DOI Page / Citation link:
https://doi.org/10.11588/diglit.8577#0211
DISTRIBUTION OF CORINTHIAN POTTERY
191
nizable. But the heavy filling of incised rosettes, and the general effect at
which the artist aims, certainly point to a conscious imitation of Corinthian
models. All the shapes moreover recur in the Corinthian repertory, and some
such as the hydria and neck-amphora with sharp slanting mouth-profile, the
kotyle and the column-crater, are not found in earlier
Attic work, and are clearly taken directly from Corinth.
The same may possibly be true of the lekythos, which
is of Corinthian shape. Red is used freely; but I have
not noticed white on any vases of this group. This accords
well with the general probability of an early date in the
sixth century. No doubt the series as a whole belongs,
roughly speaking, to the first quarter of the century,
though the appearance of the lekythos, and of the hydria in a form which is
closely related to that of the red-ground figure style at Corinth, makes it
unlikely that these vases go back quite as far as the year 600. The plate from
Rhodes was found in a trench which contained a Corinthian oinochoe of
the early sixth century (no. 1119), and various later vases (cf. Annuario,
vi/vii, 192, 292 ff.)
B. The Deianeira group.
Lekythoi.
(1) British Museum B 30, from Corinth (Walters pi. 1. Baur, Centaurs p. 57, no. 163).
Nessos carrying off Deianeira, pursued by Herakles. Above, dogs chasing hare.
(2) Berlin inv. 3746. PI. 53, 7. Running man between lions; bearded male protome.
On shoulder, 'snake' with a man's head in its mouth.
(3) Florence (Bollettino d'Arte, 1921/2, 159 ff.; Rev. Arch. 1928, 61 fig. 8). Woman
between lion and panther.
Olpai (shape 2. No. 4 with trefoil mouth; no. 5 with round mouth).
(4) British Museum B 33, from Nola. Fig. 86. In panel, lion to r. Above, rosettes.
The rosettes above, and others in the field, are punctuated round the edges with
white dots at the end of each incised line. The same peculiarity recurs on nos. 1
and 2. Similar white dots on each side of the eye-circles on each of these three
vases. The heart of the palmette is white.
(5) British Museum B 32, from Nola (De Witte, Elite Ceramographique iii, pi. 77).
Hermes between sphinxes.
Amphora (?)
(6) Athens, from the Acropolis (443). Part of lion; above, part of man and horse.
Nos. 1, 2, 4, 6,are by one artist; 3 and 5 are almost certainly by the same
hand. These vases have been very variously classified. For example, Pfuhl
calls no. 1 Corinthian,1 no. 2 'Boeotian-Chalcidian'.2 Walters nos. 1, 4, and
5 Corinthian.3 Rumpf formerly called no. 2 Boeotian;4 more recently he
1 i, pp. 117, 222. 3 Cat. p. 57.
2 i, p. 126. 4 Die Wandmalereien in Veii 44, note 8.
191
nizable. But the heavy filling of incised rosettes, and the general effect at
which the artist aims, certainly point to a conscious imitation of Corinthian
models. All the shapes moreover recur in the Corinthian repertory, and some
such as the hydria and neck-amphora with sharp slanting mouth-profile, the
kotyle and the column-crater, are not found in earlier
Attic work, and are clearly taken directly from Corinth.
The same may possibly be true of the lekythos, which
is of Corinthian shape. Red is used freely; but I have
not noticed white on any vases of this group. This accords
well with the general probability of an early date in the
sixth century. No doubt the series as a whole belongs,
roughly speaking, to the first quarter of the century,
though the appearance of the lekythos, and of the hydria in a form which is
closely related to that of the red-ground figure style at Corinth, makes it
unlikely that these vases go back quite as far as the year 600. The plate from
Rhodes was found in a trench which contained a Corinthian oinochoe of
the early sixth century (no. 1119), and various later vases (cf. Annuario,
vi/vii, 192, 292 ff.)
B. The Deianeira group.
Lekythoi.
(1) British Museum B 30, from Corinth (Walters pi. 1. Baur, Centaurs p. 57, no. 163).
Nessos carrying off Deianeira, pursued by Herakles. Above, dogs chasing hare.
(2) Berlin inv. 3746. PI. 53, 7. Running man between lions; bearded male protome.
On shoulder, 'snake' with a man's head in its mouth.
(3) Florence (Bollettino d'Arte, 1921/2, 159 ff.; Rev. Arch. 1928, 61 fig. 8). Woman
between lion and panther.
Olpai (shape 2. No. 4 with trefoil mouth; no. 5 with round mouth).
(4) British Museum B 33, from Nola. Fig. 86. In panel, lion to r. Above, rosettes.
The rosettes above, and others in the field, are punctuated round the edges with
white dots at the end of each incised line. The same peculiarity recurs on nos. 1
and 2. Similar white dots on each side of the eye-circles on each of these three
vases. The heart of the palmette is white.
(5) British Museum B 32, from Nola (De Witte, Elite Ceramographique iii, pi. 77).
Hermes between sphinxes.
Amphora (?)
(6) Athens, from the Acropolis (443). Part of lion; above, part of man and horse.
Nos. 1, 2, 4, 6,are by one artist; 3 and 5 are almost certainly by the same
hand. These vases have been very variously classified. For example, Pfuhl
calls no. 1 Corinthian,1 no. 2 'Boeotian-Chalcidian'.2 Walters nos. 1, 4, and
5 Corinthian.3 Rumpf formerly called no. 2 Boeotian;4 more recently he
1 i, pp. 117, 222. 3 Cat. p. 57.
2 i, p. 126. 4 Die Wandmalereien in Veii 44, note 8.