DOI Page / Citation link:
https://doi.org/10.11588/diglit.3236#0135
70
TELL DEFENNEH.
advanced in style. Our fragment ought then to
stand between these two vases in point of
date. Over the body of Antaaos is the boar,
behind which are the remains of a dog leaping
on the flank of the boar, and the remains of
two heroes, who on the analogy of the Francois
vase ought to be Kastor and Pollux, while
on the analogy of the other vase just men-
tioned they ought to be Meilanion and some one
else.
We have thus on the fragment from Daphnaa
two parallel scenes corresponding in general to
two parallel scenes on the Francois vase, with
strong resemblances also to scenes on other,
apparently more archaic vases, found in Etruria,
but bearing inscriptions in the Corinthian al-
phabet. There is no more difficult problem at
present, in the history of vase painting, than
these vases found in Etruria with Corinthian
inscriptions; the problem being how far they are
Corinthian productions imported into Etruria, or
the productions of descendants of those Corin-
thian potters who, in B.o. 655, settled in EtrUria,
after being expelled from Corinth by the family
of Kypselos. Unfortunately our fragment has
no inscription. In other ways, however, it may
have its uses in discussing this problem further.
"With reference to the manner in which the
hide of the boar is rendered, that is, by means
of short incised lines, we may compare the
figure of an ape on an archaic vase from Caere,
representing also the hunt of the Calydonian
boar.1 It is true that on this Caere vase the
hide of the boar is not rendered as on our
fragment, but the hairy skin of the ape is most
distinctly so rendered. It has been usual to
assign vases of this Caere class to the sixth
century B.C., and some of them even to the
latter half of the seventh century.2
1 Mon. dell' Inst., vi. pi. lxxvii.
3 See Dumont et Chaplain, Ceramiques, p. 261, where the
amphora, Mon. dell' Inst., vi. pi. xiv., with Tydeus killing
Ismene is assigned to the second half of the seventh century
B.o., and the vase, Mon. dell' Inst., vi. pi. xxxiii., with the
banquet of Herakles is assigned to the sixth century. For
66. Another class of vases belonging to the
black figure style, in the true sense of having
the black figures burnt in on the red clay, is
represented by the fragment, pi. xxix. 4, on
which is painted a nude female figure on horse-
back; behind her flies an eagle; the space
among her horse's feet is partly covered by a
dog. The great size of the horse compared with
the rider, the use of a saddlecloth, and the form
of the bridle and collar, are features which we
find also on one of the fragments of the sarco
phagi from Clazomenaa,3 and on archaic reliefs
from Xanthus in Lycia.4 These are features
which may be traced to the influence of Persian,
or at all events, Ionian art. Nude women—not
Amazons—riding on horseback seem more to
Asiatic than to Greek taste. Daphnaa is said
by Herodotus to have been occupied by a Per-
sian garrison in his time, and possibly it had
been so held from the date of the invasion of
Cambyses, who also had Ionians in his army,
according to Herodotus (iii. 1). If the facts are
otherwise in accord, there would be no objection
in point of style to place these vases in the time
of Cambyses instead of Amasis, whom he dis-
possessed. But it is hardly necessary to take
into consideration the question of direct Persian
influence, when there is every probability that
Carians and Ionians living in a frontier town
like Daphnaa would have been from the begin-
ning of their settlement there affected by the
arts and tastes of Asia Minor, if not of Persia.
67. The amphora given pi. xxxi. 17 is identi-
cal in shape with the Burgon Panathenaic vase.
More than that, among the fragments of vases
of this shape from Daphnaa, are several necks
of amphoras, from which it is to be seen that
the opposite view of Brunn, see his recent addition to his
Frobleme in dor Geschichtc der Vasenmalerei, p. 45.
3 See the fragment in the British Museum engraved in
Hollen. Journ., iv. p. 19, fig. 14. The two sarcophagi now
in Constantinople are engraved, Mon. dell' Inst., xi. pi. Hii.,
liv.
