#page_105">105</a>, <a href="#page_122">122</a>.<br /> - -Rotelle, <a href="#page_41">41</a>, <a href="#page_57">57</a>.<br /> - -Russia, South, <a href="#page_83">83</a>, <a href="#page_158">158</a>.<br /> - -<br /> -<a name="S" id="S"></a><span class="letra">S</span>AMOS (see Fikellura), <a href="#page_30">30</a>, <a href="#page_43">43</a>, <a href="#page_61">61</a>, <a href="#page_91">91</a>.<br /> - -Sarcophagi (see Klazomenai).<br /> - -Sarpedon, <a href="#page_65">65</a>, <a href="#page_147">147</a>.<br /> - -Satyrs, <a href="#page_45">45</a>, <a href="#page_66">66</a>, <a href="#page_75">75</a>, <a href="#page_79">79</a>, <a href="#page_82">82</a>, <a href="#page_84">84</a>, <a href="#page_88">88</a>, <a href="#page_92">92</a>, <a href="#page_96">96</a>, <a href="#page_98">98</a>, <a href="#page_100">100</a>, <a href="#page_107">107</a>, <a href="#page_116">116</a>, <a href="#page_119">119</a>, <a href="#page_120">120</a>, <a href="#page_126">126</a>, <a href="#page_130">130</a>, <a href="#page_150">150</a>.<br /> - -Schliemann, Heinrich, <a href="#page_4">4</a>, <a href="#page_7">7</a>.<br /> - -Schwerin, Vase in, <a href="#page_134">134</a>.<br /> - -Scythians, <a href="#page_75">75</a>, <a href="#page_81">81</a>, <a href="#page_84">84</a>, <a href="#page_89">89</a>.<br /> - -Selene, <a href="#page_150">150</a>.<br /> - -Sesklo, <a href="#page_2">2</a>.<br /> - -Shaft graves (Mycenæ), <a href="#page_6">6</a>, <a href="#page_7">7</a>, <a href="#page_12">12</a>.<br /> - -Sicily, <a href="#page_15">15</a>, <a href="#page_26">26</a>, <a href="#page_42">42</a>, <a href="#page_60">60</a>.<br /> - -Sicyon, <a href="#page_34">34</a> (see <i>Butades</i>).<br /> - -Sicyonian-Corinthian metal work, <a href="#page_41">41</a>.<br /> - -Silenus, <a href="#page_81">81</a>.<br /> - -Silhouette, <a href="#page_31">31</a>, <a href="#page_32">32</a>, <a href="#page_37">37</a>.<br /> - -Silphion, <a href="#page_92">92</a>.<br /> - -Sirens, <a href="#page_45">45</a>, <a href="#page_95">95</a>.<br /> - -Skopas, <a href="#page_158">158</a>.<br /> - -Skyphos (two-handled cup), <a href="#page_35">35</a>, <a href="#page_38">38</a>, <a href="#page_45">45</a>, <a href="#page_120">120</a>, <a href="#page_128">128</a>, <a href="#page_134">134</a>.<br /> - -<i>Skythes</i> (the Scythian), <a href="#page_121">121</a>, <a href="#page_122">122</a>, <a href="#page_123">123</a>.<br /> - -Sleep and Death, <a href="#page_145">145</a>, <a href="#page_147">147</a>.<br /> - -<i>Smikros</i>, <a href="#page_120">120</a>.<br /> - -<i>Sophilos</i>, <a href="#page_71">71</a>, <a href="#page_95">95</a>, <a href="#page_96">96</a>, <a href="#page_97">97</a>, <a href="#page_99">99</a>, <a href="#page_104">104</a>.<br /> - -Sosias kylix, <a href="#page_79">79</a>, <a href="#page_124">124</a>, <a href="#page_125">125</a>.<br /> - -<i>‘Sosias’ painter</i>, <a href="#page_125">125</a>, <a href="#page_127">127</a>.<br /> - -<i>Sotades</i>, <a href="#page_120">120</a>, <a href="#page_142">142</a>, <a href="#page_153">153</a>.<br /> - -Sparta, <a href="#page_26">26</a>, <a href="#page_47">47</a>, <a href="#page_90">90</a>.