DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.8577#0135
CORINTHIAN FIGURE STYLE 115
same feature in contemporary Attic vase-painting, is obviously no mere
coincidence, but illustrates once more the close connexion between the Attic
and Corinthian styles in the first half of the sixth century.1 On the Amphia-
raos vase, no. 1471, we have the only Corinthian example of the libation at
departure.
Departure scenes without chariots are not common.2 The chariot gave
an immediate, obvious clue to the significance of the scene, particularly
valuable in an age which found difficulty in expressing the quieter relations
between the persons of a story. It satisfied the archaic desire for something
tangible. Late archaic and classical art, though it never entirely discarded
this form of composition,3 preferred other ways of making its meaning under-
stood ; relied on nuances of gesture and expression which were beyond the
very early artist's power. It is significant that the moment of arming and the
pouring of the libation are so rarely represented on Corinthian vases, and
that in two of the three instances where they occur, these motives are only part
of a much larger and more or less conventional scene.
The chariot group seen from the front, which in certain instances is to be
reckoned under the present heading, is discussed on p. 74.
Little remains to be added to what has already been said of the battle
scenes.4 The combatants are usually on foot; mounted attendants often flank
1 On the Sophilos dinos and on the Francois vase; and the house of Hades, indicated by columns, in
cf. also the Tyrrhenian, Pfuhl fig. 205; the dinos is fig. 45 c. See further, p. 132, note 1.
contemporary with the Corinthian cup, or a little 2 Craters nos. 1181A, 1454; olpe no. 1409. In
later, the others with the red-ground vases. On these these we have horses instead,
houses see F.R. i, p. 9; Willers, Stud, zur Kunst- 3 Cf. for example, the Niobid painter's crater,
geschichte 43 ff.; Leroux, Origines de l'lidifice C.V.A. Louvre iii i d, pis. 5, 6. The Pamphaios
Hypostyle, 82 ff.; R. Vallois in Rev. Arch. 1908, hydriae are the last important group of archaic
359 ff. In passing we may mention the house of vases which retain the early composition.
Circe in no. 1282, the house or temple, fig. 45 bis, 4 Cf. pp. 99, 103.
same feature in contemporary Attic vase-painting, is obviously no mere
coincidence, but illustrates once more the close connexion between the Attic
and Corinthian styles in the first half of the sixth century.1 On the Amphia-
raos vase, no. 1471, we have the only Corinthian example of the libation at
departure.
Departure scenes without chariots are not common.2 The chariot gave
an immediate, obvious clue to the significance of the scene, particularly
valuable in an age which found difficulty in expressing the quieter relations
between the persons of a story. It satisfied the archaic desire for something
tangible. Late archaic and classical art, though it never entirely discarded
this form of composition,3 preferred other ways of making its meaning under-
stood ; relied on nuances of gesture and expression which were beyond the
very early artist's power. It is significant that the moment of arming and the
pouring of the libation are so rarely represented on Corinthian vases, and
that in two of the three instances where they occur, these motives are only part
of a much larger and more or less conventional scene.
The chariot group seen from the front, which in certain instances is to be
reckoned under the present heading, is discussed on p. 74.
Little remains to be added to what has already been said of the battle
scenes.4 The combatants are usually on foot; mounted attendants often flank
1 On the Sophilos dinos and on the Francois vase; and the house of Hades, indicated by columns, in
cf. also the Tyrrhenian, Pfuhl fig. 205; the dinos is fig. 45 c. See further, p. 132, note 1.
contemporary with the Corinthian cup, or a little 2 Craters nos. 1181A, 1454; olpe no. 1409. In
later, the others with the red-ground vases. On these these we have horses instead,
houses see F.R. i, p. 9; Willers, Stud, zur Kunst- 3 Cf. for example, the Niobid painter's crater,
geschichte 43 ff.; Leroux, Origines de l'lidifice C.V.A. Louvre iii i d, pis. 5, 6. The Pamphaios
Hypostyle, 82 ff.; R. Vallois in Rev. Arch. 1908, hydriae are the last important group of archaic
359 ff. In passing we may mention the house of vases which retain the early composition.
Circe in no. 1282, the house or temple, fig. 45 bis, 4 Cf. pp. 99, 103.