DOI Page / Citation link:
https://doi.org/10.11588/diglit.8577#0223
DISTRIBUTION OF CORINTHIAN POTTERY 203
and above all their peculiar style and technique,1 makes this attribution im-
possible. Rumpf mentions some of the alabastra and recognizes that they are
Boeotian,2 though I must confess that I do not see their connexion either
with the other vases of his list or with Chalcidian vases. That his view is
correct seems to me certain from the fact that several admittedly Boeotian
vases must be attributed to the same centre as the vases of which we have
been speaking; indeed I have no doubt at all that the same hand is to be
traced in the following group:
Tripod cothons. 23 Louvre C.A. 683, from Thebes (B.C.H. 1898 pi. 7. Morin-
Jean, 124 fig. 136 b-d.)
24 Vienna Oesterreichisches Museum inv. 1990, from Boeotia.
25 Dresden (A. Anz. 1925, 101 fT. no. 14).
26 Bonn. PI. 53,1.
These vases are made of the same clay as the alabastra and aryballoi and
are decorated in identical style, though perhaps with rather more care.3
Incision is again used for all contours. A comparison of the sirens' faces, and
of the swans which are found both on the tripods and on the vases first
mentioned makes it obvious that the two groups were painted by the same
artist.4 One need not therefore labour the point by describing the similar
drawing of floral ornament and rosettes and the similar subsidiary patterns.
It will be seen that though the shapes of the alabastra and aryballoi and the
general principles of decoration are taken from Corinthian work, the types are
generally much closer to Attic than to Corinthian originals.5 With the excep-
tion of no. 4, said by the dealer who sold it to have come from Corinth, the
reputed provenances of these vases will be seen to be the same—all coming
from Thebes or 'Boeotia'. It is of course arbitrary to take exception to a single
provenance which does not fit into a required scheme, but in this case the
possibility at least that Corinth was given as the provenance because the vase
was of Corinthian type must be reckoned with.
A small tripod pyxis from Tanagra, now in Athens (no. 289, C.C. 617,4), is a
close copy of Corinthian work both as regards shape and style. There are acertain
number of other, insignificant copies, e.g. Eph. Arch. 1912, 116 fig. 16 right.
An aryballos from Rhitsona of very coarse style and technique is Boeo-
tian (B.S.A. xiv. 259 fig. 10.).
A column-crater of local make from Alalkomenai is mentioned on p. 301;
a fragment of a large vase with a similar plastic snake, perhaps part of a
column-crater, was found at Halai in Locris; it is now at Thebes.
1 The oddness of the style may be judged from the 3 Their Boeotian character is generally recognized,
illustrations; the chief technical peculiarity is the Cf. Pfuhl i, 129.
practice of outlining figures and rosettes with in- 4 Cf. also the crested eagle of no. 23, Morin-Jean
cision—a practice wholly foreign to Corinthian fig. 136, d, with that of the alabastron no. 10.
painting in the sixth century. 5 Cf. especially the siren's wings, the three-
2 Cf. Pfuhl i, 129 on the Berlin vase no. 16. petalled lotus; flame mane of lion on no. 8, &c, &c.
and above all their peculiar style and technique,1 makes this attribution im-
possible. Rumpf mentions some of the alabastra and recognizes that they are
Boeotian,2 though I must confess that I do not see their connexion either
with the other vases of his list or with Chalcidian vases. That his view is
correct seems to me certain from the fact that several admittedly Boeotian
vases must be attributed to the same centre as the vases of which we have
been speaking; indeed I have no doubt at all that the same hand is to be
traced in the following group:
Tripod cothons. 23 Louvre C.A. 683, from Thebes (B.C.H. 1898 pi. 7. Morin-
Jean, 124 fig. 136 b-d.)
24 Vienna Oesterreichisches Museum inv. 1990, from Boeotia.
25 Dresden (A. Anz. 1925, 101 fT. no. 14).
26 Bonn. PI. 53,1.
These vases are made of the same clay as the alabastra and aryballoi and
are decorated in identical style, though perhaps with rather more care.3
Incision is again used for all contours. A comparison of the sirens' faces, and
of the swans which are found both on the tripods and on the vases first
mentioned makes it obvious that the two groups were painted by the same
artist.4 One need not therefore labour the point by describing the similar
drawing of floral ornament and rosettes and the similar subsidiary patterns.
It will be seen that though the shapes of the alabastra and aryballoi and the
general principles of decoration are taken from Corinthian work, the types are
generally much closer to Attic than to Corinthian originals.5 With the excep-
tion of no. 4, said by the dealer who sold it to have come from Corinth, the
reputed provenances of these vases will be seen to be the same—all coming
from Thebes or 'Boeotia'. It is of course arbitrary to take exception to a single
provenance which does not fit into a required scheme, but in this case the
possibility at least that Corinth was given as the provenance because the vase
was of Corinthian type must be reckoned with.
A small tripod pyxis from Tanagra, now in Athens (no. 289, C.C. 617,4), is a
close copy of Corinthian work both as regards shape and style. There are acertain
number of other, insignificant copies, e.g. Eph. Arch. 1912, 116 fig. 16 right.
An aryballos from Rhitsona of very coarse style and technique is Boeo-
tian (B.S.A. xiv. 259 fig. 10.).
A column-crater of local make from Alalkomenai is mentioned on p. 301;
a fragment of a large vase with a similar plastic snake, perhaps part of a
column-crater, was found at Halai in Locris; it is now at Thebes.
1 The oddness of the style may be judged from the 3 Their Boeotian character is generally recognized,
illustrations; the chief technical peculiarity is the Cf. Pfuhl i, 129.
practice of outlining figures and rosettes with in- 4 Cf. also the crested eagle of no. 23, Morin-Jean
cision—a practice wholly foreign to Corinthian fig. 136, d, with that of the alabastron no. 10.
painting in the sixth century. 5 Cf. especially the siren's wings, the three-
2 Cf. Pfuhl i, 129 on the Berlin vase no. 16. petalled lotus; flame mane of lion on no. 8, &c, &c.