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https://doi.org/10.11588/diglit.8577#0301
EARLY CORINTHIAN VASES
C. 625-60O b.c.
ALABASTRA
The alabastron is the typical Corinthian unguent
vase of the later seventh century.1 Its history, as we
have seen, begins after that of the aryballos: intro-
duced a little before the middle of the century, it
becomes commoner in the late Protocorinthian
period, commoner still in the Transitional; now it is
the favourite form.
The earliest shapes (figs. 116,118 a) are not found
in the early Corinthian period. Instead, we have
a taller vase, narrower at the neck, and with a pro-
nounced inward curve at the narrowest part (con-
trast the early types just cited, and even pi. 15).
Further, there is a general tendency to increase the
size: even small vases are normally larger than before;
medium sized vases, rare before this (nos. 75 a-d)
now become common; large vases, previously un-
known, are also found.
The shape reaches its period of greatest popularity
in the late seventh century; towards the end of the
century it begins to be displaced by the globular,
footless, aryballos. This shape, as we have seen,
first appears later than the alabastron, for there are
only three pre-Corinthian aryballoi of the kind, and
none as early as the earliest alabastra. In most early
Corinthian graves alabastra outnumber round
aryballoi; the relative popularity of the two shapes
is shown by several groups of vases which are by
single artists. Thus there are no round aryballoi by
late Transitional painters of small vases, such as the
painter of Palermo 489 (nos. 76-80) and the griffon
painter (nos. 84-6, 89); by the 'dolphin painter',
a very early Corinthian artist, whose vases are enu-
merated below, we have one aryballos and nineteen
alabastra. In the sixth century the small alabastron
becomes less and less important: middle Corinthian
examples I cannot distinguish with certainty from
early, but they cannot be numerous. Late alabastra
are relatively few, whereas late aryballoi are innu-
merable.
The following list, as usual, contains only a selec-
tion of the existing vases, but it illustrates the
principal types. Some of the vases may be later
than the end of the seventh century, but these
are certainly a minority. Within the six groups A-F
the vases are grouped according to subject-matter,
as stylistic classification would be very difficult to
carry out.
1 For the earlier history of the shape, see on no. 19.
2 Prof. Pharmakovsky kindly informed me that this vase
3575 O
Small vases, decorated in black-figure style. a.
The patterns are consistent. On the mouth, neck,
and base, tongues, often red and black alternately.
On the rim dots, on the handle a vertical black line.
No bounding lines to the picture, and relatively little
filling ornament. Incised rosettes unless otherwise
described. Average ht. c. 8-10 cm. Deviations in
pattern or size are mentioned. As a rule, I describe
only the principal motive.
Nos. 208-44 have lions heraldically grouped about
a central motive. Nos. 208-25, 245, and 565 are
by the 'dolphin painter', named after nos. 208-9.
These vases are very close to the later Transitional
no. 76 and ff., but the figures are much heavier, and
the rosettes are often larger, than in pre-Corinthian
vases, so that even though he may be no later than
the Transitional period, this artist belongs to the
new movement. In nos. 208-13 he uses dot-rosettes
(the dots alternately red and black, as often on
earlier vases). On nos. 208, 210-12 a dot-rosette
on the base (perhaps on some others also).
Louvre A 452 from Camirus. PI. 17, 12 (Pottier 208
pi. 15). Rome, Villa Giulia: replica. Boulogne. 209,10
PI. 17, 7. Replicas: Louvre A 451 (Pottier pi. 15), 211
Paris, Cab. Med. (C.V.A. pi. 13, 7), and Syracuse 212,13
21833, from Gela. Syracuse, from Megara Hyblaea 214
tomb 384 ter (several burials, but the other vases,
alabastra of the same type, were found by one
skeleton). Ibid., from M.H. tomb 734 (three burials, 215
but all early vases—13 other small alabastra, kotyle
as fig. 9 c, cups as fig. 9B, 3 aryballoi). Corinth, 216
fragment. Naples and Corneto, three vases each. 217-22
Louvre E 489, from Italy. One in Turin. Cab. 223, 4
Med. (C.V.A. pi. 13, 4 and 13). Closely related: 225
Cab. M6d. (op. cit. pis. 13, 5 and 16, 2); a fragment 226
in Heidelberg, and no. 266 a. 227
Brussels. PI. 17,3 (C.V.A. pi. 2,5). Hague, from 228,9
Aulis(C.V.A. pi. 4,8). Leningrad, from Olbia. PI. 230
17,1-2 (A. Anz. 1911, 227 no. i)2. Orleans, from 231
Asia Minor (Rev. Arch. 1918,14). Syracuse, from 232
Megara Hyblaea (cf. no. 214). Ibid., from M.H. 233
tomb 632 (several burials, and other early vases, such
as figs. 9 b-c). Oxford 155, from Camirus. Berlin 234, 5
1027 (ht. 11 cm.) Delphi (F. de D. v, 140 fig. 236
588)—bounding line below. Syracuse, from Gela 237
(Mon. Ant. xvii 185 fig. 139). Ibid, from Megara 238
Hyblaea (cf. no. 215). Delos (Dugas pi. 29, 414 and 239, 40
is published in his 'Archaic Period in Russia', pi. 1, which
I have not been able to consult.
