DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.8577#0072
52
THE EARLY CORINTHIAN ORIENTALIZING STYLE
padded dancer. We have, therefore, only to recall that all the regular Proto-
corinthian and Transitional types pass into the early Corinthian period in
order to realize that Corinthian vases of this time show an unrivalled variety
of decorative types. We shall see, in discussing the middle and late phases
of the Corinthian orientalizing style, that these show a very much more
restricted repertory of motives. The early Corinthian was the last really
creative period of the orientalizing style.
We have as yet said little of the vase-shapes employed in the early Corin-
thian period. Like the decorative motives which we have just discussed,
some of these are taken over from the preceding period, some were created at
Fig. 12. From no. 440.
Corinth in the late seventh century, others were borrowed from abroad. In
ch. 3 (p. 32) I have already pointed out some of the ways in which Corin-
thian artists modified the Protocorinthian shapes: it only remains, therefore,
to mention the shapes which are entirely new. The most important of these are
the round aryballoi of the types shown in figs. 124-5, the neck-amphora, and
the column crater; less important, at any rate in this period, are the several
types of convex-sided pyxis.1 It thus appears that several characteristic
Corinthian shapes—among them, two of the most conspicuous (the aryballoi
of the types alluded to and the crater)—are absent from the Transitional
style, a fact which accentuates the distinction between the two groups which
is already clear on stylistic grounds. On the other hand, as we shall see,
many typical middle and late Corinthian shapes are still unknown. Details
as to the history of individual shapes will be found in the catalogue.
If the foregoing interpretation be accepted, it will be agreed that the various
features which serve to distinguish the early Corinthian from the late Proto-
1The following are also new: the 'long' alabas- kotylai, the bowl, the stemmed lekanis, and the
tron, the 'alabastron-amphora', the ring-vase with cothon.
THE EARLY CORINTHIAN ORIENTALIZING STYLE
padded dancer. We have, therefore, only to recall that all the regular Proto-
corinthian and Transitional types pass into the early Corinthian period in
order to realize that Corinthian vases of this time show an unrivalled variety
of decorative types. We shall see, in discussing the middle and late phases
of the Corinthian orientalizing style, that these show a very much more
restricted repertory of motives. The early Corinthian was the last really
creative period of the orientalizing style.
We have as yet said little of the vase-shapes employed in the early Corin-
thian period. Like the decorative motives which we have just discussed,
some of these are taken over from the preceding period, some were created at
Fig. 12. From no. 440.
Corinth in the late seventh century, others were borrowed from abroad. In
ch. 3 (p. 32) I have already pointed out some of the ways in which Corin-
thian artists modified the Protocorinthian shapes: it only remains, therefore,
to mention the shapes which are entirely new. The most important of these are
the round aryballoi of the types shown in figs. 124-5, the neck-amphora, and
the column crater; less important, at any rate in this period, are the several
types of convex-sided pyxis.1 It thus appears that several characteristic
Corinthian shapes—among them, two of the most conspicuous (the aryballoi
of the types alluded to and the crater)—are absent from the Transitional
style, a fact which accentuates the distinction between the two groups which
is already clear on stylistic grounds. On the other hand, as we shall see,
many typical middle and late Corinthian shapes are still unknown. Details
as to the history of individual shapes will be found in the catalogue.
If the foregoing interpretation be accepted, it will be agreed that the various
features which serve to distinguish the early Corinthian from the late Proto-
1The following are also new: the 'long' alabas- kotylai, the bowl, the stemmed lekanis, and the
tron, the 'alabastron-amphora', the ring-vase with cothon.