DOI Page / Citation link:
https://doi.org/10.11588/diglit.4760#0008
INTRODUCTION. 3
in popular favour throughout the two following centuries. After about 450 B.C.
the black-figured style is only represented in Italian or other imitations, and
on the Panathenaic amphorae, which for ceremonial reasons retained this style
down to the end of the fourth century.
From this question of dates we may now return to some of the other
characteristics of the black-figured vases. In the first place the figures are not
always purely and entirely black, though black is their prevalent aspect. They
are mostly enriched with accessory pigments of white and purple for details of
features, dress, etc., and of incised lines both for the outlines and the inner
markings of figures. It is true that the use of accessory purples or whites and of
incised lines was not unknown on vases of an earlier time. The well-known
pinax from Camiros in the British Museum (A 268), representing the combat of
Menelaos and Hector over the body of Euphorbos, not only has rudely-incised
lines, but a purple pigment is employed for the details. There is, however,
this difference, that there the purple is not laid upon the black after the first
firing, as on the regular black-figured vases, but directly upon the clay
ground. White is not employed, but instead the design is rendered in
outline on the drab ground of the clay {e.g. for the cuirass of Menelaos).
As regards the subjects painted on the black-figured vases, it may here be
noted that they consist mainly of scenes from mythology or legend. In the
older art, scenes from daily life had been not uncommon, as in the Geometric
style, with its funeral processions and combats by land or sea. Next came a
passion for long narrow bands of animals, due to the influence of Assyrian and
Phoenician industries. These narrow bands of animals lingered on into the
black-figured style, where they were retained in the subordinate position of
borders employed to set off the larger designs from mythology or legend, which
had now usurped the first place. But the larger question of mythological and
legendary subjects on the black-figured vases will be discussed later, with
reference to type-forms. Meantime we may re-state certain characteristics of
the black-figured vases : (1) black varnish entirely filling in the contours of
the figures; (2) red, or sometimes white, glaze employed as background ;
(3) details indicated by accessory pigments and incised lines; (4) purely
decorative patterns replaced by human or mythological figures. In the red-
figured style (1) and (2) are reversed.
A certain measure of development in the black-figured style can
be traced in the shapes and secondary
ornamentation of the vases. In the earlier
stages, as represented by the Cyrene (so-
called) and Corinthian fabrics, the favourite
shapes are : (1) the kylix, obviously imitated
both in its shape and secondary ornamentation
from vases in metal. Among the so-called
Cyrene vases this is the prevalent shape. Pfe. >■ cyrenaic kylix.
(2) In the earlier Corinthian style, the skyphos, oinochoi\ lekytlws, and
B 2
in popular favour throughout the two following centuries. After about 450 B.C.
the black-figured style is only represented in Italian or other imitations, and
on the Panathenaic amphorae, which for ceremonial reasons retained this style
down to the end of the fourth century.
From this question of dates we may now return to some of the other
characteristics of the black-figured vases. In the first place the figures are not
always purely and entirely black, though black is their prevalent aspect. They
are mostly enriched with accessory pigments of white and purple for details of
features, dress, etc., and of incised lines both for the outlines and the inner
markings of figures. It is true that the use of accessory purples or whites and of
incised lines was not unknown on vases of an earlier time. The well-known
pinax from Camiros in the British Museum (A 268), representing the combat of
Menelaos and Hector over the body of Euphorbos, not only has rudely-incised
lines, but a purple pigment is employed for the details. There is, however,
this difference, that there the purple is not laid upon the black after the first
firing, as on the regular black-figured vases, but directly upon the clay
ground. White is not employed, but instead the design is rendered in
outline on the drab ground of the clay {e.g. for the cuirass of Menelaos).
As regards the subjects painted on the black-figured vases, it may here be
noted that they consist mainly of scenes from mythology or legend. In the
older art, scenes from daily life had been not uncommon, as in the Geometric
style, with its funeral processions and combats by land or sea. Next came a
passion for long narrow bands of animals, due to the influence of Assyrian and
Phoenician industries. These narrow bands of animals lingered on into the
black-figured style, where they were retained in the subordinate position of
borders employed to set off the larger designs from mythology or legend, which
had now usurped the first place. But the larger question of mythological and
legendary subjects on the black-figured vases will be discussed later, with
reference to type-forms. Meantime we may re-state certain characteristics of
the black-figured vases : (1) black varnish entirely filling in the contours of
the figures; (2) red, or sometimes white, glaze employed as background ;
(3) details indicated by accessory pigments and incised lines; (4) purely
decorative patterns replaced by human or mythological figures. In the red-
figured style (1) and (2) are reversed.
A certain measure of development in the black-figured style can
be traced in the shapes and secondary
ornamentation of the vases. In the earlier
stages, as represented by the Cyrene (so-
called) and Corinthian fabrics, the favourite
shapes are : (1) the kylix, obviously imitated
both in its shape and secondary ornamentation
from vases in metal. Among the so-called
Cyrene vases this is the prevalent shape. Pfe. >■ cyrenaic kylix.
(2) In the earlier Corinthian style, the skyphos, oinochoi\ lekytlws, and
B 2