DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.8577#0038
18 THE LATE PROTOCORINTHIAN ORIENTALIZING STYLE
majority of vases show a distinct tendency to emphasize the principal motive
at the expense of the rest. The central frieze is apt to be slightly larger m
proportion to the whole than formerly, and the figures in it are therefore
larger; very occasionally (nos. 19-22) a single figure spreads over the greater
part of the vase. 1
The drawing, in some examples at any rate, shows little change from that ot
the second archaic period, but there are often perceptible differences which
confirm the later date of the 'late' Protocorinthian series. For one thing,
there is a tendency to experiment in the rendering of detail, to explore the
inner surfaces, which were formerly ignored. Earlier artists were very cautious
about this kind of thing; even when working on a large scale (cf. pis. 4-7),
they concerned themselves only with the essential points of the figure. Eyes,
mouth, chest contour,1 and feet are always shown in some detail; sometimes,
too, the joints of the knees. Little else is attempted, and it is only very rarely
that an effort is made to bring the parts thus indicated into relation with one
another. In many late Protocorinthian vases we see a distinct advance on this
point of view; there is often more inner drawing, and some of the new render-
ings of detail are a permanent contribution to the methods of the orientalizing
style.2
So far as the animal frieze is concerned, the colour scheme of the late Proto-
corinthian style is the same in essentials as that of the preceding period; but
there can be no doubt that the practice of picking out details with red now
becomes commoner.3 We noticed that yellow was used over black, in the
same way as red, in the early kotyle pi. 5; this technique recurs on the late
Protocorinthian fragments, pi. 8, 8 and no. 53. A new development is the
practice of painting whole friezes of animals in white on a black ground,
which we see on the Chigi vase (no. 39) and on another olpe (no. 41). New,
also, is the elaborate polychromy of the figure-scenes on the Chigi vase,
discussed elsewhere in connexion with the Corinthian pictorial style.
1 It is perhaps worth remarking that the curious pis. 9, 2, 9; 10, 3; n, 3. Incised belly stripe, a
incurving form of the chest contour seen in pis. 4 (1) regular feature henceforward, though invariable at
and 5 is not found in late Protocorinthian or indeed no period: pis. 8, 9; 9, 1-5, 8-9. Wing of three
in any later style. divisions: no. 39 (found also on the earlier pi. 4, 2);
2 Notethe rendering of the lion's muzzle in pi. io, 6 common in Transitional and regular in Corinthian
and on the Chigi vase (no. 39); the palmette-like vases. The Protocorinthian type with two divisions
stylization recurs on a late Protocorinthian fragment is common in Attica until the middle of the sixth
in Aegina, and is taken from Assyrian lions (cf. Assy- century. The very inorganic wing-form seen in the
rian reliefs and round sculpture passim); dots on early Protocorinthian aryballos pi. 1,4, a form which
the muzzle (whisker holes) pi. 9, 1, 4 (the same on is evidently to be traced back to Crete (cf. J.H.S.
the dinosno. 52 a). The lion's mane is elaborately 1924, 278; Liv. Ann. 1925 pi. 5 b) and thence to
rendered on no. 39 (cf. also pi. 9, 4); side whiskers Asia Minor (A.M. 1925, 56), is not found in the
nos. 39,41, 52 a (found occasionally in earlier Proto- developed Protocorinthian style.
corinthian: Johansen pi. 27, 1). The mane is ren- 3 Necks,wings, and belly stripe are often so treated;
dered also in the plastic aryballoi pi. 1, 7 and figs a few vases show no trace at all of added colour in
72-3. Ribs and thigh muscles occasionally shown: the animal frieze (nos. 10, 30c, 32, 48).
majority of vases show a distinct tendency to emphasize the principal motive
at the expense of the rest. The central frieze is apt to be slightly larger m
proportion to the whole than formerly, and the figures in it are therefore
larger; very occasionally (nos. 19-22) a single figure spreads over the greater
part of the vase. 1
The drawing, in some examples at any rate, shows little change from that ot
the second archaic period, but there are often perceptible differences which
confirm the later date of the 'late' Protocorinthian series. For one thing,
there is a tendency to experiment in the rendering of detail, to explore the
inner surfaces, which were formerly ignored. Earlier artists were very cautious
about this kind of thing; even when working on a large scale (cf. pis. 4-7),
they concerned themselves only with the essential points of the figure. Eyes,
mouth, chest contour,1 and feet are always shown in some detail; sometimes,
too, the joints of the knees. Little else is attempted, and it is only very rarely
that an effort is made to bring the parts thus indicated into relation with one
another. In many late Protocorinthian vases we see a distinct advance on this
point of view; there is often more inner drawing, and some of the new render-
ings of detail are a permanent contribution to the methods of the orientalizing
style.2
So far as the animal frieze is concerned, the colour scheme of the late Proto-
corinthian style is the same in essentials as that of the preceding period; but
there can be no doubt that the practice of picking out details with red now
becomes commoner.3 We noticed that yellow was used over black, in the
same way as red, in the early kotyle pi. 5; this technique recurs on the late
Protocorinthian fragments, pi. 8, 8 and no. 53. A new development is the
practice of painting whole friezes of animals in white on a black ground,
which we see on the Chigi vase (no. 39) and on another olpe (no. 41). New,
also, is the elaborate polychromy of the figure-scenes on the Chigi vase,
discussed elsewhere in connexion with the Corinthian pictorial style.
1 It is perhaps worth remarking that the curious pis. 9, 2, 9; 10, 3; n, 3. Incised belly stripe, a
incurving form of the chest contour seen in pis. 4 (1) regular feature henceforward, though invariable at
and 5 is not found in late Protocorinthian or indeed no period: pis. 8, 9; 9, 1-5, 8-9. Wing of three
in any later style. divisions: no. 39 (found also on the earlier pi. 4, 2);
2 Notethe rendering of the lion's muzzle in pi. io, 6 common in Transitional and regular in Corinthian
and on the Chigi vase (no. 39); the palmette-like vases. The Protocorinthian type with two divisions
stylization recurs on a late Protocorinthian fragment is common in Attica until the middle of the sixth
in Aegina, and is taken from Assyrian lions (cf. Assy- century. The very inorganic wing-form seen in the
rian reliefs and round sculpture passim); dots on early Protocorinthian aryballos pi. 1,4, a form which
the muzzle (whisker holes) pi. 9, 1, 4 (the same on is evidently to be traced back to Crete (cf. J.H.S.
the dinosno. 52 a). The lion's mane is elaborately 1924, 278; Liv. Ann. 1925 pi. 5 b) and thence to
rendered on no. 39 (cf. also pi. 9, 4); side whiskers Asia Minor (A.M. 1925, 56), is not found in the
nos. 39,41, 52 a (found occasionally in earlier Proto- developed Protocorinthian style.
corinthian: Johansen pi. 27, 1). The mane is ren- 3 Necks,wings, and belly stripe are often so treated;
dered also in the plastic aryballoi pi. 1, 7 and figs a few vases show no trace at all of added colour in
72-3. Ribs and thigh muscles occasionally shown: the animal frieze (nos. 10, 30c, 32, 48).