DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.2533#0182
THE ARGIVE STYLE: CLASS III
145
in Geometric ware. Although the animal frieze comes into the Argive style during the
end of Class II., it is very common during the middle Geometric period. Clearly it is
some other characteristic which distinguishes Class III. from its predecessors.
This can only be the development of purely decorative patterns, such as the lotos, pal-
mette, etc. Boehlau [op. cit. p. 108) has pointed out that the wreath pattern and dotted
rosette are foreign to the early Attic style while thoroughly characteristic of the Argive
(still termed by him Proto-Corinthian). It is this innovation combined with a wealth of
decoration, incised lines, and recognition of the animal frieze as a principal scheme of
decoration that constitute the elements of Class III. The presence of the curved pal-
mette on the pyxis (cf. Fig. 69), combined with the Geometric motives, marks the transi-
tion stage between Classes II. and III., and also stands as one of the earliest examples of
the palmette with curved stem. Boehlau's analysis of its development (Joe. cit.) seems to
be confirmed by our pyxis.
I do not, however, feel that he is right in contending that the Corinthian style cannot
have developed from the Argive, as that would have been a " Eiickschritt zur Zeit der
Bliithe korinthischen Handels und Industrie" (p. 114). To my mind this objection can-
not hold, since we know that Corinth possessed no previous ceramic art of her own, and,
as was said before, the chief difference between the Corinthian style and Class III. of the
Argive is that between skilled and unskilled labor, the foreign influence being the same
in both. Why should we seek the direct prototypes of the Corinthian style in Asia Minor.
when the Argive style, with which it has so much in common, lies so close to our hand ?
The shapes included in Class III. have all been seen before in the previous classes, no
new shape being introduced. They are : —
Lekythos,
Oinoclioe,
Jug,
Lehythoi.
The lekythoi follow one form (Berl. Cat. V. 102) with little variation, and were rather
small, not more than 6 cm. in height. About twenty were preserved more or less in-
tact, while at least fifty more were represented by fragments. The scheme of decoration
is the same on all, parallel bands inclosing an animal frieze, or else the body of the vase
is adorned with a plant pattern or some other similar decoration.
Although the use of incised lines to emphasize details does not originate in this period,
it is one of its chief characteristics. Whether those vases which belong to Class III. but
do not show this feature are necessarily older than the incised vases cannot be asserted
with any accuracy. It is probable that for a time the use of both incised and unincised
vases was common, and that the former technique supplanted the latter as the style
became advanced. Certain it is that all vases which belong to the most advanced stage
show the use of the incised line.
The lekythos described on p. 127 properly belongs to a stage between Classes II. and
III. We have there the animal frieze in its simplest form, but without the use of the
incised line.
Fig. 86. (Drawing on Plate LXIV. 11.) Height, 0.043 m. Light greenish clay, with brilliant
black decoration. Part of rim broken away, but traces of a ray pattern are still to be seen.
Dots on neck, guilt oche on handle, pot-hooks and rosettes on shoulder. Main frieze: three series
of two concentric circles (with central dot) ' separated by a palmette, ivy branch, and guilloche
1 For similar arrangement of circles see Ann. dell' Inst. 1877, tav. d' agg. A B 15. There is a similar lekythos in
Berlin, recently acquired.
Skyphos,
Pyxis,
Plate.
>
145
in Geometric ware. Although the animal frieze comes into the Argive style during the
end of Class II., it is very common during the middle Geometric period. Clearly it is
some other characteristic which distinguishes Class III. from its predecessors.
This can only be the development of purely decorative patterns, such as the lotos, pal-
mette, etc. Boehlau [op. cit. p. 108) has pointed out that the wreath pattern and dotted
rosette are foreign to the early Attic style while thoroughly characteristic of the Argive
(still termed by him Proto-Corinthian). It is this innovation combined with a wealth of
decoration, incised lines, and recognition of the animal frieze as a principal scheme of
decoration that constitute the elements of Class III. The presence of the curved pal-
mette on the pyxis (cf. Fig. 69), combined with the Geometric motives, marks the transi-
tion stage between Classes II. and III., and also stands as one of the earliest examples of
the palmette with curved stem. Boehlau's analysis of its development (Joe. cit.) seems to
be confirmed by our pyxis.
I do not, however, feel that he is right in contending that the Corinthian style cannot
have developed from the Argive, as that would have been a " Eiickschritt zur Zeit der
Bliithe korinthischen Handels und Industrie" (p. 114). To my mind this objection can-
not hold, since we know that Corinth possessed no previous ceramic art of her own, and,
as was said before, the chief difference between the Corinthian style and Class III. of the
Argive is that between skilled and unskilled labor, the foreign influence being the same
in both. Why should we seek the direct prototypes of the Corinthian style in Asia Minor.
when the Argive style, with which it has so much in common, lies so close to our hand ?
The shapes included in Class III. have all been seen before in the previous classes, no
new shape being introduced. They are : —
Lekythos,
Oinoclioe,
Jug,
Lehythoi.
The lekythoi follow one form (Berl. Cat. V. 102) with little variation, and were rather
small, not more than 6 cm. in height. About twenty were preserved more or less in-
tact, while at least fifty more were represented by fragments. The scheme of decoration
is the same on all, parallel bands inclosing an animal frieze, or else the body of the vase
is adorned with a plant pattern or some other similar decoration.
Although the use of incised lines to emphasize details does not originate in this period,
it is one of its chief characteristics. Whether those vases which belong to Class III. but
do not show this feature are necessarily older than the incised vases cannot be asserted
with any accuracy. It is probable that for a time the use of both incised and unincised
vases was common, and that the former technique supplanted the latter as the style
became advanced. Certain it is that all vases which belong to the most advanced stage
show the use of the incised line.
The lekythos described on p. 127 properly belongs to a stage between Classes II. and
III. We have there the animal frieze in its simplest form, but without the use of the
incised line.
Fig. 86. (Drawing on Plate LXIV. 11.) Height, 0.043 m. Light greenish clay, with brilliant
black decoration. Part of rim broken away, but traces of a ray pattern are still to be seen.
Dots on neck, guilt oche on handle, pot-hooks and rosettes on shoulder. Main frieze: three series
of two concentric circles (with central dot) ' separated by a palmette, ivy branch, and guilloche
1 For similar arrangement of circles see Ann. dell' Inst. 1877, tav. d' agg. A B 15. There is a similar lekythos in
Berlin, recently acquired.
Skyphos,
Pyxis,
Plate.
>