DOI Page / Citation link:
https://doi.org/10.11588/diglit.8577#0068
4«
THE EARLY CORINTHIAN ORIENTALIZING STYLE
date in the early Corinthian period, for it is used by the 'sphinx painter' on
his incised-rosette vases, but not on the vases which he decorated in the dot-
rosette style.1 White is never used for broad surfaces before the late Corin-
thian period.
The actual drawing is often very like that of the late Transitional
period; the connexion is,perhaps,clearest in the case of the small alabastra
illustrated in pi. 17; but among the larger vases there are countless instances
of close contact.2 In general, however, it is true to say that the Corinthian
animals are heavier3 than the others, and that the drawing is more angular;
angular, not in a strictly mathematical sense, but in that it shows little of the
Protocorinthian delight in simple, sweeping contours. There is generally
a pleasant, easy rhythm about the lines, but there is definitely not the same
calligraphic simplicity which we
find as a rule in earlier work.
A curious feature of much Corin-
thian drawing is the pronounced
tendency to elongate the figures, so
that fewer are needed to fill the
frieze: this is evidently the result
of a desire to cover the ground as
quickly as possible, for an extra inch
on the body means four animals to
a frieze instead of six—or even less.
Hence the dachshund type of which we have a particularly well-bred example
in fig. 11. These elongated figures are absolutely unknown on Protocorin-
thian vases:4 we noticed the idea in embryonic form on one or two late
Transitional oinochoai, but we must wait for the Corinthian period to find
its possibilities fully realized. It is often said that the Corinthian period was
one of mass-production; and rightly, for thousands of Corinthian vases were
produced within a relatively short period, and few of them were painted with
the same deliberate care as Protocorinthian. The peculiar form of distortion
just referred to, is excellent evidence of this aspect of the Corinthian industry.5
A glance at pis. 18 and fF. will show that early Corinthian drawing is also a
1 On the origin of this mannerism, see p. 284; on the 5 The Corinthian predilection for other motives
which take up a great deal of space, must be inter-
preted in the same sense : thus one of the favourite
types of the Corinthian period, the swan with both
wings outspread (no. 585 and passim), is never found
on Protocorinthian vases; the type with one wing
extended is rare enough before the Transitional
period (cf.- Johansen p. 136). The same holds good
for the sphinxes, sirens, and other creatures with
both wings outspread, which are exceedingly fre-
quent on Corinthian vases. I
Fig. 11. From no. 730.
'sphinx painter', p. 31, note 1.
2 Cf. the Transitional and early Corinthian oino-
choai by the 'sphinx painter': pis. 12 (1, 8-10) and
21, 1; 25, 2 and 5; the Transitional pi. 14 with the
early Corinthian pi. 20, 1, 2, and so on.
3 Cf. for instance, pis. 18-20, from many examples
illustrated in this book. The origin of this massive
type can be seen in Transitional vases like pis. 13,4 and
14; we never find anything of the kind in earlier vases.
4 The nearest approach is illustrated in fig. 5.
THE EARLY CORINTHIAN ORIENTALIZING STYLE
date in the early Corinthian period, for it is used by the 'sphinx painter' on
his incised-rosette vases, but not on the vases which he decorated in the dot-
rosette style.1 White is never used for broad surfaces before the late Corin-
thian period.
The actual drawing is often very like that of the late Transitional
period; the connexion is,perhaps,clearest in the case of the small alabastra
illustrated in pi. 17; but among the larger vases there are countless instances
of close contact.2 In general, however, it is true to say that the Corinthian
animals are heavier3 than the others, and that the drawing is more angular;
angular, not in a strictly mathematical sense, but in that it shows little of the
Protocorinthian delight in simple, sweeping contours. There is generally
a pleasant, easy rhythm about the lines, but there is definitely not the same
calligraphic simplicity which we
find as a rule in earlier work.
A curious feature of much Corin-
thian drawing is the pronounced
tendency to elongate the figures, so
that fewer are needed to fill the
frieze: this is evidently the result
of a desire to cover the ground as
quickly as possible, for an extra inch
on the body means four animals to
a frieze instead of six—or even less.
Hence the dachshund type of which we have a particularly well-bred example
in fig. 11. These elongated figures are absolutely unknown on Protocorin-
thian vases:4 we noticed the idea in embryonic form on one or two late
Transitional oinochoai, but we must wait for the Corinthian period to find
its possibilities fully realized. It is often said that the Corinthian period was
one of mass-production; and rightly, for thousands of Corinthian vases were
produced within a relatively short period, and few of them were painted with
the same deliberate care as Protocorinthian. The peculiar form of distortion
just referred to, is excellent evidence of this aspect of the Corinthian industry.5
A glance at pis. 18 and fF. will show that early Corinthian drawing is also a
1 On the origin of this mannerism, see p. 284; on the 5 The Corinthian predilection for other motives
which take up a great deal of space, must be inter-
preted in the same sense : thus one of the favourite
types of the Corinthian period, the swan with both
wings outspread (no. 585 and passim), is never found
on Protocorinthian vases; the type with one wing
extended is rare enough before the Transitional
period (cf.- Johansen p. 136). The same holds good
for the sphinxes, sirens, and other creatures with
both wings outspread, which are exceedingly fre-
quent on Corinthian vases. I
Fig. 11. From no. 730.
'sphinx painter', p. 31, note 1.
2 Cf. the Transitional and early Corinthian oino-
choai by the 'sphinx painter': pis. 12 (1, 8-10) and
21, 1; 25, 2 and 5; the Transitional pi. 14 with the
early Corinthian pi. 20, 1, 2, and so on.
3 Cf. for instance, pis. 18-20, from many examples
illustrated in this book. The origin of this massive
type can be seen in Transitional vases like pis. 13,4 and
14; we never find anything of the kind in earlier vases.
4 The nearest approach is illustrated in fig. 5.