DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.8577#0126
io6 THE CORINTHIAN FIGURE STYLE
as well (cf. pi. 43, i). Contemporary Attic painters often made use of multiple
pattern-bands, but never allowed them to play so prominent a part.
That the red-ground vases are, for the most part, later than the light-
ground vases of similar type is proved, not of course by the mere fact of their
more elaborate technique, but by definite advances in drawing and composi-
tion. These are consistent and unquestionably imply not merely a fuller
measure of development, but also a
later period of time. And this is the
conclusion which we should draw from
the shapes used in the red-ground style.
Some of these are common to an earlier
period,1 the majority2 are proper, if
they are not all absolutely peculiar, to
the later style.3 Most of the types
which come into fashion at this period
inaugurate a new tradition in the his-
tory of vase shapes; but that is an-
other story, to which I must return
elsewhere.
Before we discuss the various groups
of red-ground figure vases, something
must be said as to the development of
drawing in the late Corinthian period.
There is a general tendency to soften
the profiles of the faces, in the case of
men and women equally. The very
angular profiles seen for example in the
symposium crater pi. 34, 4, and in
figs. 32-4, are definitely characteristic
of a more archaic stage;4 that exceptions can be found, isolated archaic
types on red-ground vases and vice versa, I do not deny; nor could any one
deny that it would be easy to find, on quite late black-figure vases, faces as
archaic as those of Sophilos.5 The general tendency of the time, reflected in
the average performance of competent artists, is none the less clear. Further
the late Corinthian artist has a greater command of detail; he observes much
Fig. 36. a, b, from no. 1475.
1 e.g. the crater, lekythos, neckless amphora, and
the globular oinochoe; the last three, however, only
begin their history in the early sixth century.
2 Crater of 'Chalcidian shape', three types of
hydriae, neck amphora of the type pi. 40, olpe with
trefoil mouth.
3 That is, though examples of one or two of these
shapes occur in the light-ground technique, there is
no reason to regard these as earlier than the red-
ground examples.
4 The contrast with figs. 36-8 is almost too obvious
to be mentioned; it is curious to think that the
Chigi vase, fig. 32, is generally thought to belong to
the same period as figs. 36-8.
5 Cf. for example, the vases by Affected painter,
passim.
as well (cf. pi. 43, i). Contemporary Attic painters often made use of multiple
pattern-bands, but never allowed them to play so prominent a part.
That the red-ground vases are, for the most part, later than the light-
ground vases of similar type is proved, not of course by the mere fact of their
more elaborate technique, but by definite advances in drawing and composi-
tion. These are consistent and unquestionably imply not merely a fuller
measure of development, but also a
later period of time. And this is the
conclusion which we should draw from
the shapes used in the red-ground style.
Some of these are common to an earlier
period,1 the majority2 are proper, if
they are not all absolutely peculiar, to
the later style.3 Most of the types
which come into fashion at this period
inaugurate a new tradition in the his-
tory of vase shapes; but that is an-
other story, to which I must return
elsewhere.
Before we discuss the various groups
of red-ground figure vases, something
must be said as to the development of
drawing in the late Corinthian period.
There is a general tendency to soften
the profiles of the faces, in the case of
men and women equally. The very
angular profiles seen for example in the
symposium crater pi. 34, 4, and in
figs. 32-4, are definitely characteristic
of a more archaic stage;4 that exceptions can be found, isolated archaic
types on red-ground vases and vice versa, I do not deny; nor could any one
deny that it would be easy to find, on quite late black-figure vases, faces as
archaic as those of Sophilos.5 The general tendency of the time, reflected in
the average performance of competent artists, is none the less clear. Further
the late Corinthian artist has a greater command of detail; he observes much
Fig. 36. a, b, from no. 1475.
1 e.g. the crater, lekythos, neckless amphora, and
the globular oinochoe; the last three, however, only
begin their history in the early sixth century.
2 Crater of 'Chalcidian shape', three types of
hydriae, neck amphora of the type pi. 40, olpe with
trefoil mouth.
3 That is, though examples of one or two of these
shapes occur in the light-ground technique, there is
no reason to regard these as earlier than the red-
ground examples.
4 The contrast with figs. 36-8 is almost too obvious
to be mentioned; it is curious to think that the
Chigi vase, fig. 32, is generally thought to belong to
the same period as figs. 36-8.
5 Cf. for example, the vases by Affected painter,
passim.