DOI Page / Citation link:
https://doi.org/10.11588/diglit.4761#0018
12
CATALOGUE OF VASES.
is altogether dispensed with, and the broad foot starts direct from the body.
This form is usually very thick and heavy in the modelling, and has the lip
slightly offset. The interior design is often omitted, or consists of a linear
pattern lightly impressed on the surface and glazed black. In the last stage
of the kylix the stem reappears, and the body and foot are as nearly flat as
possible, all the beauty of curved outline being lost.
During the black-figure period the form of Iiydria, with nearly flat shoulders
and a back handle rising above the lip (vol. ii, fig. 14), remained almost
invariable. This form is represented in the early red-figure style by a few
examples (E 159-163), but soon makes way for a series in which various graceful
developments are shown. The tendency here, as in the kylix, is towards the
adoption of an outline which is curvilinear through-
out. When the necessity for arrangement of the
design in two or more bands is no longer felt, the
tectonic separation between shoulder and body is
done away with, and the outline sweeps in a single
curve from lip to foot (fig. 4) ; the handle at the
back no longer rises above the lip, creating a right
angle with it, but forms nearly a circle with the
curve of the lip and neck. This form, which is
sometimes distinguished as calpis, is also found,
though rarely, among the later black-figure vases
(see B 315, B 346, B 349)*, which are probably contem-
porary with the early red-figure period. As to the
field for decoration, the issue now lies I etween the
shoulder alone or the shoulder and body combined. The shoulder offers a long,
narrow band, which terminates only in the handle at the back (E 165, E 168-
170); the body and shoulder together offer a rectangular panel, which is limited
on either side by the side handles, and thus we have the old issue reopened as
between a frieze or a panel design. In the end the panel design wins the day,
but for a considerable period it is clear that both systems continued side by side.
The most successful solution for the decoration is probably that in which a single
figure or group is drawn on the front of the body, spreading up over the
shoulder. For typical harmony of outline and design E 179 is a masterpiece ;
in this vase the single figure of Nike is drawn with a swing and yet a simplicity
of lines which combine with and assist the admirable purity and flow of the form
itself. In the more elaborate compositions which come later into vogue, the
modelling of the vase is subordinated to the design, which is often overcrowded
and unsuitable. In the Meidias vase (E 224) a combination of frieze and panel
is attempted, but the result is more pictorial than the true canons of decorative
vase painting would admit.
The forms of amphora, which in the preceding style had been so popular
(vol. ii, figs. 13, 15), are rarely found with red figures. A few instances occur in
the early stage (thus E 253-256 have the broad grooved handles, E 257-264
CALPIS.
CATALOGUE OF VASES.
is altogether dispensed with, and the broad foot starts direct from the body.
This form is usually very thick and heavy in the modelling, and has the lip
slightly offset. The interior design is often omitted, or consists of a linear
pattern lightly impressed on the surface and glazed black. In the last stage
of the kylix the stem reappears, and the body and foot are as nearly flat as
possible, all the beauty of curved outline being lost.
During the black-figure period the form of Iiydria, with nearly flat shoulders
and a back handle rising above the lip (vol. ii, fig. 14), remained almost
invariable. This form is represented in the early red-figure style by a few
examples (E 159-163), but soon makes way for a series in which various graceful
developments are shown. The tendency here, as in the kylix, is towards the
adoption of an outline which is curvilinear through-
out. When the necessity for arrangement of the
design in two or more bands is no longer felt, the
tectonic separation between shoulder and body is
done away with, and the outline sweeps in a single
curve from lip to foot (fig. 4) ; the handle at the
back no longer rises above the lip, creating a right
angle with it, but forms nearly a circle with the
curve of the lip and neck. This form, which is
sometimes distinguished as calpis, is also found,
though rarely, among the later black-figure vases
(see B 315, B 346, B 349)*, which are probably contem-
porary with the early red-figure period. As to the
field for decoration, the issue now lies I etween the
shoulder alone or the shoulder and body combined. The shoulder offers a long,
narrow band, which terminates only in the handle at the back (E 165, E 168-
170); the body and shoulder together offer a rectangular panel, which is limited
on either side by the side handles, and thus we have the old issue reopened as
between a frieze or a panel design. In the end the panel design wins the day,
but for a considerable period it is clear that both systems continued side by side.
The most successful solution for the decoration is probably that in which a single
figure or group is drawn on the front of the body, spreading up over the
shoulder. For typical harmony of outline and design E 179 is a masterpiece ;
in this vase the single figure of Nike is drawn with a swing and yet a simplicity
of lines which combine with and assist the admirable purity and flow of the form
itself. In the more elaborate compositions which come later into vogue, the
modelling of the vase is subordinated to the design, which is often overcrowded
and unsuitable. In the Meidias vase (E 224) a combination of frieze and panel
is attempted, but the result is more pictorial than the true canons of decorative
vase painting would admit.
The forms of amphora, which in the preceding style had been so popular
(vol. ii, figs. 13, 15), are rarely found with red figures. A few instances occur in
the early stage (thus E 253-256 have the broad grooved handles, E 257-264
CALPIS.