DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.8577#0374
REFERENCES TO THE ILLUSTRATIONS AND NOTES
The illustrations are arranged on a system which will, I hope, make it possible tQ find particular
examples without great difficulty. The plates contain, in the first place, photographs of Proto-
corinthian and Corinthian vases with figurative decoration, chronologically grouped, together with
drawings of details, placed with each chronological group. Bronzes and other categories follow. The
imitations of Corinthian vases are placed out of their logical order, at the end of the series of plates,
to prevent the possibility of confusion with Corinthian vases. Drawings have been placed in the text
only where they illustrate particular points discussed in the text. Vases decorated with simple
patterns, and drawings of shapes, are almost all placed in the catalogue, where there are few examples
of figurative decoration.
The technique of the drawings perhaps requires a little explanation. Areas bounded by fine lines
are always black; reserved areas, which on the vases are outlined with broad brush strokes, are
bounded by thick black lines. Thus, to take one or two examples, the horse, fig. 18 f, is white, with a
black, incised, mane; the other figures, 18 a-e, are done entirely in black-figure technique. The horses
fig. 19 a-b are likewise white, with 'black-figure' manes. In some large drawings, e.g. fig. 24 c, the
line is heavier; this is due to the size of the figure, and does not imply outline (which in a drawing of
this size would be much heavier). In some cases, usually where it seemed that the original would
lose a great deal of its effect if translated into outline (as, for example, in some of the drawings of
gorgoneia, p. 80 & ff., where the contrast between black and white areas is particularly important),
I have made black and white drawings; and occasionally (as in fig. 88 f) I have combined the two
techniques in order to give more by the effect of the original than could be given with plain outline.
The time required for doing elaborate black and white drawings, like that of pi. 14, made it impossible
to execute many of the drawings in this way. Red is indicated by stippled, shaded, or cross-hatched
areas. Where two shades of stipple are used in the same drawing (as in fig. 24 c or pi. 5, 1) the
fainter indicates yellow, the darker red.1 I should naturally have preferred to give photographs of
many objects which are illustrated here by drawings—it is an anachronism to publish drawings of
plastic works, whatever their scale—but the cost of reproduction inevitably placed a limit on the
number of the photographic plates, and left me no option but to draw a great number of the vases
without figurative decoration, and even works of sculpture, like the Corfu gorgon, of which photo-
graphic publications are easily available. For the same reason but few of my tracings of figures could
be reproduced directly in collotype (as is done, for example, in pi. 6); but though the ink copies of
these tracings, which I have had to make for reproductions in line-block, are by no means completely
satisfactory (for one thing the distinction between incised and unincised contours cannot be brought
out in this technique), it seemed better to reproduce them in this way than not at all.
In the list which follows I have not given the page-references to the catalogue, as the catalogue
number of each vase is given below the figure; the catalogue-reference is, therefore, to be added to
each of the references to illustrations of late Protocorinthian, Transitional, and Corinthian vases.
Fig.
Page
8a
23, 26-7, 274, 275, 284-6
1
2 & ff.; 19 n. 1
8b
23-4, 286, 29I
2
5-6
9A
25-6, 34> 295 n. 2
3
6
9B
8 n. 2, 26, 281-2, 296, 299 n. 2
4
8-9, 19 n. 1, 32, 144 n. 3
9c
23, 26, 281
5
io-ii, 14 n. 1, 48 n. 4, 151, 280
10
32,298,314
6
12-13, 19, 32, 51
10 e
63
7
H
10 F
64
8-9
26-7, 34.56
ii
48, 64
1 In pi. z cross-hatching is used to indicate pink; these irregularities are all mentioned in the text or in the
accompanying notes.
The illustrations are arranged on a system which will, I hope, make it possible tQ find particular
examples without great difficulty. The plates contain, in the first place, photographs of Proto-
corinthian and Corinthian vases with figurative decoration, chronologically grouped, together with
drawings of details, placed with each chronological group. Bronzes and other categories follow. The
imitations of Corinthian vases are placed out of their logical order, at the end of the series of plates,
to prevent the possibility of confusion with Corinthian vases. Drawings have been placed in the text
only where they illustrate particular points discussed in the text. Vases decorated with simple
patterns, and drawings of shapes, are almost all placed in the catalogue, where there are few examples
of figurative decoration.
The technique of the drawings perhaps requires a little explanation. Areas bounded by fine lines
are always black; reserved areas, which on the vases are outlined with broad brush strokes, are
bounded by thick black lines. Thus, to take one or two examples, the horse, fig. 18 f, is white, with a
black, incised, mane; the other figures, 18 a-e, are done entirely in black-figure technique. The horses
fig. 19 a-b are likewise white, with 'black-figure' manes. In some large drawings, e.g. fig. 24 c, the
line is heavier; this is due to the size of the figure, and does not imply outline (which in a drawing of
this size would be much heavier). In some cases, usually where it seemed that the original would
lose a great deal of its effect if translated into outline (as, for example, in some of the drawings of
gorgoneia, p. 80 & ff., where the contrast between black and white areas is particularly important),
I have made black and white drawings; and occasionally (as in fig. 88 f) I have combined the two
techniques in order to give more by the effect of the original than could be given with plain outline.
The time required for doing elaborate black and white drawings, like that of pi. 14, made it impossible
to execute many of the drawings in this way. Red is indicated by stippled, shaded, or cross-hatched
areas. Where two shades of stipple are used in the same drawing (as in fig. 24 c or pi. 5, 1) the
fainter indicates yellow, the darker red.1 I should naturally have preferred to give photographs of
many objects which are illustrated here by drawings—it is an anachronism to publish drawings of
plastic works, whatever their scale—but the cost of reproduction inevitably placed a limit on the
number of the photographic plates, and left me no option but to draw a great number of the vases
without figurative decoration, and even works of sculpture, like the Corfu gorgon, of which photo-
graphic publications are easily available. For the same reason but few of my tracings of figures could
be reproduced directly in collotype (as is done, for example, in pi. 6); but though the ink copies of
these tracings, which I have had to make for reproductions in line-block, are by no means completely
satisfactory (for one thing the distinction between incised and unincised contours cannot be brought
out in this technique), it seemed better to reproduce them in this way than not at all.
In the list which follows I have not given the page-references to the catalogue, as the catalogue
number of each vase is given below the figure; the catalogue-reference is, therefore, to be added to
each of the references to illustrations of late Protocorinthian, Transitional, and Corinthian vases.
Fig.
Page
8a
23, 26-7, 274, 275, 284-6
1
2 & ff.; 19 n. 1
8b
23-4, 286, 29I
2
5-6
9A
25-6, 34> 295 n. 2
3
6
9B
8 n. 2, 26, 281-2, 296, 299 n. 2
4
8-9, 19 n. 1, 32, 144 n. 3
9c
23, 26, 281
5
io-ii, 14 n. 1, 48 n. 4, 151, 280
10
32,298,314
6
12-13, 19, 32, 51
10 e
63
7
H
10 F
64
8-9
26-7, 34.56
ii
48, 64
1 In pi. z cross-hatching is used to indicate pink; these irregularities are all mentioned in the text or in the
accompanying notes.