<br /> - -Spartan ware, <a href="#page_90">90-3</a>, <a href="#page_122">122</a>.<br /> - -Spata, <a href="#page_14">14</a>.<br /> - -Sphinx, <a href="#page_39">39</a>, <a href="#page_40">40</a>, <a href="#page_45">45</a>.<br /> - -Stamnos, <a href="#page_119">119</a>, <a href="#page_136">136</a>, <a href="#page_143">143</a>, <a href="#page_145">145</a>, <a href="#page_148">148</a>.<br /> - -<span class="pagenum"><a name="page_186" id="page_186">{186}</a></span>Stesagoras (kalos), <a href="#page_114">114</a>.<br /> - -Stesias (kalos), <a href="#page_105">105</a>.<br /> - -Stesichoros, <a href="#page_99">99</a>.<br /> - -Sthenelos, <a href="#page_79">79</a>.<br /> - -Stirrup-vase, <a href="#page_12">12</a>, <a href="#page_19">19</a>.<br /> - -Stockholm, Vase in, <a href="#page_52">52</a>.<br /> - -Stone Age, <a href="#page_1">1</a>, <a href="#page_2">2</a>, <a href="#page_3">3</a>, <a href="#page_7">7</a>.<br /> - -Stylized ornament, <a href="#page_11">11</a>.<br /> - -Syracuse, <a href="#page_28">28</a>, <a href="#page_34">34</a>, <a href="#page_42">42</a>.<br /> - -<br /> -<a name="T" id="T"></a><span class="letra">T</span>ALEIDES, <a href="#page_104">104</a>.<br /> - -Talos vase, <a href="#page_154">154</a>, <a href="#page_155">155</a>, <a href="#page_157">157</a>.<br /> - -Tectonic style, <a href="#page_11">11</a>, <a href="#page_13">13</a>.<br /> - -Terpsichore, <a href="#page_145">145</a>, <a href="#page_149">149</a>.<br /> - -Textile influence, <a href="#page_23">23</a>.<br /> - -Thamyris, <a href="#page_152">152</a>.<br /> - -Thera, <a href="#page_9">9</a>, <a href="#page_12">12</a>, <a href="#page_25">25</a>, <a href="#page_26">26</a>, <a href="#page_27">27</a>, <a href="#page_42">42</a>, <a href="#page_53">53</a>, <a href="#page_111">111</a>.<br /> - -Thebes, <a href="#page_14">14</a>, <a href="#page_22">22</a>.<br /> - -Thersites, <a href="#page_157">157</a>.<br /> - -Theseus, <a href="#page_22">22</a>, <a href="#page_66">66</a>, <a href="#page_98">98</a>, <a href="#page_118">118</a>, <a href="#page_126">126</a>, <a href="#page_129">129</a>, <a href="#page_130">130</a>, <a href="#page_151">151</a>.<br /> - -Thessaly, <a href="#page_2">2</a>, <a href="#page_3">3</a>, <a href="#page_5">5</a>, <a href="#page_6">6</a>.<br /> - -Thetis, <a href="#page_32">32</a>, <a href="#page_65">65</a>, <a href="#page_71">71</a>, <a href="#page_95">95</a>, <a href="#page_97">97</a>.<br /> - -Thorikos (Attica), <a href="#page_14">14</a>.<br /> - -Thracian women, <a href="#page_137">137</a>.<br /> - -<i>Timagoras</i>, <a href="#page_67">67</a>, <a href="#page_108">108</a>.<br /> - -<i>Timonidas</i> (Corinthian), <a href="#page_45">45</a>, <a href="#page_46">46</a>, <a href="#page_51">51</a>, <a href="#page_72">72</a>, <a href="#page_113">113</a>.<br /> - -Tintoretto, <a href="#page_158">158</a>.<br /> - -Tiresias, <a href="#page_156">156</a>.<br /> - -Tiryns, <a href="#page_5">5</a>, <a href="#page_33">33</a>.<br /> - -Titian, <a href="#page_158">158</a>.<br /> - -Tityos, <a href="#page_139">139</a>.<br /> - -<i>Tleson</i>, <a href="#page_101">101</a>.<br /> - -Tragodia, <a href="#page_151">151</a>.