DOI Page / Citation link:
https://doi.org/10.11588/diglit.8577#0320
300
CATALOGUE OF EARLY CORINTHIAN VASES
sirens, eagle, swan, goat, floral as fig. 58 f. By the
760 sphinx painter (p. 31). Munich 247. PI. 21,1-2;
25, 2 (S.H. pi. 8). Swan, sirens, bull, doe, lions.
761 By the same as the last. Rome, Villa Giulia (for-
merly Castellani). Sirens, lions, goat, floral as fig.
762 58 f. By the same as the last. Heidelberg. PI. 18,
763 4.1 Louvre E 436, from Caere. PI. 25, 6 (Pottier
pi. 41). Lions, panthers, goats, sphinxes, swans, bull.
764 Naples 80253. PI. 25, 7. Four friezes: panthers,
sirens, goats, ram, bird. Very large rosettes.
765 Louvre E 438, from Italy. This vase has not been
cleaned, but seems to be a good example of the
766 early Corinthian style, like the preceding. Syra-
cuse, from Gela tomb 486 (Mon. Ant. xvii, 204
fig. 159). Above, tongues in black-polychrome
technique. Lions, owl, bull. Not a local imitation,
as Orsi suggests. On the tomb-group, see p. 56.
7^7 Madrid 10.788, from Vulci (Ossorio pi. 45; Leroux
pi.2,21; Pfuhl fig.67). Unusually large: ht. 55-5 cm.
Five friezes on the body and another on the mouth.
768 Berlini 137,from Nola. One frieze: lions and swans;
f.o. dotted circles. No rays. Late Transitional?
Transitional from early to middle Corinthian:
768 a Louvre E 603 (Longperier, Mus. Nap. iii, pi. 65).
Four friezes: lions, panthers, siren, swans, bull, doe,
stag, ram, human protome, and a row of nineteen
women dancing.
NECK-AMPHORAE
The shape first appears in the early Corinthian
period; it is clearly based on the oinochoe with small
foot, and gives the same impression of metallic
origin. This is particularly clear from the thin, flat
handles and from the peculiar moulding at the
mouth (cf. fig. 137).
769 Rome, Villa Giulia (formerly Castellani). Decora-
tion on shoulder only (A, owl, bull). The rest of the
770 vase above the rays, black. Early. British Museum
19. 14. 10. 31. PI. 23, 5 and fig. 62 a. Mouth
modern and probably wrongly restored (cf. no. 775,
however). Five friezes with over forty figures (lions,
panthers, sirens, sphinxes, goats, boars, bulls, stags,
swans). In the uppermost frieze on rev., lotus
771 chain. Athens 303, from Corinth. PI. 24, 4 (C.C.
1 Perhaps part of a large alabastron, not of an olpe.
2 Cf. Beazley in A.J.A. 1927, 350-1, publishing the
graffito K (jl) P I N O IO I on a late red-figured column-
crater in Naples. On the column-crater in Madrid (Leroux
2ii, Ossorio pi. 37, 2) with the graffito K.QPIN-
see also Rumpf, Chalk. Vas. 123, who
refers also to the 'Corinthian craters' of gold which are
mentioned, Kallixeinos (Athenaeus v, 199 e).
Fig. 137. No. 771.
556, pi. 23; B.C.H. 1897, 467 fig. 9). On shoulder,
A, herdsman spearing lion which attacks boar. B,
herdsman driving a
flock of goats and rams
(overlapping figures,
as in no. 780 a). Be-
low, panthers, goats,
&c. On the handles,
as well as bounding the
friezes, reserved cable
(cf. no. 670). By the
same hand, the next
and the oinochoe no.
725. Naples 85841,
from Cumae (Mon.
Ant. xxii, pi. 56, 1).
One frieze, as in 769. Goat, panther, swans, lotus
and palmette (see on no. 686). Louvre E 573. Not 773
cleaned, but apparently a vase of this group. New 774
York 66. 1021. 18, from Capua (Coll. Canessa no.
9, pi. 1). Padded dancer, lions, &c. Corneto, 775
Semicylindrical handles and echinus mouth. Three
friezes of lions, bull, panthers, &c.; in the fourth,
coursing hounds (cf. p. 74, n. 8). Philadelphia, 775A
from Vulci (Furtwangler, Sitz. Bay. Ak. 1905, 255;
Kl. Schr. ii, 497). Women dancing, horse race,
seated figures, animals, &c.
COLUMN-CRATERS
The column-crater is yet another new shape, and one
new, not only to Corinthian art but to Greek art in
general. There can be little doubt that it was invented
at Corinth, for the great majority of early column-
craters are of Corinthian make, and even in the late
fifth century, column-craters were still 'Corinthian'.2
The form is an adaptation, not a direct derivative, of
a much older shape—the crater with semicircular
handles joined by a slanting band to the rim.3 The
column-crater is a distinct improvement upon this
early form: the rim is produced to meet the semi-
circular handles, and the inorganic intermediate
band is consequently abolished; at the same time the
vase is given a narrower mouth, and powerful,
curving sides. These last features were evidently
borrowed from the dinos.4
3 Cf., for instance, Pfuhl figs. 24, 26, and 36 (Argive,
Protocorinthian, and Cretan); Eph. Arch. 1898, pi. 3, 3
(Attic); Dragendorf, Thera ii, 32, fig. 90 (Cycladic);
N.S. 1895, 135, fig. 12 (K.G.I.B. 117, 10) (Syracusan).
4 For the mixture of the two shapes, cf. the remarkable
vase in Copenhagen C.V.A. iii, H-I, pi. 125 (late sixth
century; published as Attic).
