DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.8577#0134
IX
THE SUBJECT-MATTER OF THE CORINTHIAN FIGURE STYLE
IN turning to the subject-matter of the Corinthian figure style we come
back to ground which is familiar from previous researches. I shall therefore
devote as little space as possible to this matter, though in the absence of any
complete account of the subjects treated by Corinthian painters, I think that
a survey of the material, however brief, may be of some use. The subjects
fall naturally into two classes; those drawn from the world of ordinary
experience, and those which are specifically mythological. Often the dis-
tinction between the two categories cannot be pressed; many 'mythological'
pictures are nothing more than everyday scenes, given a spurious importance
by the simple process of labelling the figures.
Scenes of Everyday Life
Among the scenes of everyday life, those which represent episodes of war
are the commonest. The favourite moments are the departure of the warrior
for the field of battle, and the fight itself. The centre of most departure scenes1
is formed by the warrior's chariot, which usually faces to the right.2
The commonest Corinthian composition, which is used for other, kindred
subjects, such as the departure to fetch the bride3 or the return of the married
pair,4 is that shown in pi.43, i. It varies little in essentials after the beginning
of the sixth century.5 But in the later versions there is far greater freedom
in the grouping of the attendant figures, and in the latest, the design is
enlarged by the addition of the fine group of horses and figures seen in fig. 37.6
In the Louvre cup, fig. 40, which dates from the end of the first quarter of
the sixth century, we have a very early example—perhaps the earliest—of a
group which becomes common in the developed Attic black-figure style—the
standing warrior putting on his greaves, attended by a friend who holds some
other part of his equipment.7 On this vase, and on two of the red-ground
craters,8 we see the house of the departing warrior; the appearance of the
1 On these in general see Wrede.Kriegers Abschied, 5 The pyxis from Aegina fig. 30 gives the earliest
known to me only from an abstract published in and simplest version of the subject, without any
the Jahrbuch der Philosoph. Fakultat in Marburg; attendant figures on the far side of the chariot,
several of the Corinthian departure scenes are dis- 6 Cf. pi. 40, 3. The earliest of the sixth-century
cussed there. examples of this composition is the New York crater,
[Since the above was written I have seen a copy pi. 33, 5, where the figures are schematically
of the article, which contains many valuable obser- grouped, without the feeling for three-dimensional
vations, and have been able to insert a few references.] composition which develops in the red-ground period.
2 Chariot to 1.: nos. 994, 1197, 1474; cf. the chest 7 The greaving warrior, in a different scheme, first
of Cypselus, A.M. 1916, 30 ff. appears on the Chigi vase (no. 39); cf. also no. 1409.
3 This may be the subject of the Orvieto crater no. 8 Nos. 1471, 2 (the latter pi. 42, 1); the house of
1197- Amphiaraos was also represented on the chest of
4 Nos. 1187, 8, 1452, 1475. Cypselus.
THE SUBJECT-MATTER OF THE CORINTHIAN FIGURE STYLE
IN turning to the subject-matter of the Corinthian figure style we come
back to ground which is familiar from previous researches. I shall therefore
devote as little space as possible to this matter, though in the absence of any
complete account of the subjects treated by Corinthian painters, I think that
a survey of the material, however brief, may be of some use. The subjects
fall naturally into two classes; those drawn from the world of ordinary
experience, and those which are specifically mythological. Often the dis-
tinction between the two categories cannot be pressed; many 'mythological'
pictures are nothing more than everyday scenes, given a spurious importance
by the simple process of labelling the figures.
Scenes of Everyday Life
Among the scenes of everyday life, those which represent episodes of war
are the commonest. The favourite moments are the departure of the warrior
for the field of battle, and the fight itself. The centre of most departure scenes1
is formed by the warrior's chariot, which usually faces to the right.2
The commonest Corinthian composition, which is used for other, kindred
subjects, such as the departure to fetch the bride3 or the return of the married
pair,4 is that shown in pi.43, i. It varies little in essentials after the beginning
of the sixth century.5 But in the later versions there is far greater freedom
in the grouping of the attendant figures, and in the latest, the design is
enlarged by the addition of the fine group of horses and figures seen in fig. 37.6
In the Louvre cup, fig. 40, which dates from the end of the first quarter of
the sixth century, we have a very early example—perhaps the earliest—of a
group which becomes common in the developed Attic black-figure style—the
standing warrior putting on his greaves, attended by a friend who holds some
other part of his equipment.7 On this vase, and on two of the red-ground
craters,8 we see the house of the departing warrior; the appearance of the
1 On these in general see Wrede.Kriegers Abschied, 5 The pyxis from Aegina fig. 30 gives the earliest
known to me only from an abstract published in and simplest version of the subject, without any
the Jahrbuch der Philosoph. Fakultat in Marburg; attendant figures on the far side of the chariot,
several of the Corinthian departure scenes are dis- 6 Cf. pi. 40, 3. The earliest of the sixth-century
cussed there. examples of this composition is the New York crater,
[Since the above was written I have seen a copy pi. 33, 5, where the figures are schematically
of the article, which contains many valuable obser- grouped, without the feeling for three-dimensional
vations, and have been able to insert a few references.] composition which develops in the red-ground period.
2 Chariot to 1.: nos. 994, 1197, 1474; cf. the chest 7 The greaving warrior, in a different scheme, first
of Cypselus, A.M. 1916, 30 ff. appears on the Chigi vase (no. 39); cf. also no. 1409.
3 This may be the subject of the Orvieto crater no. 8 Nos. 1471, 2 (the latter pi. 42, 1); the house of
1197- Amphiaraos was also represented on the chest of
4 Nos. 1187, 8, 1452, 1475. Cypselus.