DOI Page / Citation link:
https://doi.org/10.11588/diglit.8577#0091
NATURAL HISTORY 7i
century vases—witness the Rosinante horses of the crater no. 1170; sometimes
old and new types are to be seen on different sides of the same vase (no. 1452).
Nonetheless, a clear course of development can be traced, which often pro-
vides useful corroborative evidence for the chronology of particular groups.
The subject has already been treated at some length,1 and I shall therefore
deal with it as briefly as possible.
First as to the Protocorinthian horses: Johansen has already pointed out
how closely, in the early phases of the style, they preserve the characteristics
of the Cretan models from which they are derived.2 The Chigi vase, soon
after the middle of the seventh century, introduces us to a modified type (fig.
17), which, as Miss v. Lieres has shown,3is influenced by the type which appears
on Assyrian reliefs. This is a fact of considerable interest when one recalls
Fig. 16. From no. 995A. Fig. 17. From no. 39.
the other evidence of Assyrian influence at Corinth in the latter part of the
seventh century.
The horses of the Chigi vase, as we should expect from the rest of the
decoration, far surpass the average standard of contemporary work; ordinary
late Protocorinthian drawing is probably typified by the aryballos Johansen,
pi. 38, i,4 the figures of which are not far removed in type or in quality from
those of many aryballoi of the early Corinthian period.
It will be seen from fig. 18 a-d and pis. 20 (2); 21 (4, 10-11), that the early
Corinthian horses have a very distinctive, though not absolutely homogeneous,
character. Fig. 18 b-d shows how close they may come to the type of the Chigi
vase; the execution is much less fine, but the conception of form is manifestly
similar in both cases, though the Cretan character, which still lingers in the
1 By v. Lieres u. Wilkau, Beitrage zur Geschichte the late Corinthian type through middle Corinthian
der Pferdedarstellung in der altgr. Vasenmalerei, vases such as the gorgoneion cups (p. 311) is not
Strasburg 1914. The authoress writes with a special sufficiently understood; there is no need to postulate
knowledge of horses and reaches interesting con- Attic influence to explain the types of the late Corin-
clusions. Her treatment of the Corinthian material thian period. My attention was drawn to this treatise
is based in part on certain untenable assumptions— by Prof. Beazley.
such as that the Chares pyxis (no. 1296) is an early 2 pp. 151-2. 3 p. 14.
vase, whereas of course it is really very late, and is in 4 The 'flame mane' on these horses is unusual
any case a work on which no criticism of this kind and recalls the Attic stylization for the manes of
could be based. Further i think that the evolution of horses and lions.
century vases—witness the Rosinante horses of the crater no. 1170; sometimes
old and new types are to be seen on different sides of the same vase (no. 1452).
Nonetheless, a clear course of development can be traced, which often pro-
vides useful corroborative evidence for the chronology of particular groups.
The subject has already been treated at some length,1 and I shall therefore
deal with it as briefly as possible.
First as to the Protocorinthian horses: Johansen has already pointed out
how closely, in the early phases of the style, they preserve the characteristics
of the Cretan models from which they are derived.2 The Chigi vase, soon
after the middle of the seventh century, introduces us to a modified type (fig.
17), which, as Miss v. Lieres has shown,3is influenced by the type which appears
on Assyrian reliefs. This is a fact of considerable interest when one recalls
Fig. 16. From no. 995A. Fig. 17. From no. 39.
the other evidence of Assyrian influence at Corinth in the latter part of the
seventh century.
The horses of the Chigi vase, as we should expect from the rest of the
decoration, far surpass the average standard of contemporary work; ordinary
late Protocorinthian drawing is probably typified by the aryballos Johansen,
pi. 38, i,4 the figures of which are not far removed in type or in quality from
those of many aryballoi of the early Corinthian period.
It will be seen from fig. 18 a-d and pis. 20 (2); 21 (4, 10-11), that the early
Corinthian horses have a very distinctive, though not absolutely homogeneous,
character. Fig. 18 b-d shows how close they may come to the type of the Chigi
vase; the execution is much less fine, but the conception of form is manifestly
similar in both cases, though the Cretan character, which still lingers in the
1 By v. Lieres u. Wilkau, Beitrage zur Geschichte the late Corinthian type through middle Corinthian
der Pferdedarstellung in der altgr. Vasenmalerei, vases such as the gorgoneion cups (p. 311) is not
Strasburg 1914. The authoress writes with a special sufficiently understood; there is no need to postulate
knowledge of horses and reaches interesting con- Attic influence to explain the types of the late Corin-
clusions. Her treatment of the Corinthian material thian period. My attention was drawn to this treatise
is based in part on certain untenable assumptions— by Prof. Beazley.
such as that the Chares pyxis (no. 1296) is an early 2 pp. 151-2. 3 p. 14.
vase, whereas of course it is really very late, and is in 4 The 'flame mane' on these horses is unusual
any case a work on which no criticism of this kind and recalls the Attic stylization for the manes of
could be based. Further i think that the evolution of horses and lions.