C. 625-60O b.c.
ALABASTRA
The alabastron is the typical Corinthian unguent
vase of the later seventh century.1 Its history, as we
have seen, begins after that of the aryballos: intro-
duced a little before the middle of the century, it
becomes commoner in the late Protocorinthian
period, commoner still in the Transitional; now it is
the favourite form.
The earliest shapes (figs. 116,118 a) are not found
in the early Corinthian period. Instead, we have
a taller vase, narrower at the neck, and with a pro-
nounced inward curve at the narrowest part (con-
trast the early types just cited, and even pi. 15).
Further, there is a general tendency to increase the
size: even small vases are normally larger than before;
medium sized vases, rare before this (nos. 75 a-d)
now become common; large vases, previously un-
known, are also found.
The shape reaches its period of greatest popularity
in the late seventh century; towards the end of the
century it begins to be displaced by the globular,
footless, aryballos. This shape, as we have seen,
first appears later than the alabastron, for there are
only three pre-Corinthian aryballoi of the kind, and
none as early as the earliest alabastra. In most early
Corinthian graves alabastra outnumber round
aryballoi; the relative popularity of the two shapes
is shown by several groups of vases which are by
single artists. Thus there are no round aryballoi by
late Transitional painters of small vases, such as the
painter of Palermo 489 (nos. 76-80) and the griffon
painter (nos. 84-6, 89); by the 'dolphin painter',
a very early Corinthian artist, whose vases are enu-
merated below, we have one aryballos and nineteen
alabastra. In the sixth century the small alabastron
becomes less and less important: middle Corinthian
examples I cannot distinguish with certainty from
early, but they cannot be numerous. Late alabastra
are relatively few, whereas late aryballoi are innu-
merable.
The following list, as usual, contains only a selec-
tion of the existing vases, but it illustrates the
principal types. Some of the vases may be later
than the end of the seventh century, but these
are certainly a minority. Within the six groups A-F
the vases are grouped according to subject-matter,
as stylistic classification would be very difficult to
carry out.
1 For the earlier history of the shape, see on no. 19.
2 Prof. Pharmakovsky kindly informed me that this vase
3575 O
Small vases, decorated in black-figure style. a.
The patterns are consistent. On the mouth, neck,
and base, tongues, often red and black alternately.
On the rim dots, on the handle a vertical black line.
No bounding lines to the picture, and relatively little
filling ornament. Incised rosettes unless otherwise
described. Average ht. c. 8-10 cm. Deviations in
pattern or size are mentioned. As a rule, I describe
only the principal motive.
Nos. 208-44 have lions heraldically grouped about
a central motive. Nos. 208-25, 245, and 565 are
by the 'dolphin painter', named after nos. 208-9.
These vases are very close to the later Transitional
no. 76 and ff., but the figures are much heavier, and
the rosettes are often larger, than in pre-Corinthian
vases, so that even though he may be no later than
the Transitional period, this artist belongs to the
new movement. In nos. 208-13 he uses dot-rosettes
(the dots alternately red and black, as often on
earlier vases). On nos. 208, 210-12 a dot-rosette
on the base (perhaps on some others also).
Louvre A 452 from Camirus. PI. 17, 12 (Pottier 208
pi. 15). Rome, Villa Giulia: replica. Boulogne. 209,10
PI. 17, 7. Replicas: Louvre A 451 (Pottier pi. 15), 211
Paris, Cab. Med. (C.V.A. pi. 13, 7), and Syracuse 212,13
21833, from Gela. Syracuse, from Megara Hyblaea 214
tomb 384 ter (several burials, but the other vases,
alabastra of the same type, were found by one
skeleton). Ibid., from M.H. tomb 734 (three burials, 215
but all early vases—13 other small alabastra, kotyle
as fig. 9 c, cups as fig. 9B, 3 aryballoi). Corinth, 216
fragment. Naples and Corneto, three vases each. 217-22
Louvre E 489, from Italy. One in Turin. Cab. 223, 4
Med. (C.V.A. pi. 13, 4 and 13). Closely related: 225
Cab. M6d. (op. cit. pis. 13, 5 and 16, 2); a fragment 226
in Heidelberg, and no. 266 a. 227
Brussels. PI. 17,3 (C.V.A. pi. 2,5). Hague, from 228,9
Aulis(C.V.A. pi. 4,8). Leningrad, from Olbia. PI. 230
17,1-2 (A. Anz. 1911, 227 no. i)2. Orleans, from 231
Asia Minor (Rev. Arch. 1918,14). Syracuse, from 232
Megara Hyblaea (cf. no. 214). Ibid., from M.H. 233
tomb 632 (several burials, and other early vases, such
as figs. 9 b-c). Oxford 155, from Camirus. Berlin 234, 5
1027 (ht. 11 cm.) Delphi (F. de D. v, 140 fig. 236
588)—bounding line below. Syracuse, from Gela 237
(Mon. Ant. xvii 185 fig. 139). Ibid, from Megara 238
Hyblaea (cf. no. 215). Delos (Dugas pi. 29, 414 and 239, 40
is published in his 'Archaic Period in Russia', pi. 1, which
I have not been able to consult.