4 Murray, Gr. Sculpt., i. pi. v.
TELL DEFENNEH.
advanced in style. Our fragment ought then to
stand between these two vases in point of
date. Over the body of Antaaos is the boar,
behind which are the remains of a dog leaping
on the flank of the boar, and the remains of
two heroes, who on the analogy of the Francois
vase ought to be Kastor and Pollux, while
on the analogy of the other vase just men-
tioned they ought to be Meilanion and some one
else.
We have thus on the fragment from Daphnaa
two parallel scenes corresponding in general to
two parallel scenes on the Francois vase, with
strong resemblances also to scenes on other,
apparently more archaic vases, found in Etruria,
but bearing inscriptions in the Corinthian al-
phabet. There is no more difficult problem at
present, in the history of vase painting, than
these vases found in Etruria with Corinthian
inscriptions; the problem being how far they are
Corinthian productions imported into Etruria, or
the productions of descendants of those Corin-
thian potters who, in B.o. 655, settled in EtrUria,
after being expelled from Corinth by the family
of Kypselos. Unfortunately our fragment has
no inscription. In other ways, however, it may
have its uses in discussing this problem further.
"With reference to the manner in which the
hide of the boar is rendered, that is, by means
of short incised lines, we may compare the
figure of an ape on an archaic vase from Caere,
representing also the hunt of the Calydonian
boar.1 It is true that on this Caere vase the
hide of the boar is not rendered as on our
fragment, but the hairy skin of the ape is most
distinctly so rendered. It has been usual to
assign vases of this Caere class to the sixth
century B.C., and some of them even to the
latter half of the seventh century.2
1 Mon. dell' Inst., vi. pi. lxxvii.
3 See Dumont et Chaplain, Ceramiques, p. 261, where the
amphora, Mon. dell' Inst., vi. pi. xiv., with Tydeus killing
Ismene is assigned to the second half of the seventh century
B.o., and the vase, Mon. dell' Inst., vi. pi. xxxiii., with the
banquet of Herakles is assigned to the sixth century. For
66. Another class of vases belonging to the
black figure style, in the true sense of having
the black figures burnt in on the red clay, is
represented by the fragment, pi. xxix. 4, on
which is painted a nude female figure on horse-
back; behind her flies an eagle; the space
among her horse's feet is partly covered by a
dog. The great size of the horse compared with
the rider, the use of a saddlecloth, and the form
of the bridle and collar, are features which we
find also on one of the fragments of the sarco
phagi from Clazomenaa,3 and on archaic reliefs
from Xanthus in Lycia.4 These are features
which may be traced to the influence of Persian,
or at all events, Ionian art. Nude women—not
Amazons—riding on horseback seem more to
Asiatic than to Greek taste. Daphnaa is said
by Herodotus to have been occupied by a Per-
sian garrison in his time, and possibly it had
been so held from the date of the invasion of
Cambyses, who also had Ionians in his army,
according to Herodotus (iii. 1). If the facts are
otherwise in accord, there would be no objection
in point of style to place these vases in the time
of Cambyses instead of Amasis, whom he dis-
possessed. But it is hardly necessary to take
into consideration the question of direct Persian
influence, when there is every probability that
Carians and Ionians living in a frontier town
like Daphnaa would have been from the begin-
ning of their settlement there affected by the
arts and tastes of Asia Minor, if not of Persia.
67. The amphora given pi. xxxi. 17 is identi-
cal in shape with the Burgon Panathenaic vase.
More than that, among the fragments of vases
of this shape from Daphnaa, are several necks
of amphoras, from which it is to be seen that
the opposite view of Brunn, see his recent addition to his
Frobleme in dor Geschichtc der Vasenmalerei, p. 45.
3 See the fragment in the British Museum engraved in
Hollen. Journ., iv. p. 19, fig. 14. The two sarcophagi now
in Constantinople are engraved, Mon. dell' Inst., xi. pi. Hii.,
liv.
4 Murray, Gr. Sculpt., i. pi. v.