<br /> - -Triada Hagia (Crete), <a href="#page_14">14</a>.<br /> - -Tripod vase, <a href="#page_96">96</a>.<br /> - -Triptolemos, <a href="#page_135">135</a>.<br /> - -<span class="pagenum"><a name="page_187" id="page_187">{187}</a></span>Triton, <a href="#page_67">67</a>, <a href="#page_89">89</a>, <a href="#page_108">108</a>.<br /> - -Troilos, <a href="#page_45">45</a>, <a href="#page_65">65</a>, <a href="#page_81">81</a>, <a href="#page_91">91</a>, <a href="#page_98">98</a>, <a href="#page_108">108</a>.<br /> - -Troy, <a href="#page_4">4</a>, <a href="#page_5">5</a>, <a href="#page_6">6</a>, <a href="#page_17">17</a>, <a href="#page_129">129</a>.<br /> - -Turin, Psykter in, <a href="#page_119">119</a>.<br /> - -‘Tyrrhenian’ vases, <a href="#page_99">99</a>, <a href="#page_100">100</a>, <a href="#page_103">103</a>, <a href="#page_106">106</a>.<br /> - -Tyrtaios, <a href="#page_92">92</a>.<br /> - -<br /> -<a name="V" id="V"></a><span class="letra">V</span>APHIO, <a href="#page_14">14</a>.<br /> - -Vase shapes (see Alabastron, Amphora, Aryballos, Beaked jug, Bowl, Face urn, Funnel-vase, Head, Hydria, Jug, Kantharos, Krater, Kylix, Lebes, Loutrophoros, Pelike, Plate, Psykter, Skyphos, Stamnos, Stirrup vase, Tripod vase).<br /> - -Veii, <a href="#page_42">42</a>.<br /> - -Vienna, Vases in, <a href="#page_119">119</a>, <a href="#page_128">128</a>, <a href="#page_129">129</a>.<br /> - -<i>Villa Giulia Master, The</i>, <a href="#page_143">143</a>.<br /> - -Volo, <a href="#page_14">14</a>.<br /> - -Vurvá vases, <a href="#page_47">47</a>, <a href="#page_50">50</a>, <a href="#page_51">51</a>, <a href="#page_83">83</a>, <a href="#page_93">93</a>, <a href="#page_95">95</a>, <a href="#page_100">100</a>.<br /> - -<br /> -<a name="W" id="W"></a><span class="letra">W</span>ALL painting (see Butades, Eumares, Kimon of Kleonai, Kleanthes, Polygnotos), <a href="#page_16">16</a>, <a href="#page_31">31</a>, <a href="#page_33">33</a>, <a href="#page_67">67</a>, <a href="#page_68">68</a>, <a href="#page_138">138</a>, <a href="#page_158">158</a>.<br /> - -Warrior vase (from Mycenae), <a href="#page_15">15</a>, <a href="#page_33">33</a>.<br /> - -Würzburg, Vases in (82), <a href="#page_105">105</a>, <a href="#page_106">106</a>, <a href="#page_128">128</a>.<br /> - -<br /> -<a name="X" id="X"></a><span class="letra">X</span>ENOPHANTOS, The Athenian, <a href="#page_158">158</a>.<br /> - -<br /> -<a name="Z" id="Z"></a><span class="letra">Z</span>EUS, <a href="#page_65">65</a>, <a href="#page_147">147</a>.<br /> -</p> - -<p><span class="smcap">Printed by Herbert Reiach, Ltd., 24 Floral St., Covent Garden, London, -W.C.2.</span></p> - -<hr class="full" /> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Greek vase-painting, by Ernst Buschor - -*** END OF THIS PROJECT GUTENBERG EBOOK GREEK VASE-PAINTING *** - -***** This file should be named 61986-h.htm or 61986-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/1/9/8/61986/ - -Produced by Turgut Dincer, Chuck Greif and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - 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