DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.8577#0073
THE EARLY CORINTHIAN ORIENTALIZING STYLE 53
Corinthian and Transitional styles, cannot all be assigned to one source. A
great deal, one might perhaps say the central character of the style, is pure
inheritance from the earlier periods; other features, and these for the most
part the less obvious, are the expression of the particular period to which the
early Corinthian vases belong; others again appear to be due to influences
from abroad. It is now time that we inquired what these last features are,
and whence they came.
Johansen's analysis of the Protocorinthian style has shown beyond the
possibility of doubt that the first exotic influences to reach Corinth came, not
directly from the Orient, but from the orientalizing art of the Creto-Cypriot
region; further, that the connexion between Corinth and Crete was main-
tained at an advanced period in the seventh century. Ionia is shown to have
played little part in the formation of the Protocorinthian style.
In Corinthian decoration there would seem to be indications of a more
direct contact with oriental art: at any rate a certain number of oriental
motives appear for the first time in the later seventh century, and occasionally
oriental models seem to have changed the character of traditional types.
In the first place, there is the solid rosette, the favourite Corinthian field-
ornament, which is one of the primary motives of Assyrian decoration. It is
constantly used as a dress pattern on Assyrian reliefs, and must have been
regularly employed in Assyrian textiles and embroidery. What is more, we
find it used in Assyrian art with the same careless profusion which we notice
throughout the history of the Corinthian style.1 The solid rosette was, of
course, known to Greek artists long before the late seventh century; as an
isolated motive we find it here and there on quite early Protocorinthian vases,
on Proto-attic vases, and sporadically elsewhere.2 But it is important to
realize that in these earlier styles it is simply one of many motives, and one of
the least important at that. The sudden and indiscriminate predilection of
Corinthian vase-painters for this ornament requires some explanation, and
it is at least possible that the oriental works just mentioned provide the
necessary clue. For there are other points of correspondence between
Corinthian and Assyrian art which are not likely to be fortuitous. Thus, the
favourite Corinthian floral complex, an example of which is shown in fig.54E,
undoubtedly goes back to an Assyrian motive (fig. 54A), as I have explained
elsewhere (see p. 147). This ornament is unknown in the Protocorinthian
period, and first appears in the late seventh century; again, the motive seen
1 Cf., for instance, the banquet relief of Ashur- ground, are another favourite oriental motive which
banipal, Springer-Wolters12 72 fig. 170, Hall, Bab. now appears on the mainland for the first time (Ther-
and Ass. Sculpture pi. 41; ibid. pis. 52, 57 &c, and mon metopes, Calydon antefix (Poulsen-Rhomainos
especially B.M. Ass. Sculpture pi. 52, 4, where fig. 42): later Corinthian, nos. 1397, 1508, 1509).
rosettes are scattered in fields decorated with 2 For Protocorinthian examples, see p. 31; Proto-
animals, precisely as on Corinthian vases. Rosettes attic, Pfuhl fig. 87; Graf, pi. 13,370 &c; commonly
in continuous friezes, usually reserved on a dark on Theran vases, occasionally on early Rhodian &c.
Corinthian and Transitional styles, cannot all be assigned to one source. A
great deal, one might perhaps say the central character of the style, is pure
inheritance from the earlier periods; other features, and these for the most
part the less obvious, are the expression of the particular period to which the
early Corinthian vases belong; others again appear to be due to influences
from abroad. It is now time that we inquired what these last features are,
and whence they came.
Johansen's analysis of the Protocorinthian style has shown beyond the
possibility of doubt that the first exotic influences to reach Corinth came, not
directly from the Orient, but from the orientalizing art of the Creto-Cypriot
region; further, that the connexion between Corinth and Crete was main-
tained at an advanced period in the seventh century. Ionia is shown to have
played little part in the formation of the Protocorinthian style.
In Corinthian decoration there would seem to be indications of a more
direct contact with oriental art: at any rate a certain number of oriental
motives appear for the first time in the later seventh century, and occasionally
oriental models seem to have changed the character of traditional types.
In the first place, there is the solid rosette, the favourite Corinthian field-
ornament, which is one of the primary motives of Assyrian decoration. It is
constantly used as a dress pattern on Assyrian reliefs, and must have been
regularly employed in Assyrian textiles and embroidery. What is more, we
find it used in Assyrian art with the same careless profusion which we notice
throughout the history of the Corinthian style.1 The solid rosette was, of
course, known to Greek artists long before the late seventh century; as an
isolated motive we find it here and there on quite early Protocorinthian vases,
on Proto-attic vases, and sporadically elsewhere.2 But it is important to
realize that in these earlier styles it is simply one of many motives, and one of
the least important at that. The sudden and indiscriminate predilection of
Corinthian vase-painters for this ornament requires some explanation, and
it is at least possible that the oriental works just mentioned provide the
necessary clue. For there are other points of correspondence between
Corinthian and Assyrian art which are not likely to be fortuitous. Thus, the
favourite Corinthian floral complex, an example of which is shown in fig.54E,
undoubtedly goes back to an Assyrian motive (fig. 54A), as I have explained
elsewhere (see p. 147). This ornament is unknown in the Protocorinthian
period, and first appears in the late seventh century; again, the motive seen
1 Cf., for instance, the banquet relief of Ashur- ground, are another favourite oriental motive which
banipal, Springer-Wolters12 72 fig. 170, Hall, Bab. now appears on the mainland for the first time (Ther-
and Ass. Sculpture pi. 41; ibid. pis. 52, 57 &c, and mon metopes, Calydon antefix (Poulsen-Rhomainos
especially B.M. Ass. Sculpture pi. 52, 4, where fig. 42): later Corinthian, nos. 1397, 1508, 1509).
rosettes are scattered in fields decorated with 2 For Protocorinthian examples, see p. 31; Proto-
animals, precisely as on Corinthian vases. Rosettes attic, Pfuhl fig. 87; Graf, pi. 13,370 &c; commonly
in continuous friezes, usually reserved on a dark on Theran vases, occasionally on early Rhodian &c.