DOI Page / Citation link:
https://doi.org/10.11588/diglit.8577#0109
NATURAL HISTORY 89
tradition originated in Corinth and passed to Attica; from about the middle
of the sixth century an Attic or Atticizing type became common property in
the Aegean area.
In the west, particularly in Taranto and the Dorian colonies of Sicily, the
gorgoneion was a favourite motive in temple decoration from a very early
period.1 As an apotropaic symbol the gorgon or the gorgoneion was particu-
larly appropriate for this purpose, and might therefore naturally be chosen
independently by decorators in many parts. None the less, this usage seems
to be an integral part of the Dorian and specifically Corinthian tradition of
temple decoration. From the west we can follow it back to Corfu, where there
were gorgoneion antefixes as well as the gorgon pediments of pure Corinthian
style, to Thermon and Calydon and to other parts of Greece where Corin-
thian influence is well established.
We may be quite certain that the
temples of Corinth provided pro-
totypes. The subject is discussed
further in ch. xvii.
Fig. 28. From no. 326 b. (Cf. note 3, below.)
Like the Sphinxes of Proto-
corinthian and Cretan vases, the
Corinthian sphinx often wears a
polos. Ionian sphinxes, of which there are a very great number, are always
bareheaded; so that the polos-wearing type of Corinth is certainly derived
from Crete.2 The types and proportions of the Protocorinthian and Cretan
sphinxes correspond very closely, and make a sharp contrast with those of
Ionian art, or at least of Ionian vase-painting.3 On Corinthian vases the
sphinx is almost always depicted in a seated position; the Protocorinthian-
Cretan walking type disappears (cf. p. 29).4 On one or two Protocorinthian
vases which date from the second quarter of the seventh century,5 the face is
drawn in outline, obviously under the influence of the conventions according
to which women are outlined while men are painted in silhouette. This tech-
nique then disappears, and is revived under the influence of the new pictorial
style in the second quarter of the sixth century (cf. p. 61). The male sphinx
first appears in the Corinthian period.
Despite the assertions of Robert to the contrary,61 think there can be little
semi-recumbent sphinxes so common on Rhodian
vases are very rare on the mainland of Greece (three
examples, one of which is shown in fig. 28, are
1 On this subject see Paola Montuoro in Mem. Ac.
Lincei, 1925, 282 ff. This section was written
before I read her article, but it will be seen that
our general conclusions as to the importance of
Corinth exactly correspond.
2 Johansen p. 130.
3 Nearer to the Daedalic types in position and pro-
portions are the sphinxes on some Rhodian gold-
work, such as Poulsen, Orient 145 fig. 167. The
3575
mentioned on p. 282).
4 The only exceptions to this rule are the sphinxes
on the pyxis no. 862 and on no. 1105. Pouncing
sphinxes: pis. 22, 7; 23, 5..
5 PI. 1,4, and fig. 5; cf. Johansen pi. 27, 1.
6 Oidipus ii, 18 ff.
n
tradition originated in Corinth and passed to Attica; from about the middle
of the sixth century an Attic or Atticizing type became common property in
the Aegean area.
In the west, particularly in Taranto and the Dorian colonies of Sicily, the
gorgoneion was a favourite motive in temple decoration from a very early
period.1 As an apotropaic symbol the gorgon or the gorgoneion was particu-
larly appropriate for this purpose, and might therefore naturally be chosen
independently by decorators in many parts. None the less, this usage seems
to be an integral part of the Dorian and specifically Corinthian tradition of
temple decoration. From the west we can follow it back to Corfu, where there
were gorgoneion antefixes as well as the gorgon pediments of pure Corinthian
style, to Thermon and Calydon and to other parts of Greece where Corin-
thian influence is well established.
We may be quite certain that the
temples of Corinth provided pro-
totypes. The subject is discussed
further in ch. xvii.
Fig. 28. From no. 326 b. (Cf. note 3, below.)
Like the Sphinxes of Proto-
corinthian and Cretan vases, the
Corinthian sphinx often wears a
polos. Ionian sphinxes, of which there are a very great number, are always
bareheaded; so that the polos-wearing type of Corinth is certainly derived
from Crete.2 The types and proportions of the Protocorinthian and Cretan
sphinxes correspond very closely, and make a sharp contrast with those of
Ionian art, or at least of Ionian vase-painting.3 On Corinthian vases the
sphinx is almost always depicted in a seated position; the Protocorinthian-
Cretan walking type disappears (cf. p. 29).4 On one or two Protocorinthian
vases which date from the second quarter of the seventh century,5 the face is
drawn in outline, obviously under the influence of the conventions according
to which women are outlined while men are painted in silhouette. This tech-
nique then disappears, and is revived under the influence of the new pictorial
style in the second quarter of the sixth century (cf. p. 61). The male sphinx
first appears in the Corinthian period.
Despite the assertions of Robert to the contrary,61 think there can be little
semi-recumbent sphinxes so common on Rhodian
vases are very rare on the mainland of Greece (three
examples, one of which is shown in fig. 28, are
1 On this subject see Paola Montuoro in Mem. Ac.
Lincei, 1925, 282 ff. This section was written
before I read her article, but it will be seen that
our general conclusions as to the importance of
Corinth exactly correspond.
2 Johansen p. 130.
3 Nearer to the Daedalic types in position and pro-
portions are the sphinxes on some Rhodian gold-
work, such as Poulsen, Orient 145 fig. 167. The
3575
mentioned on p. 282).
4 The only exceptions to this rule are the sphinxes
on the pyxis no. 862 and on no. 1105. Pouncing
sphinxes: pis. 22, 7; 23, 5..
5 PI. 1,4, and fig. 5; cf. Johansen pi. 27, 1.
6 Oidipus ii, 18 ff.
n