DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.8577#0365
APPENDIX II1
NOTES ON THE CHRONOLOGY OF THE EARLY ATTIC BLACK-FIGURE STYLE
Corinth and Athens are so closely connected from the latter part of the seventh century onwards
that it is perhaps worth while to suggest a chronological scheme of early black-figure painting in
Attica. In the table on the opposite page I have naturally not been able to go into much detail, but
the vases cited are probably enough to show whether the scheme is possible or not. An attempt to
fix the chronology of this period in Attica must be based upon what we know of the later sixth
century. The first fixed point on which there seems to be general agreement is that the early style
of the Andokides painter, which is typified by his amphorae in the Louvre and in Berlin,2 belongs
to the period c. 530-525 b.C. The developed style of Exekias is certainly an earlier phase than
this, and for several reasons3 it seems reasonable to place it a little before the others, somewhere
in the decade 540-30 b.C.
The Vatican amphora is, of course, one of the latest vases by Exekias. Earlier stages in Exekias's
style are illustrated by the neck-amphorae in London (with Achilles and Penthesileia)4 and in
Berlin (with Herakles and the lion).5 Of these the Berlin vase is obviously the earlier. The London
vase is proved earlier than the Vatican by the treatment of the drapery and by the forms of the
floral garland; the Berlin vase than the London by the extreme stiffness of the style, by various
details of the figures,6 by the forms of the floral garland,7 and by the shape.8 From this to the
Vatican or Boulogne vases is a considerable step, and one which implies that the Berlin neck-
amphora cannot be later than 550 b.C. In this connexion it is worth recalling that the early date
of the Amasis painter's earliest vases has recently been affirmed by Kraiker, who places these before
the middle of the sixth century;9 the Berlin vase with the death of Kassandra,10 which must be as
early as any existing work of Exekias, will certainly belong to the same decade.
The next milestone above the Exekias is, of course, the Francois vase. Between this and the
Berlin neck-amphora there must be more than ten years, so that we shall probably be not far wrong
in placing the Francois vase early in the sixties, and the fragments of later Klitian style in the latter
part of that decade. Between Klitias and the developed Exekias stand some of the finest black-
1 References to 'Beazley' are to Beazley, Attic Black-
Figure, A Sketch.
2 F.R. iii, pis. in, 133; Pfuhl figs. 313-14; Langlotz,
Zeitbestimmung 23, nos. 2-3.
3 The shape of the Vatican amphora by Exekias is
clearly earlier than that of the Andokides vase in the
Louvre: this can be seen from Hauser's cut, F.R. iii, p. 73,
fig. 36. The differences which distinguish the shapes of these
two vases are precisely those which mark the successive
stages in the history of the amphora in the second half of
the sixth century. In point of drawing the two artists are
difficult to compare, as their styles are radically different;
but in the treatment of drapery it is clear that the Ando-
kides painter is the more advanced. A further point of
some interest, as Professor Beazley remarked to me, is
that on the Berlin vase the Andokides painter has abandoned
the use of red in the pattern above the panel; this is a
marked feature of the later sixth century: cf. the practice
of Phintias or the Kleophrades painter when they use this
pattern (Pfuhl figs. 381, 373, 376). Red is still used on the
Louvre vase, as it is on the Vatican amphora and on all
contemporary and earlier works where this pattern occurs.
And on the Andokidean vases the lotuses are a shade thinner
than on the Exekias: this again is significant when we turn
to vases by Phintias and the Kleophrades painter just
3575 Y'
mentioned, and recall that those of the Vatican Exekias
are likewise thinner than on earlier vases of Exekias.
Hauser, as is well known, took the view that the Vatican
amphora was actually later than the Louvre Andokides,
but for the reasons given above there can be no doubt that
this view is mistaken; compare the remarks of Langlotz,
op. cit. 13, note 1.
4 Hoppinp. 94; Pfuhl fig. 232; Jacobsthal, Ornamente
pi. 37, a; Beazley no. 14.
5 Hoppin p. 92; Schaal, Bilderhefte iii, fig. 41; Pfuhl
figs. 227-8; Jacobsthal pi. 22, a; Beazley no. 13.
6 The beards are still painted red on the Berlin vase;
shoulder muscles, calves, and ankles are rendered by the
same stylizations on the London as on the Vatican
amphora (cf. too, for example, the Boulogne amphora,
which is also late, where the same shoulder and ankle-
marks are used). The Berlin vase was evidently painted
before this system of renderings was evolved. In general
treatment Iolaos and Oinopion make an effective contrast.
7 The floral garland on the Berlin vase is of very early
type, with much red, and singularly heavy forms.
8 Note the rather bulky shape, and the clumsily
attached handles.
