DOI Page / Citation link:
https://doi.org/10.11588/diglit.8577#0322
302
CATALOGUE OF EARLY CORINTHIAN VASES
dangerous to date the vase to any particular period;
and when we compare the similar figures on Tyr-
rhenian vases,1 it becomes obvious that there is no
strong resemblance to Attic work. We have simply
a familiar archaic motive which cannot be used as a
basis for exact chronological determinations. But
we have other, complete, battle-scenes on vases of
the same period,2 and here again we can see that
though the principal motives are the same as in
Tyrrhenian vases, there is no close correspondence
of style, and nothing to suggest contemporaneity:
on the contrary, the Corinthian paintings are more
formal and more constrained than the others, and
give a distinct impression of earlier archaism. If this
be accepted, the other conclusions naturally collapse;
and we need scarcely recall that they are in diametrical
opposition to the whole weight of the evidence. The
cocks on the handle-plates of the crater certainly re-
semble those of the alabastra; both are early Corin-
thian. The alabastra are of course commonly found
in graves with vases of Protocorinthian type, but as
we have seen, with certain simple types which out-
lived the Protocorinthian style proper. These types
therefore are not evidence for a continuation of 'the
Protocorinthian style' in the Corinthian period at all,
much less of its continuation in the sixth century.
Apart from the comparison with the alabastra
already mentioned, it is easy to see that the Vatican
crater is a very early piece. For one thing there is the
shape, which has already been discussed; there is the
animal frieze, of typical early style (compare the
oinochoai pis. 23, 4; 24, 2, &c), and there are the
horses, which are remarkably archaic both in build
and in movement (see p. 71 and ff.).
Louvre E 635, from Caere. Pis. 26, 8-9; 27 and
figs. 34A; 62b (Annali 1859 pi. K; Mon. dell'
Inst, vi, pi. 33; Longperier Mus. Nap. pi. 66, 2
and 72; Pottier pis. 48, 9; Buschor2 84, fig. 65; Pfuhl
fig. 176 and pp. 218,9; details, Thiersch 119, no. 12;
Morin-Jean 60-3; Schroder, Sport im Alt. pi. 84;
photo Alinari 23670; new photos by Giraudon, one
of them pi. 27). R. animals: among them, eagles
swooping on hares, and dogs chasing hares; h.p.
stag hunt and galloping horsemen. I, A (below 1.
and p.), Herakles in the house of Eurytos (Eurytios
on the vase); under the handles, servants at the
sideboard; suicide of Ajax. B, battle. 2, galloping
horsemen. Inscriptions p. 162 no. 8.
The Eurytios crater is often spoken of as a late vase—
for instance by Wilisch (who seems to think it is made
of red clay)—and more recently by Rumpf (Chalk.
1 e. g. Thiersch pi. 1; Schaal, Bilderhefte 38.
2 On no. 780 (reverse), cf. no. 1172, which is but little later.
Vas. p. 123) who regards it as typical of the latest
Corinthian vase-painting, and contemporary with the
Amphiaraos crater; on the other hand, v. Liicken
(A.M. 1919 p. 57) and Buschor (p. 92) recognize that
it is earlier than the red-ground vases. Actually, it
is one of the few really early Corinthian craters.
The drawing is fine, but obviously need not be
late for that reason; the following points seem to me
to make an early date certain: (1) the shape, already
described; (2) the animals ori the rim. Not only is
the style in all cases distinctively early, but there are
several typically early Corinthian motives: the hare
hunt, a Protocorinthian subject which is elsewhere
very rare on Corinthian vases (see p. 74, n. 8), and
the swooping eagles; the latter recur on the early
nos. 244 (cf. 259) and 482. (3) the form of the floral
garland on the shoulder; this is not simply entirely
different from that of middle and late Corinthian
vases, but is also plainly earlier (see pi. 27 and fig. 62 b
compared with fig. 62 c-d). The very broad, angular
lotuses and heavy palmettes with little indentation
are much nearer in general character to those of
Protocorinthian vases than to middle or late types.
The principle on which they are combined is also
different, and more elaborate than that of any other
Corinthian vases; here again it stands nearer to Proto-
corinthian. When one looks at Corinthian or Attic
patterns of the first half of the sixth century (gorgon
dinos, Sophilos, Francois vase) it becomes obvious
that those of the Eurytios crater reflect a different,
and actually an earlier, point of view. (4) PI. 27
makes it possible to appreciate this feature for the
first time, and also to study the drawing of the faces.
Iole stands out as one of the earliest in the long series
of women drawn in outline on Corinthian vases; the
goddesses on the Chigi vase, and the women in the
Itys metope from Thermon, are more archaic still; but
the drawing of Iole is clearly earlier than that of the
women on middle and late Corinthian vases: note
especially the low forehead and the sharp angle at
which forehead and nose meet; this is equally clear in
the case of the men (contrast pi. 34,4 which belongs
to the early sixth century). (5) When we compare the
horses of the lower frieze3 with the similar figures
from late vases, we can easily believe that the Eurytios
crater belongs to a considerably earlier date.
Louvre E 633, from Caere (Pottier pi. 47; details,
Morin Jean figs. 55 and 65). R., 1. and p.; h.p.
black. I, A, men and a herd of cattle (see p. 134). B,
horsemen galloping. II, lions, goats, boar. Under
foot, red dipinto
3 See v. Lieres u. Wilckau,
20 ff.
