DOI Page / Citation link:
https://doi.org/10.11588/diglit.67683#0146
94
GREEK PERIOD
cation of the folds of the drapery. The heads of nearly all the
figures, whether riding or standing, and even the roof of the
Fig. 61. . A The Lecythos (oil flask) has a long narrow neck adapted
to pouring the oil slowly. It was used chiefly in funeral rites. B Vase
painting showing two men at a tomb; on the plinth are lecythi, oinochoae,
a crater, a lyre, and a wreath.
Fig. 62.. Rhodian
Oinochoe. (Morin-
Jean)
house are on an approximately level line. The necessary distor-
tion of natural proportion to accomplish this is known as
isocephaly, meaning heads on a level, and was used by the Greeks
because it produced a more decorative effect
than the zigzag line that results from observ-
ing correct proportion. The use of this
principle and the omission of the stop-gaps
seen in the Euphorbus Plate have much to
do with the fineness and restraint of this
scheme of decoration, the predominant note
of which is the human figure, to which the
geometric and animal motifs have become
subordinate.
An amphora painted by Exekias (Pl. 30 c)
shows a different scheme of decoration. Its
shape, with large mouth and broad foot, is
strong rather than graceful. The handles not
only harmonize with the curve as an integral
, but are attached in such a way that they
part of the design,
appear to fulfill their function of supporting the weight of the
vase. The surface is painted solid black, except for the band with
GREEK PERIOD
cation of the folds of the drapery. The heads of nearly all the
figures, whether riding or standing, and even the roof of the
Fig. 61. . A The Lecythos (oil flask) has a long narrow neck adapted
to pouring the oil slowly. It was used chiefly in funeral rites. B Vase
painting showing two men at a tomb; on the plinth are lecythi, oinochoae,
a crater, a lyre, and a wreath.
Fig. 62.. Rhodian
Oinochoe. (Morin-
Jean)
house are on an approximately level line. The necessary distor-
tion of natural proportion to accomplish this is known as
isocephaly, meaning heads on a level, and was used by the Greeks
because it produced a more decorative effect
than the zigzag line that results from observ-
ing correct proportion. The use of this
principle and the omission of the stop-gaps
seen in the Euphorbus Plate have much to
do with the fineness and restraint of this
scheme of decoration, the predominant note
of which is the human figure, to which the
geometric and animal motifs have become
subordinate.
An amphora painted by Exekias (Pl. 30 c)
shows a different scheme of decoration. Its
shape, with large mouth and broad foot, is
strong rather than graceful. The handles not
only harmonize with the curve as an integral
, but are attached in such a way that they
part of the design,
appear to fulfill their function of supporting the weight of the
vase. The surface is painted solid black, except for the band with