9 Jahrbuch 1929, 143, note 3.
10 Pfuhl fig. 277; Beazley no. 2.
NOTES ON THE CHRONOLOGY OF THE EARLY ATTIC BLACK-FIGURE STYLE
Corinth and Athens are so closely connected from the latter part of the seventh century onwards
that it is perhaps worth while to suggest a chronological scheme of early black-figure painting in
Attica. In the table on the opposite page I have naturally not been able to go into much detail, but
the vases cited are probably enough to show whether the scheme is possible or not. An attempt to
fix the chronology of this period in Attica must be based upon what we know of the later sixth
century. The first fixed point on which there seems to be general agreement is that the early style
of the Andokides painter, which is typified by his amphorae in the Louvre and in Berlin,2 belongs
to the period c. 530-525 b.C. The developed style of Exekias is certainly an earlier phase than
this, and for several reasons3 it seems reasonable to place it a little before the others, somewhere
in the decade 540-30 b.C.
The Vatican amphora is, of course, one of the latest vases by Exekias. Earlier stages in Exekias's
style are illustrated by the neck-amphorae in London (with Achilles and Penthesileia)4 and in
Berlin (with Herakles and the lion).5 Of these the Berlin vase is obviously the earlier. The London
vase is proved earlier than the Vatican by the treatment of the drapery and by the forms of the
floral garland; the Berlin vase than the London by the extreme stiffness of the style, by various
details of the figures,6 by the forms of the floral garland,7 and by the shape.8 From this to the
Vatican or Boulogne vases is a considerable step, and one which implies that the Berlin neck-
amphora cannot be later than 550 b.C. In this connexion it is worth recalling that the early date
of the Amasis painter's earliest vases has recently been affirmed by Kraiker, who places these before
the middle of the sixth century;9 the Berlin vase with the death of Kassandra,10 which must be as
early as any existing work of Exekias, will certainly belong to the same decade.
The next milestone above the Exekias is, of course, the Francois vase. Between this and the
Berlin neck-amphora there must be more than ten years, so that we shall probably be not far wrong
in placing the Francois vase early in the sixties, and the fragments of later Klitian style in the latter
part of that decade. Between Klitias and the developed Exekias stand some of the finest black-
1 References to 'Beazley' are to Beazley, Attic Black-
Figure, A Sketch.
2 F.R. iii, pis. in, 133; Pfuhl figs. 313-14; Langlotz,
Zeitbestimmung 23, nos. 2-3.
3 The shape of the Vatican amphora by Exekias is
clearly earlier than that of the Andokides vase in the
Louvre: this can be seen from Hauser's cut, F.R. iii, p. 73,
fig. 36. The differences which distinguish the shapes of these
two vases are precisely those which mark the successive
stages in the history of the amphora in the second half of
the sixth century. In point of drawing the two artists are
difficult to compare, as their styles are radically different;
but in the treatment of drapery it is clear that the Ando-
kides painter is the more advanced. A further point of
some interest, as Professor Beazley remarked to me, is
that on the Berlin vase the Andokides painter has abandoned
the use of red in the pattern above the panel; this is a
marked feature of the later sixth century: cf. the practice
of Phintias or the Kleophrades painter when they use this
pattern (Pfuhl figs. 381, 373, 376). Red is still used on the
Louvre vase, as it is on the Vatican amphora and on all
contemporary and earlier works where this pattern occurs.
And on the Andokidean vases the lotuses are a shade thinner
than on the Exekias: this again is significant when we turn
to vases by Phintias and the Kleophrades painter just
3575 Y'
mentioned, and recall that those of the Vatican Exekias
are likewise thinner than on earlier vases of Exekias.
Hauser, as is well known, took the view that the Vatican
amphora was actually later than the Louvre Andokides,
but for the reasons given above there can be no doubt that
this view is mistaken; compare the remarks of Langlotz,
op. cit. 13, note 1.
4 Hoppinp. 94; Pfuhl fig. 232; Jacobsthal, Ornamente
pi. 37, a; Beazley no. 14.
5 Hoppin p. 92; Schaal, Bilderhefte iii, fig. 41; Pfuhl
figs. 227-8; Jacobsthal pi. 22, a; Beazley no. 13.
6 The beards are still painted red on the Berlin vase;
shoulder muscles, calves, and ankles are rendered by the
same stylizations on the London as on the Vatican
amphora (cf. too, for example, the Boulogne amphora,
which is also late, where the same shoulder and ankle-
marks are used). The Berlin vase was evidently painted
before this system of renderings was evolved. In general
treatment Iolaos and Oinopion make an effective contrast.
7 The floral garland on the Berlin vase is of very early
type, with much red, and singularly heavy forms.
8 Note the rather bulky shape, and the clumsily
attached handles.
9 Jahrbuch 1929, 143, note 3.
10 Pfuhl fig. 277; Beazley no. 2.