780 a
zur Pferdedarstellung p.
CATALOGUE OF EARLY CORINTHIAN VASES
dangerous to date the vase to any particular period;
and when we compare the similar figures on Tyr-
rhenian vases,1 it becomes obvious that there is no
strong resemblance to Attic work. We have simply
a familiar archaic motive which cannot be used as a
basis for exact chronological determinations. But
we have other, complete, battle-scenes on vases of
the same period,2 and here again we can see that
though the principal motives are the same as in
Tyrrhenian vases, there is no close correspondence
of style, and nothing to suggest contemporaneity:
on the contrary, the Corinthian paintings are more
formal and more constrained than the others, and
give a distinct impression of earlier archaism. If this
be accepted, the other conclusions naturally collapse;
and we need scarcely recall that they are in diametrical
opposition to the whole weight of the evidence. The
cocks on the handle-plates of the crater certainly re-
semble those of the alabastra; both are early Corin-
thian. The alabastra are of course commonly found
in graves with vases of Protocorinthian type, but as
we have seen, with certain simple types which out-
lived the Protocorinthian style proper. These types
therefore are not evidence for a continuation of 'the
Protocorinthian style' in the Corinthian period at all,
much less of its continuation in the sixth century.
Apart from the comparison with the alabastra
already mentioned, it is easy to see that the Vatican
crater is a very early piece. For one thing there is the
shape, which has already been discussed; there is the
animal frieze, of typical early style (compare the
oinochoai pis. 23, 4; 24, 2, &c), and there are the
horses, which are remarkably archaic both in build
and in movement (see p. 71 and ff.).
Louvre E 635, from Caere. Pis. 26, 8-9; 27 and
figs. 34A; 62b (Annali 1859 pi. K; Mon. dell'
Inst, vi, pi. 33; Longperier Mus. Nap. pi. 66, 2
and 72; Pottier pis. 48, 9; Buschor2 84, fig. 65; Pfuhl
fig. 176 and pp. 218,9; details, Thiersch 119, no. 12;
Morin-Jean 60-3; Schroder, Sport im Alt. pi. 84;
photo Alinari 23670; new photos by Giraudon, one
of them pi. 27). R. animals: among them, eagles
swooping on hares, and dogs chasing hares; h.p.
stag hunt and galloping horsemen. I, A (below 1.
and p.), Herakles in the house of Eurytos (Eurytios
on the vase); under the handles, servants at the
sideboard; suicide of Ajax. B, battle. 2, galloping
horsemen. Inscriptions p. 162 no. 8.
The Eurytios crater is often spoken of as a late vase—
for instance by Wilisch (who seems to think it is made
of red clay)—and more recently by Rumpf (Chalk.
1 e. g. Thiersch pi. 1; Schaal, Bilderhefte 38.
2 On no. 780 (reverse), cf. no. 1172, which is but little later.
Vas. p. 123) who regards it as typical of the latest
Corinthian vase-painting, and contemporary with the
Amphiaraos crater; on the other hand, v. Liicken
(A.M. 1919 p. 57) and Buschor (p. 92) recognize that
it is earlier than the red-ground vases. Actually, it
is one of the few really early Corinthian craters.
The drawing is fine, but obviously need not be
late for that reason; the following points seem to me
to make an early date certain: (1) the shape, already
described; (2) the animals ori the rim. Not only is
the style in all cases distinctively early, but there are
several typically early Corinthian motives: the hare
hunt, a Protocorinthian subject which is elsewhere
very rare on Corinthian vases (see p. 74, n. 8), and
the swooping eagles; the latter recur on the early
nos. 244 (cf. 259) and 482. (3) the form of the floral
garland on the shoulder; this is not simply entirely
different from that of middle and late Corinthian
vases, but is also plainly earlier (see pi. 27 and fig. 62 b
compared with fig. 62 c-d). The very broad, angular
lotuses and heavy palmettes with little indentation
are much nearer in general character to those of
Protocorinthian vases than to middle or late types.
The principle on which they are combined is also
different, and more elaborate than that of any other
Corinthian vases; here again it stands nearer to Proto-
corinthian. When one looks at Corinthian or Attic
patterns of the first half of the sixth century (gorgon
dinos, Sophilos, Francois vase) it becomes obvious
that those of the Eurytios crater reflect a different,
and actually an earlier, point of view. (4) PI. 27
makes it possible to appreciate this feature for the
first time, and also to study the drawing of the faces.
Iole stands out as one of the earliest in the long series
of women drawn in outline on Corinthian vases; the
goddesses on the Chigi vase, and the women in the
Itys metope from Thermon, are more archaic still; but
the drawing of Iole is clearly earlier than that of the
women on middle and late Corinthian vases: note
especially the low forehead and the sharp angle at
which forehead and nose meet; this is equally clear in
the case of the men (contrast pi. 34,4 which belongs
to the early sixth century). (5) When we compare the
horses of the lower frieze3 with the similar figures
from late vases, we can easily believe that the Eurytios
crater belongs to a considerably earlier date.
Louvre E 633, from Caere (Pottier pi. 47; details,
Morin Jean figs. 55 and 65). R., 1. and p.; h.p.
black. I, A, men and a herd of cattle (see p. 134). B,
horsemen galloping. II, lions, goats, boar. Under
foot, red dipinto
3 See v. Lieres u. Wilckau,
20 ff.
780 a
zur Pferdedarstellung p.