DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.8577#0127
THE CORINTHIAN FIGURE STYLE 107
that escaped his predecessors—of this the figures illustrated in pi. 40, 3 are
good evidence; he can give expression by almost imperceptible deviations
from the conventional schemes (cf. the warriors in the battle-scene of pi.41,2) j1
there are even contrasts of physiognomy; witness Halimedes on no. 1471 and
the hoplites of the lekythos and oinochoe pi. 39,1, 3 (both further contrasted
with their youthful attendants on either side).2 The drawing of the human
body in profile shows a similar advance. The earlier nude type is seen in the
Fig. 37. From no. 1474.
Vatican crater, no. 1452: for this we have an exact parallel on the early Attic
dinos, Graf, Akropolisvasen pi. 27, and close analogies on the Francois vase;
the former I take to be about contemporary with the dinos signed by Sophilos.
The developed stage is seen in the figure of Hippotion on the Amphiaraos
crater, where a clearer grasp of the structure of the torso is implied; the same
on the Hector crater, pi. 40, 3 and fig. 37.3
Again, the draped men, with cloaks diagonally worn, are more correctly
delineated on red-ground vases than on the gorgoneion cups or the Timonidas
vase (cf. p. 98, note 1). Figures like those of the Vatican crater, no. 1452, or of
1 We have here a very near approach to Chalcidian
drawing (cf. the Hope amphora, Pfuhl fig. 163,
Rumpf pi. 12). The Leipzig crater is probably one
of the latest Corinthian figure-vases (cf. p. 330).
2 The faces of the attendants are entirely without
which seem to be by the same artist (cf. pi. 35,
5)-
3 The Hector crater is the more developed of the
two; note, for example, the indication of the pectoral
muscles. The female figures, too, seem to be dis-
characterization, like those of sirens on other vases tinctly later than those of the Amphiaraos crater.
that escaped his predecessors—of this the figures illustrated in pi. 40, 3 are
good evidence; he can give expression by almost imperceptible deviations
from the conventional schemes (cf. the warriors in the battle-scene of pi.41,2) j1
there are even contrasts of physiognomy; witness Halimedes on no. 1471 and
the hoplites of the lekythos and oinochoe pi. 39,1, 3 (both further contrasted
with their youthful attendants on either side).2 The drawing of the human
body in profile shows a similar advance. The earlier nude type is seen in the
Fig. 37. From no. 1474.
Vatican crater, no. 1452: for this we have an exact parallel on the early Attic
dinos, Graf, Akropolisvasen pi. 27, and close analogies on the Francois vase;
the former I take to be about contemporary with the dinos signed by Sophilos.
The developed stage is seen in the figure of Hippotion on the Amphiaraos
crater, where a clearer grasp of the structure of the torso is implied; the same
on the Hector crater, pi. 40, 3 and fig. 37.3
Again, the draped men, with cloaks diagonally worn, are more correctly
delineated on red-ground vases than on the gorgoneion cups or the Timonidas
vase (cf. p. 98, note 1). Figures like those of the Vatican crater, no. 1452, or of
1 We have here a very near approach to Chalcidian
drawing (cf. the Hope amphora, Pfuhl fig. 163,
Rumpf pi. 12). The Leipzig crater is probably one
of the latest Corinthian figure-vases (cf. p. 330).
2 The faces of the attendants are entirely without
which seem to be by the same artist (cf. pi. 35,
5)-
3 The Hector crater is the more developed of the
two; note, for example, the indication of the pectoral
muscles. The female figures, too, seem to be dis-
characterization, like those of sirens on other vases tinctly later than those of the Amphiaraos crater.