DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.8577#0372
ADDENDA
TO CH. XI
I have omitted to mention that nonsense inscriptions (which I have mentioned in other cases) occur
also on the following vases: 1281 (incised), 1435 (painted), 1439 (painted; also graffito Al|/|£).
I append a list of graffiti and dipinti which occur on the underside of the foot of some vases:
No. 733 T
No. 780 a C
No. 1033 X
No. 1092 ""Lj
No. 1093
No. 1125 H
No. 1150 *b
No. 1170 ©
No. 1321
No. 1366
No. 1385
(red)
MO
BV
(black)
(red)
(black)
No. 1386
No. 1423
No. 1436
No. 1480
No. 1481
h v
A
P
p
(red)
Oinochoai, Munich, 964, 966 H (incised).
Cothons, Berlin, 1109, mi, EE, C (red).
A good many of the above are mentioned by Hackl
(Miinch. Arch. Stud., pp. 17-18); the amphora Brit.
Mus. B 24, which he quotes, is Attic; the amphoris-
kos, Boehlau, p. 45, is not certainly Corinthian.
TO CH. XVI
PI. 50 was inserted into the series when the corresponding text was already in page-proof; I was
therefore unable to add more than the plate-references to my original remarks. I should like to
supplement these with some notes on the fine bronze lioness, pi. 50, 2 and 5.
Two considerations, its provenance, Corfu, and
its resemblance to the lions from Perachora (pi. 50.
3-4, 8) make it at least highly probable that this
lioness is Corinthian. There is a strong similarity
between the lioness and the lions, not so much on the
motive, as in the curiously unleonine conception of
the animal; this resemblance comes out strongly, but
not by any means solely, in the frontal view (nos.
5 and 8). The Boston lion from Lutraki has much
the same character, a character which, as I have said
in Ch. XVI, contrasts sharply with that of contem-
porary Ionian art.
The bronze lioness probably belongs to the late
sixth century; what was its original use? It is
clearly improbable that it was simply a votive statu-
ette or a tomb-offering. If one recalls contemporary,
or not very much later, figures of lionesses it is
striking that in more than one instance they are not
complete in themselves, but are balanced by lions.
Thus on the stela recently discovered in the German
excavations at the Ceramicus (A. Anz. 1930, pi. 1),
and on a vase by the Berlin painter, of which
Professor Beazley tells me, a lion on one side is
balanced by a lioness on the other; and there is a
lekythos by the Berlin painter with a lion on the
shoulder, and another by the same artist with a
lioness (Beazley, Der Berliner Maler, pi. 12, 1-2),
which may well have been painted as a pair (as was
often the case with lekythoi). It is not unlikely,
therefore, that the lioness from Corfu was balanced
by a lion. And, that being so, one can make a fairly
plausible guess as to its original use. For by far
the closest parallel is given by two bronze lions
from vases, one of which (balanced by a boar)
is in Boston (Festschrift James Loeb, 88-9 figs. 7-
8 : cf. the Catalogue of the Burlington Exhibition
of 1904, pi. 58, C. 65), while the other, balanced by a
bull, is still in its original position on the magnificent
dinos from Amandola in the museum at Ancona
(Albizzati, Dedalo i, 153 & ff.). That these two
lions are by the same artist, and that they are pro-
bably from the same mould, is obvious at a glance,
and I think it is also obvious that they provide a very
close parallel to the lioness from Corfu. They are
certainly rather later than the lioness, belonging to
the first quarter of the fifth century, but the simi-
larity in style, and particularly in the rendering of
the mane (contrast bronze lions from vases generally)
TO CH. XI
I have omitted to mention that nonsense inscriptions (which I have mentioned in other cases) occur
also on the following vases: 1281 (incised), 1435 (painted), 1439 (painted; also graffito Al|/|£).
I append a list of graffiti and dipinti which occur on the underside of the foot of some vases:
No. 733 T
No. 780 a C
No. 1033 X
No. 1092 ""Lj
No. 1093
No. 1125 H
No. 1150 *b
No. 1170 ©
No. 1321
No. 1366
No. 1385
(red)
MO
BV
(black)
(red)
(black)
No. 1386
No. 1423
No. 1436
No. 1480
No. 1481
h v
A
P
p
(red)
Oinochoai, Munich, 964, 966 H (incised).
Cothons, Berlin, 1109, mi, EE, C (red).
A good many of the above are mentioned by Hackl
(Miinch. Arch. Stud., pp. 17-18); the amphora Brit.
Mus. B 24, which he quotes, is Attic; the amphoris-
kos, Boehlau, p. 45, is not certainly Corinthian.
TO CH. XVI
PI. 50 was inserted into the series when the corresponding text was already in page-proof; I was
therefore unable to add more than the plate-references to my original remarks. I should like to
supplement these with some notes on the fine bronze lioness, pi. 50, 2 and 5.
Two considerations, its provenance, Corfu, and
its resemblance to the lions from Perachora (pi. 50.
3-4, 8) make it at least highly probable that this
lioness is Corinthian. There is a strong similarity
between the lioness and the lions, not so much on the
motive, as in the curiously unleonine conception of
the animal; this resemblance comes out strongly, but
not by any means solely, in the frontal view (nos.
5 and 8). The Boston lion from Lutraki has much
the same character, a character which, as I have said
in Ch. XVI, contrasts sharply with that of contem-
porary Ionian art.
The bronze lioness probably belongs to the late
sixth century; what was its original use? It is
clearly improbable that it was simply a votive statu-
ette or a tomb-offering. If one recalls contemporary,
or not very much later, figures of lionesses it is
striking that in more than one instance they are not
complete in themselves, but are balanced by lions.
Thus on the stela recently discovered in the German
excavations at the Ceramicus (A. Anz. 1930, pi. 1),
and on a vase by the Berlin painter, of which
Professor Beazley tells me, a lion on one side is
balanced by a lioness on the other; and there is a
lekythos by the Berlin painter with a lion on the
shoulder, and another by the same artist with a
lioness (Beazley, Der Berliner Maler, pi. 12, 1-2),
which may well have been painted as a pair (as was
often the case with lekythoi). It is not unlikely,
therefore, that the lioness from Corfu was balanced
by a lion. And, that being so, one can make a fairly
plausible guess as to its original use. For by far
the closest parallel is given by two bronze lions
from vases, one of which (balanced by a boar)
is in Boston (Festschrift James Loeb, 88-9 figs. 7-
8 : cf. the Catalogue of the Burlington Exhibition
of 1904, pi. 58, C. 65), while the other, balanced by a
bull, is still in its original position on the magnificent
dinos from Amandola in the museum at Ancona
(Albizzati, Dedalo i, 153 & ff.). That these two
lions are by the same artist, and that they are pro-
bably from the same mould, is obvious at a glance,
and I think it is also obvious that they provide a very
close parallel to the lioness from Corfu. They are
certainly rather later than the lioness, belonging to
the first quarter of the fifth century, but the simi-
larity in style, and particularly in the rendering of
the mane (contrast bronze lions from vases generally)