CATALOGUE OF EARLY CORINTHIAN VASES
sirens, eagle, swan, goat, floral as fig. 58 f. By the
760 sphinx painter (p. 31). Munich 247. PI. 21,1-2;
25, 2 (S.H. pi. 8). Swan, sirens, bull, doe, lions.
761 By the same as the last. Rome, Villa Giulia (for-
merly Castellani). Sirens, lions, goat, floral as fig.
762 58 f. By the same as the last. Heidelberg. PI. 18,
763 4.1 Louvre E 436, from Caere. PI. 25, 6 (Pottier
pi. 41). Lions, panthers, goats, sphinxes, swans, bull.
764 Naples 80253. PI. 25, 7. Four friezes: panthers,
sirens, goats, ram, bird. Very large rosettes.
765 Louvre E 438, from Italy. This vase has not been
cleaned, but seems to be a good example of the
766 early Corinthian style, like the preceding. Syra-
cuse, from Gela tomb 486 (Mon. Ant. xvii, 204
fig. 159). Above, tongues in black-polychrome
technique. Lions, owl, bull. Not a local imitation,
as Orsi suggests. On the tomb-group, see p. 56.
7^7 Madrid 10.788, from Vulci (Ossorio pi. 45; Leroux
pi.2,21; Pfuhl fig.67). Unusually large: ht. 55-5 cm.
Five friezes on the body and another on the mouth.
768 Berlini 137,from Nola. One frieze: lions and swans;
f.o. dotted circles. No rays. Late Transitional?
Transitional from early to middle Corinthian:
768 a Louvre E 603 (Longperier, Mus. Nap. iii, pi. 65).
Four friezes: lions, panthers, siren, swans, bull, doe,
stag, ram, human protome, and a row of nineteen
women dancing.
NECK-AMPHORAE
The shape first appears in the early Corinthian
period; it is clearly based on the oinochoe with small
foot, and gives the same impression of metallic
origin. This is particularly clear from the thin, flat
handles and from the peculiar moulding at the
mouth (cf. fig. 137).
769 Rome, Villa Giulia (formerly Castellani). Decora-
tion on shoulder only (A, owl, bull). The rest of the
770 vase above the rays, black. Early. British Museum
19. 14. 10. 31. PI. 23, 5 and fig. 62 a. Mouth
modern and probably wrongly restored (cf. no. 775,
however). Five friezes with over forty figures (lions,
panthers, sirens, sphinxes, goats, boars, bulls, stags,
swans). In the uppermost frieze on rev., lotus
771 chain. Athens 303, from Corinth. PI. 24, 4 (C.C.
1 Perhaps part of a large alabastron, not of an olpe.
2 Cf. Beazley in A.J.A. 1927, 350-1, publishing the
graffito K (jl) P I N O IO I on a late red-figured column-
crater in Naples. On the column-crater in Madrid (Leroux
2ii, Ossorio pi. 37, 2) with the graffito K.QPIN-
see also Rumpf, Chalk. Vas. 123, who
refers also to the 'Corinthian craters' of gold which are
mentioned, Kallixeinos (Athenaeus v, 199 e).
Fig. 137. No. 771.
556, pi. 23; B.C.H. 1897, 467 fig. 9). On shoulder,
A, herdsman spearing lion which attacks boar. B,
herdsman driving a
flock of goats and rams
(overlapping figures,
as in no. 780 a). Be-
low, panthers, goats,
&c. On the handles,
as well as bounding the
friezes, reserved cable
(cf. no. 670). By the
same hand, the next
and the oinochoe no.
725. Naples 85841,
from Cumae (Mon.
Ant. xxii, pi. 56, 1).
One frieze, as in 769. Goat, panther, swans, lotus
and palmette (see on no. 686). Louvre E 573. Not 773
cleaned, but apparently a vase of this group. New 774
York 66. 1021. 18, from Capua (Coll. Canessa no.
9, pi. 1). Padded dancer, lions, &c. Corneto, 775
Semicylindrical handles and echinus mouth. Three
friezes of lions, bull, panthers, &c.; in the fourth,
coursing hounds (cf. p. 74, n. 8). Philadelphia, 775A
from Vulci (Furtwangler, Sitz. Bay. Ak. 1905, 255;
Kl. Schr. ii, 497). Women dancing, horse race,
seated figures, animals, &c.
COLUMN-CRATERS
The column-crater is yet another new shape, and one
new, not only to Corinthian art but to Greek art in
general. There can be little doubt that it was invented
at Corinth, for the great majority of early column-
craters are of Corinthian make, and even in the late
fifth century, column-craters were still 'Corinthian'.2
The form is an adaptation, not a direct derivative, of
a much older shape—the crater with semicircular
handles joined by a slanting band to the rim.3 The
column-crater is a distinct improvement upon this
early form: the rim is produced to meet the semi-
circular handles, and the inorganic intermediate
band is consequently abolished; at the same time the
vase is given a narrower mouth, and powerful,
curving sides. These last features were evidently
borrowed from the dinos.4
3 Cf., for instance, Pfuhl figs. 24, 26, and 36 (Argive,
Protocorinthian, and Cretan); Eph. Arch. 1898, pi. 3, 3
(Attic); Dragendorf, Thera ii, 32, fig. 90 (Cycladic);
N.S. 1895, 135, fig. 12 (K.G.I.B. 117, 10) (Syracusan).
4 For the mixture of the two shapes, cf. the remarkable
vase in Copenhagen C.V.A. iii, H-I, pi. 125 (late sixth
century; published as Attic).